Impressionist & Modern
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Paul Klee – the Abstract Dimension October 1, 2017 to January 21, 2018
Media release Paul Klee – The Abstract Dimension October 1, 2017 to January 21, 2018 From October 1, 2017, to January 21, 2018, the Fondation Beyeler will be presenting a major exhibition of the work of Paul Klee, one of the most important painters of the twentieth century. The exhibition undertakes the first-ever detailed exploration of Kleeʼs relationship to abstraction, one of the central achievements of modern art. Paul Klee was one of the many European artists who took up the challenge of abstraction. Throughout his oeuvre, from his early beginnings to his late period, we find examples of the renunciation of the figurative and the emergence of abstract pictorial worlds. Nature, architecture, music and written signs are the main recurring themes. The exhibition, comprising 110 works from twelve countries, brings this hitherto neglected aspect of Kleeʼs work into focus. The exhibition is organized as a retrospective, presenting the groups of works that illustrate the main stages in Kleeʼs development as a painter. It begins, in the first of the seven rooms, with Kleeʼs apprenticeship as a painter in Munich in the 1910s, followed by the celebrated journey to Tunisia in 1914, and continues through World War I, and the Bauhaus decade from 1921 to 1931, with the well- known “chessboard” pictures, the layered watercolors, and works that respond to the experiments of the 1930s with geometric abstraction. The next section features a selection of the pictures painted after Kleeʼs travels in Italy and Egypt in the later 1920s and early 1930s. Finally, the exhibition examines the “sign” pictures of Kleeʼs late period, and the prefiguration, in his conception of painting, of developments in the art of the postwar era. -
The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement. -
AUSSTELLUNGSFÜHRER Saalplan
DE 02.11.2017 – 04.03.2018 AUSSTELLUNGSFÜHRER Saalplan 5 C 6 b D 7 4 8 3 E 2 9 Kino 1 - A Provenienz forschung Untergeschoss Garde- robe A Berliner Secession 1 Angriff auf die Moderne B Die Brücke 2 Verfallskunst C Der Blaue Reiter 3 «Wider den undeutschen Geist» D Das Bauhaus 4 Die Ausstellung «Entartete Kunst» E Spätexpressionismus 5 Kunstretter oder Verwerter? und Verismus 6 Moderne Meister versteigert 7 Kunstraub in Frankreich 8 Rückführung geraubter Kunst 9 Die sogenannte Klassische Moderne Einführung Die Ausstellung zeigt eine erste, vorläufige Bestandsaufnahme des «Kunstfunds Gurlitt». Der konkrete Fall der aufgefundenen und noch weiter zu erforschenden Werke wird dabei zum Anlass genommen, die NS-Kunstpolitik und das System des NS-Kunstraubs beispielhaft zu behandeln. Das Kunstmuseum Bern und die Bundeskunsthalle in Bonn haben dabei eng zusammengearbeitet. Hier in Bern wird das Kapitel «Entartete Kunst» dargestellt und in einem grösseren Zusammenhang erläutert, der auch die Geschehnisse in der Schweiz mit in den Blick nimmt. Besonderes Augenmerk liegt auf den Schicksalen der von Feme und Verfolgung betroffenen Künstlerinnen und Künstler, sowie der Biographie von Hildebrand Gurlitt in all ihren Widersprüchen. In der «Werkstatt Provenienzforschung» können Sie an Beispielen selbst die Methoden und Herausforderungen der Provenienzforschung nach- vollziehen. Was ist der «Kunstfund Gurlitt»? Der «Kunstfund Gurlitt» umfasst Kunstwerke aus dem Besitz Cornelius Gurlitts (1932–2014), Sohn des deutschen Kunsthändlers Hildebrand Gurlitt (1895–1956). Der Grossteil der Werke wurde 2012 in der Münchner Wohnung von Cornelius Gurlitt infolge eines Steuerermittlungsver- fahrens beschlagnahmt. Durch einen Bericht des Nachrichtenmagazins «Focus» am 3. November 2013 erfuhr die Öffentlichkeit von der Existenz des Bestandes. -
VU Research Portal
VU Research Portal Willem van Konijnenburg Rijnders, M.L.J. 2007 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Rijnders, M. L. J. (2007). Willem van Konijnenburg: Leonardo van de Lage Landen. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 01. Oct. 2021 Summary Willem van Konijnenburg. The Leonardo of the Low Countries During the interbellum the Hague artist Willem van Konijnenburg (1868-1943) was one of the standard-bearers of Dutch modern art. After the Second World War, he disappeared from sight. Why? Closely related to this question are such issues as the nature of his art and his role as an artist, and the way they have been portrayed. What was Van Konijnenburg’s place in the Dutch art world, and was the position accorded him what he himself had hoped for? My research is intended to provide an answer to these questions. -
Die Jubiläumsstiftung Kunstverein Winterthur 1998–2016 29 100 Jahre Kunstmuseum Winterthur 33
Bericht des Präsidenten 3 Bericht des Direktors 6 Die Jubiläumsstiftung Kunstverein Winterthur 1998–2016 29 100 Jahre Kunstmuseum Winterthur 33 Sammlung – Gemälde, Skulpturen und Objekte Erwerbungen 36 Schenkungen 39 – Graphische Sammlung, Zeichnungen Erwerbungen 44 Schenkungen 50 – Graphische Sammlung, Druckgraphik und Multiples Erwerbungen 61 Schenkungen 62 – Leihverkehr 64 – Konservierungen und Restaurierungen 67 Ausstellungen, Publikationen, Veranstaltungen – Ausstellungen 69 – Publikationen 69 – Veranstaltungen 70 Kunstvermittlung – Führungen 71 – KunstGenuss 71 – Kunstvermittlung / Museumspädagogik 73 – Mitgliederreise 74 Rechnung und Bilanz – Kunstverein Winterthur 76 – Galerieverein, Freunde des Kunstmuseums Winterthur 80 – Jubiläumsstiftung Kunstverein Winterthur 82 Vorstand, Mitglieder, Sponsoren und Gönner, Personal 84 Oben: Museumfest vom 21.Mai: Umzug der Stadtmusik Winterthur | Unten: Das Gebäude geschmückt mit Jubiläumsbannern von Matt Mullican | Fotos Reto Kaufmann 2 Bericht des Präsidenten Das Jahr 2016 stand ganz im Zeichen des Jubiläums «100 Jahre Kunstmuseum Winter- thur», das wir im Juni mit einem ausgesprochen schönen Fest begehen konnten. Die Besucherzahlen blieben mit 19’680 auf der Höhe des langjährigen Durchschnittes. Zusam- men mit dem Museum Oskar Reinhart (42’420 Besucher) belegen wir in der Winterthurer Museumslandschaft damit Platz 3. Die Sammlung des Kunstmuseums konnte auch im Berichtsjahr mit wertvollen Ankäu- fen, Dauerleihgaben und Schenkungen ergänzt werden, die ebenso wie die Ausstellun- gen im Bericht des Direktors ausführlich dargestellt werden. Die Rechnung des Vereins schliesst mit einem Minus von rund 5’200 Franken ab. Die frei verfügbaren Mittel betru- gen per Ende Rechnungsjahr rund 137’600 Franken. Vom Total der Erträge (ohne Schenkun- gen und Zuwendungen) stammten 48 % aus dem Betrieb, 8% von Mitgliedern und Gönnern, 27% von der Stadt Winterthur und 17 % vom Kanton Zürich. -
Germany 2020 Human Rights Report
GERMANY 2020 HUMAN RIGHTS REPORT EXECUTIVE SUMMARY Germany is a constitutional democracy. Citizens choose their representatives periodically in free and fair multiparty elections. The lower chamber of the federal parliament (Bundestag) elects the chancellor as head of the federal government. The second legislative chamber, the Federal Council (Bundesrat), represents the 16 states at the federal level and is composed of members of the state governments. The country’s 16 states exercise considerable autonomy, including over law enforcement and education. Observers considered the national elections for the Bundestag in 2017 to have been free and fair, as were state elections in 2018, 2019, and 2020. Responsibility for internal and border security is shared by the police forces of the 16 states, the Federal Criminal Police Office, and the federal police. The states’ police forces report to their respective interior ministries; the federal police forces report to the Federal Ministry of the Interior. The Federal Office for the Protection of the Constitution and the state offices for the protection of the constitution are responsible for gathering intelligence on threats to domestic order and other security functions. The Federal Office for the Protection of the Constitution reports to the Federal Ministry of the Interior, and the state offices for the same function report to their respective ministries of the interior. Civilian authorities maintained effective control over security forces. Members of the security forces committed few abuses. Significant human rights issues included: crimes involving violence motivated by anti-Semitism and crimes involving violence targeting members of ethnic or religious minority groups motivated by Islamophobia or other forms of right-wing extremism. -
Online Bekijken
SIMONIS &BUUNK KUNSTHANDEL Wintersalon 2003 20e eeuw 1 Julius Müller-Massdorf Tearoom Tango Leendert ‘Leo’ Gestel Woerden 1881-1941 Hilversum Bloemstilleven met tijgerlelies, doek 33,3 x 25,3 cm, gesigneerd en te dateren 1912-1913. Herkomst: Douwe Komter, Amsterdam. Wordt opgenomen in de catalogue critique van het werk van de schilder, in voorbereiding door het Leo Gestel Comité. SIMONIS &BUUNK Klassiek-Modernen EEN KEUR AAN KUNST Neo-Impressionisten Bergense School Groninger Ploeg Nieuwe Realisten Wintersalon 2003 Abstracten 20e eeuw donderdag 20 november t/m zaterdag 6 december SIMONIS&BUUNK KUNSTHANDEL BV SIMONIS&BUUNK COLLECTIE BV SIMONIS&BUUNK COLLECTIE DE PLOEG CV RESTAURATIEATELIER J.M. SIMONIS – SINDS 1927 BEËDIGD TAXATEUR SCHILDERIJEN Een collectie schilderijen, aquarellen en tekeningen, voornamelijk uit de eerste helft van de 20e eeuw: klassiek-modernen, waar- onder neo-impressionisten, luministen, en vertegenwoordigers van expressionistische stromingen als Bergense School en Groninger Ploeg, nieuwe realisten en abstracten Voor prijzen: zie www.simonis-buunk.nl Openingstijden expositie: dinsdag t/m zaterdag van 11-17 uur zondag 23 november en zondag 30 november van 12-17 uur Gesloten op maandagen en tevens op 11 en 12, 18 en 19 november Notaris Fischerstraat 19, 6711 BB Ede telefoon: 0318 652888 fax: 0318 611130 Buiten exposities om geopend dinsdag t/m zaterdag van 11-17 uur en op afspraak www.simonis-buunk.nl [email protected] 3 Ter inleiding omgeving en het kantoor en de archiefruimte uit te breiden hebben we in korte tijd en met veel plezier kunnen verwezenlijken. Voor gelijkgestemde zielen is het gemakkelijk samenwerken, en eigenwijs als we zijn waren we bovendien onze eigen binnenhuis- architect. -
Wyndham Lewis and Nihilism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Groningen University of Groningen Theo van Doesburg and Wyndham Lewis Renders, Hans; van Faassen, Sjoerd Published in: The Journal of Wyndham Lewis Studies IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2018 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Renders, H., & van Faassen, S. (2018). Theo van Doesburg and Wyndham Lewis: An Aborted Attempt at Collaboration’. The Journal of Wyndham Lewis Studies, 8, 30-56. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 13-11-2019 The Journal of Wyndham Lewis Studies Wyndham Lewis Society Volume 8 (2017) ISSN 2052-5168 THE JOURNAL OF WYNDHAM LEWIS STUDIES PUBLISHED BY THE WYNDHAM LEWIS SOCIETY EDITORIAL ADDRESS The Journal of Wyndham Lewis Studies c/o Dr Nathan Waddell Department of English Literature, Arts Building University of Birmingham, Edgbaston Birmingham, B13 2TT EDITORS Zoe Gosling, Louise Kane, Michael Shallcross, Nathan Waddell REVIEWS EDITOR James Hirst EDITORIAL BOARD Rebecca Beasley, Peter Brooker, Peter Caracciolo, Edward Chaney, Paul Edwards, C. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Carel Willink (1900 - 1983)
Carel Willink (1900 - 1983) Untitled Ink, chalk, gouache and collage on paper 140 x 90 mm Signed and dated Willink ’22 upper right and on the reverse a text to Kees Schrikker ‘Leege Midden’ Berlijn 922 Amice. Voorlopig nog geen adresverandering. Ik heb hier nog te schilderen en dan kan er verandering komen. Waarschijnlijk volgen nog een paar kaarten. Hopelijk kunnen ze je tot een glimlachje verleiden. (Model!!!??) Beterschap je Carel W Provenance: Kees Schrikker, Amsterdam Private collection, Amsterdam Exhibitions Knokke, Gallery Ronny Van de Velde, From nature to abstraction, 2016 Knokke, Gallery Ronny Van de Velde, DADA in Knokke, 2016 Knokke, Gallery Ronny Van de Velde, 7 arts, 2017 Literature: Jan Ceuleers, from nature to abstraction, Knokke, Gallery Ronny Van de Velde, 2016, p. 126-127 ill. Xavier Canonne, DADA in Knokke, Knokke, Gallery Ronny Van de Velde, 2016, p.282-283 ill. Xavier Canonne, 7 arts, Knokke, Gallery Ronny Van de Velde, 2017, p. 230-231 ill. Peter J.H. Pauwels, Pauwels, Huib Hoste en zijn tijdgenoten. Belgische Avant-Garde 1914-1930, Knokke, Gallery Ronny Van de Velde/Delen Private Bank, 2018, pp.300-301 Artist description: WILLINK Carel (Amsterdam, 1900 – 1983) Painter, draftsman, collagist. After having undertaken studies in engineering and then medicine, he opts for an artistic career, studying in Berlin at the Ecole Internationale de peinture directed by the painter Hans Baluschek. At first influenced by the expressionism Grosz and Dix, he produces collages in the manner of Kurt Schwitters and takes up abstraction. On returning to the Netherlands in 1923, he joins the artist's group De Driehoek and, close to Michel Seuphor, in September of that year begins contributing to Het Overzicht with his texts, poems and linocuts.