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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. -
Camille on Her Deathbed
ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Camille on Her Deathbed AMILLE-LEONIE DONCIEUX Monet (1847- Many years after Camille’s passing, Monet spoke with 1879) died at 32 years of age after a pro- his friend Georges Clemenceau, the former French prime tracted illness, most likely metastatic cer- minister, about her death: vical cancer.1 She had been the inspiration and model for her husband, Claude Mo- I found myself staring at the tragic countenance, automatically trying to identify the sequence, the proportion of light and shade Cnet (1840-1926). In 1866, despite his youth, Monet’s in the colors that death had imposed on the immobile face. painting of Camille (Woman in Green Dress) was ac- Shades of blue, yellow, gray...Even before the thought oc- cepted and acclaimed at the annual Paris Salon, the con- curred to memorize the face that meant so much to me, my first servative arbiter of subject matter and style in painting.2 involuntary reflex was to tremble at the shock of the colors. In In the ensuing 12 years, Camille, either alone or with her spite of myself, my reflexes drew me into the unconscious op- son, was the primary model for his paintings. eration that is the daily order of my life. Pity me, my friend.4 Their relationship began when she was just 19 years of age and he was 25. She was said to be attractive and in- These comments were made 40 years after Camille’s telligent with beautiful eyes. During their life together she death. -
The Careful Crafting of a Utopia: Yves Klein and the Anthropometric Event
The Careful Crafting of a Utopia: Yves Klein and the Anthropometric Event of March 9, 1960 Sarah M. Bartlett Washington and Lee University Department of Art and Art History Honors Thesis in Art History March 25, 2016 I have neither given nor received any unacknowledged aid on this thesis. Sarah M. Bartlett ACKNOWLEDGEMENTS I am hugely indebted to my parents, who offered me tremendous encouragement over the past ten months. Without their support, I never would have been able to spend hours poring over Yves Klein’s writings this past August at the Yves Klein Archives in Paris. My love affair with the artist’s work only grew because of their help. In addition, I would like to thank Mabel Tapia for her guidance and careful assistance during my visit to the Yves Klein Archives. She graciously directed me towards countless invaluable resources and allowed me to view a wide variety of original manuscripts and drawings. Of course, I must thank Professor Melissa R. Kerin for the countless hours of guidance she offered throughout this process. This project would not have been the same without her support, and I am forever indebted to her for motivating me to produce the best possible thesis. Thank you. TABLE OF CONTENTS INTRODUCTION……………………………………………………………………1 CHAPTER ONE…………………………………………………………………….10 “AN ATOMIC ERA” I. RECONSTRUCTING IDENTITY: The Fall of Vichy France and the Rise of Consumer Culture II. RELIGION AFTER WORLD WAR II: Questioning the Institutions of the Past III. THE GLOBAL AVANT-GARDE: The Birth of Performance Art CHAPTER TWO……………………………………………………………………27 “COME WITH ME INTO THE VOID” I. -
1 Figures of Ubicomp: Conceptualizing And
FIGURES OF UBICOMP: CONCEPTUALIZING AND COMPOSING ACTIONABLE MEDIA By JOHN TINNELL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 John Tinnell 2 To Hutton 3 ACKNOWLEDGMENTS I would like thank all of the amazing people in the English Department at the University of Florida, especially Greg Ulmer and Sid Dobrin. Greg’s work models everything I hope to achieve in my own. While I try to not follow his footsteps too obviously, I will always be seeking to further the insights and projects that his books so originally present. For me, Greg is among the masters that his motto gestures toward. Sid, perhaps more than anyone else, helped me come of age as a professional. Because of his constant encouragement and pinpoint advice, I felt as though I had made the transition from graduate student to Assistant Professor before I even started my dissertation. It would have been inconceivable for me to complete this project in under a year without that level of confidence and support. The other two members of my committee, Laurie Gries and Jack Stenner, provided me with vital feedback. Laurie’s capacity to respond to her students’ writing is unparalleled; she saw incongruencies in my writing to which I would otherwise still be blind. Jack voiced criticisms that I did not want to hear, which are the most important to hear. I thank my parents, emphatically, for their support and for doing what they are passionate about and always encouraging me to do the same. -
Retrospective Is Curated by Toby Kamps with Dr
Wols: Retrospective is curated by Toby Kamps with Dr. Ewald Rathke. This exhibition is generously supported by the National Endowment for the Arts; Anne and Bill Stewart; Louisa Stude Sarofim; Michael Born Alfred Otto Wolfgang Schulze to a prominent Berlin family Zilkha; Skadden, Arps; and the City of Houston. on May 27, 1913, the artist spent his childhood in Dresden. Despite obvious intelligence, Wols failed to complete school, and in 1932, not long after the death of his father, with whom he had a contentious relationship, he moved to Paris in an attempt to break away from his bourgeois roots. Except for a brief stint in Spain, he remained in France until his untimely death in 1951. The story of Wols’s dramatic trans- PUBLIC PROGRAMS formation from sensitive, musically gifted German youth to eccentric, Panel Discussion near-homeless Parisian artist is legendary. So too are accounts of his Thursday, September 12, 2013, 6:00 p.m. many adventures and misadventures during the tumult of wartime Following introductory remarks by Frankfurt-based scholar Dr. Ewald Europe: his marriage to the fiercely protective Romanian hat maker Rathke, Curator of Modern and Contemporary Art Toby Kamps is joined Gréty Dabija; his grueling incarceration as an expatriate at the outset by art historians Patrycja de Bieberstein Ilgner, Archivist at the Karin and of the war and subsequent moves across rural France; his late-night Uwe Hollweg Foundation, Bremen, Germany; and Katy Siegel, Professor perambulations in liberated Paris; and his ever-worsening alcoholism, of Art History at Hunter College, New York, and Chief Curator of the Wols, Selbstporträt (Self-Portrait), 1937 or 1938, modern print. -
Crystal Thomas Art History Paper Impressionism Through the Eyes Of
Crystal Thomas Art History Paper Impressionism through the eyes of Edouard Manet and Claude Monet Impressionism is a movement that had a major impact in France during the late nineteenth and early twentieth centuries. There is no exact date for the beginning of this movement. Louis Leroy, an art critic, gave this period its name when he went to an independent exhibition and came across Claude Monet's Sunrise. He said it looked impressionistic, meaning not finished. Impressionists liked to be called Independents. During this time, being called an Impressionist was not a good thing. Impressionistic works were not accepted in the world of art at this time, and art critics were referring to these painters as being lazy. Most of the public did not support Impressionism. People wondered why the artists were not finishing their brush strokes and they did not like the colors being used. Among some of the Impressionist painters are Claude Monet, Edouard Manet, Edgar Degas, Pierre Auguste Renoir, Paul Cezanne, and Camille Pisarro. Characteristics of this movement include noticeable brush strokes that are not blended together, applying the paint in a thick, impasto style, and mixing the colors right on the canvas. Some Impressionists like to take an optical approach to painting and place the hues right next to each other on the canvas. This allows the eyes to do the mixing. Optical color mixing makes paintings look lighter than if the colors were mixed, and gives the paintings the effect of being in motion. Impressionists were interested in painting the everyday world around them. -
Sigrid Ruby the Give and Take of American Painting in Postwar Western Europe
The American Impact on Western Europe: Americanization and Westernization in Transatlantic Perspective Conference at the German Historical Institute Washington, D.C., March 25–27, 1999 Sigrid Ruby The Give and Take of American Painting in Postwar Western Europe www.ghi-dc.org/conpotweb/westernpapers/ruby.pdf ©Sigrid Ruby 1 The Give and Take of American Painting in Postwar Western Europe (Sigrid Ruby) The standard narrative of 20th century art maintains that with the advent of abstract expressionism in the late 1940s American painting for the very first time made a genuine contribution to the course of Western art history. This at first sight eurocentristic narrative relies on the conceptualization of modern art as an evolutionary process, mainly conditioned by the esthetic qualities of the autonomous art work and urged on by successive vanguard movements. Pointing out its formal inventiveness and radical newness, its painterly grandeur, purity of means, and artistic self-consciousness, art historical writing has naturalized abstract expressionism as an integral part - if not the climax or glorious finale1 - of the modernist adventure. In 1970, the American art critic Irving Sandler published „Abstract Expressionism. The Triumph of American Painting.“2 The book perpetuated the by then well- established modernist interpretation of abstract expressionism, but the somewhat self-congratulatory title suggests a bias which became crucial for a revisionist reading of this „triumph“ in the following years. Max Kozloff‘s article „American Painting During the Cold War,“3 Eva Cockroft’s „Abstract Expressionism. Weapon of the Cold War,“4 and, especially, Serge Guilbaut’s book „How New York Stole the Idea of Modern Art“5 are landmarks of a new, materialist approach in dealing with post- 1945 art history and its American contribution. -
FRENCH IMPRESSIONISM and JEWISH PATRONAGE Veronica
LONGING AND BELONGING: FRENCH IMPRESSIONISM AND JEWISH PATRONAGE Veronica Grodzinski Financial Times journalist Rebecca Rose quoted Melanie Clore on the sale of Impressionists at Sotheby’s in London on June 2006: The Impressionist and modern art fi eld is still a growth area and new money is being funneled directly into it. Artists like van Gogh, Monet, Cézanne, Matisse, Degas, Modigliani and Chagall are considered the ‘blue-chip brigade’, which command the highest prices and biggest international interest. Equally, the blue chip brigade is owned, sold and bought by only a handful of the world’s wealthiest buyers and collectors that form an exclusive club of some 20 patrons worldwide.1 Melanie Clore is the [ Jewish, by co-incidence] Deputy Chairman of Sotheby’s Europe Division and the Chairman of the Impressionist and Modern art market worldwide and thus one of the most knowledge- able voices on the subject. Clore’s assessment of twenty Impressionist clients worldwide is most surprising when compared to the number of early Jewish patrons in Republican France and Imperial Germany. What is remarkable is that a small circle of Jewish patrons were vision- aries as far back as a century ago and that the Impressionists circle has not widened since its early patronage around 1900. Why did a ‘small exclusive club’—to use Clore’s terminology—of some twenty-two German Jews collect French avant-garde Art at a time when most European collectors shunned it? Why did a circle of German Jewish patrons “collect against the grain” at a time when the majority of German Jews wanted to assimilate and integrate into majority society? However, their enthusiasm for French Impression- ism resulted in the astonishing fact that of all French modernist art collectors in Wilhelmine Germany, 85% were Germans Jews. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
ICAA Documents Project Working Papers
17.351 ICAA Working Papers 5.rd3.qxp_17.351 ICAA Working Papers 5.rd3 11/8/17 10:00 AM Page 1 ICAA Documents Project Working Papers The Publication Series for Documents of 20th-Century Latin American and Latino Art Number 5 December 2017 17.351 ICAA Working Papers 5.rd3.qxp_17.351 ICAA Working Papers 5.rd3 11/8/17 10:00 AM Page 2 Number 5 December 2017 ICAA Documents Project Working Papers The Publication Series for Documents of 20th-Century Latin American and Latino Art CONTENTS The ICAA Documents Project Working Papers series brings together papers stemming from the Documents of 20th- Century Latin American and Latino Art Project at the Museum of Fine Arts, Houston . It also serves as the official vehicle to assemble and distribute related research by the Center’s team of researchers, staff, and affiliates. 2 INTRODUCTION Beatriz R. Olivetti, Research and Digital Experience Specialist, Series Editor: María C. Gaztambide, Front cover (see also p. 7, fig. 3) : For more information, please contact: International Center for the Arts of the Americas, MFAH ICAA/MFAH Luis Fernando Benedit, Proyecto huevos , The International Center 1976–77, installation view. Number 5 Editor: María C. Gaztambide , for the Arts of the Americas (ICAA) SIGNS , S YSTEMS , C ONTEXTS : T HE CENTRO DE ARTE Y COMUNICACIÓN ICAA/MFAH Back cover (detail) and p. 18 : Marta Minujín, The Museum of Fine Arts, Houston 3 P.O. Box 6826, Houston, TX 77265-6826 AT THE SÃO PAULO BIENAL , 1977 Design : Graciela Araujo, MFAH Movimiento Interior [Internal Movement], 1960, sand, pigments, cardboard, pyroxilin Telephone: 713-639-1528 Julia Detchon, Winner of the Peter C. -
Georges Mathieu / ADAGP, Paris & ARS, New York, 2021
Paris, Capital of the Arts, 1965. Oil on canvas. 300 x 900 cm | 118 1/8 x 354 5/16 in. Photographer: Claire Dorn © Georges Mathieu / ADAGP, Paris & ARS, New York, 2021. Georges Mathieu Opening preview Wednesday, September 8 | Nahmad Contemporary 10am-6pm | Perrotin 12-8pm New York | September 8 - October 23, 2021 In celebration of the 100th birthday of Georges Mathieu (1921-2012), Nahmad Contemporary and Perrotin, in collaboration with the artist’s estate, are pleased to mount the first extensive survey of Georges Mathieu’s practice in the United States. Spread across two New York venues, the presentation reevaluates Mathieu’s significant contributions to the development of post-war abstraction. As a key pioneer of Action Painting, the exhibition will pay particular attention to the artist’s monumental paintings, which exemplify his commitment to the encounter between body and canvas. Concurrently, we will publish an expansive monograph on George Mathieu’s life and work, with an essay by Germano Celant and an interview of Nancy Spector. Georges Mathieu was one of the foremost French artists active during the 1950s and 60s. The centenary of his birth offers an ideal occasion to look back at the career of an artist and theorist who dedicated his life to an emotive, gestural, and highly nonrepresentational form of abstraction that had no correlative in the empirical world. The founder of Lyrical Abstraction, a movement that rejected the legacy of European geometric abstraction launched by Picasso’s Cubism and Mondrian’s De Stijl, Mathieu deeply influenced generations of artists working in the realm of performance and action-based painting. -
Impressionism Post-Impressionism and Fauvism
• This lecture provides a quick introduction to Impressionism, the Post- Impressionists, particularly Paul Cézanne, Divisionism/Pointillism, the Fauves and Matisse • The lecture ends with the exhibition held by Roger Fry in 1910 called Manet and the Post-Impressionists. This is regarded as a turning point and the time when developments that had taken place in France over the previous 20 years were seen in England. Although made fun of by the critics it changed the way many artists worked. Notes • The following are not covered as they were covered in the course last year. • Introduce the influence on England Whistler, English Impressionists • New English Art Club • Camille Pissarro (1830-1903) is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He ‘acted as a father figure not only to the Impressionists’ but to all four of the major Post-Impressionists, including Georges Seurat (1859-1891), Paul Cézanne (1839-1906), Vincent van Gogh (1853-1890, died aged 37)) and Paul Gauguin (1848-1903). • Roger Fry 1 • Created the name Post-Impressionist, started the Omega Workshop (Fitzroy Square), curator Metropolitan Museum, ‘discovered’ Paul Cezanne, Slade Professor • Wrote An Essay in Aesthetics • Organised the 1910 ‘Manet and the Post-Impressionists’ Exhibition, Grafton Galleries. ‘On or about December 1910 human character changed’ Vanessa Bell. • Organised the 1912 ‘Second Post-Impressionist Exhibition’. References • The main sources of information are the Tate website, Wikipedia, The Art Story and the Oxford Dictionary of National Biography. Verbatim quotations are enclosed in quotation marks. If it is not one of the references just mentioned then it is listed at the bottom of the relevant page.