DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents 196 1.1 Man Ray, Surrealist Chessboard, 1934. Collage, gelatin silver print, 46 x 30.2 cm. The Israel Museum, Jerusalem, Israel. 1.2 Man Ray, Picasso, 1933. Gelatin silver print. 35.2 x 27.9 cm. The Metropolitan Museum of Art, New York. 197 1.3 Pablo Picasso, Portrait of Man Ray, 1934. India ink on paper, 34.5 x 24.8 cm. The Kantor Collection, Beverley Hills, California. 1.4 Man Ray, Hands painted by Picasso, ca. 1935. Gelatin silver print. 20 x 30.5 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France. 198 1.5 Man Ray, Still life, 1933. Three-color carbon transfer print. 30.6 x 23 cm. The J. Paul Getty Museum, Los Angeles. 1.6 Brassaï, Picasso’s Palette, 1932–3. Minotaure, 1.1, (January 1933): 8. 199 1.7 Man Ray, Dust Breeding, ca. 1920. Gelatin Silver Print. 9.2 x 12 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 1.8 Brassaï, Uncropped Print of Picasso’s Palette, 1932. Gelatin silver print. 23.5 x 18 cm. Picasso Archives, Musée Picasso, Paris. 200 1.9 Man Ray, Uncropped Print of Dust Breeding, 1920, printed later. Gelatin silver print, 30.4 x 40.3 cm. Private collection, courtesy Galerie 1900–2000, Paris. 1.10 Pablo Picasso, Bull’s Head, 1942. Bronze casting from bicycle saddle and handlebars. 42 x 41 x 15 cm. Musée Picasso, Paris. 201 1.11 Pablo Picasso, Painter and Model, 1928. Oil on canvas, 129.8 x 163. Museum of Modern Art, New York. 1.12 Brassaï, Picasso’s Palette, 1939. Gelatin silver print, 32.6 x 27.3 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 202 1.13 Alvin Langdon Coburn, The Octopus, 1912. Platinum print. 41.8 x 31.8 cm. The Metropolitan Museum, New York. 1.14 Man Ray, Transatlantic, 1921. Collage, 29.3 x 23.7 cm. Private collection, New York. (detail) 203 1.15 Alfred Stieglitz, Fountain, 1917. Gelatin silver print. 11 x 17.9 cm. Philadelphia Museum of Art, Philadelphia. 1.16 Henri-Pierre Roché, Duchamp’s Studio at 33 West 67th Street, New York, 1917–18. Photograph, 6.5 x 7.8 cm, Succession Marcel Duchamp. 204 1.17 Henri-Pierre Roché, Duchamp’s Studio at 33 West 67th Street, New York, 1917. 6.5 x 7.8 cm, Succession Marcel Duchamp. 1.18 André Kertész, Chez Mondrian, 1928. Gelatin silver print. 11.4 x 7.9 cm. The Paul J. Getty Museum, Los Angeles. 205 1.19 Pablo Picasso, Still life with a Butterfly, 1932. Fabric, wood, plants, string, thumbtack, butterfly, and oil paint on canvas, 16 x 22 x 2.5 cm. Musée Picasso, Paris. 1.20 Salvador Dalí, The Persistence of Memory, 1931. Oil on canvas. 24.1 x 33 cm. The Museum of Modern Art, New York. 206 1.21 Jacques-André Boiffard, Flies on Fly Paper, 1930. Documents 8 (1930): 488. 207 2.1 Member of the Dakar Djibouti Expedition, West African Hut Pinnacles. Minotaure 1.2 (January 1933): 19. 2.2 Member of the Dakar Djibouti Expedition, West African Hut with Pinnacle, 1930–2. Minotaure 1.2 (January 1933): 18. 2.3 Member of the Dakar Djibouti Expedition, The Bani River, 1930–2. Minotaure 1.2 (January 1933): 18. 208 2.3 Member of the Dakar Djibouti Expedition, The Bani River, 1930–2. Minotaure 1.2 (January 1933): 18. 2.4a Member of the Dakar Djibouti Expedition, a Sacrifice of a Bull in Gondar, 1930–2. Minotaure 1.2, (January 1933): 32. 209 2.4b Member of the Dakar Djibouti Expedition, a Sacrifice of a Bull in Gondar, 1930–2. Minotaure 1.2 (January 1933): 32. 2.4c Member of the Dakar Djibouti Expedition, a Sacrifice of a Bull in Gondar, 1930–2. Minotaure 1.2 (January 1933): 33. 210 2.4d Member of the Dakar Djibouti Expedition, a Sacrifice of a Bull in Gondar, 1930–2. Minotaure 1.2 (January 1933): 33. 2.4e Member of the Dakar Djibouti Expedition, a Sacrifice of a Bull in Gondar, 1930–2. Minotaure 1.2 (January 1933): 34. 211 2.5 Brassaï and Salvador Dalí, Involuntary Sculptures, 1933. Minotaure 1.3–4 (December 1933): 68. 2.6 Brassaï, Picasso’s Object, 1932–3. Minotaure 1.1 (January 1933): 14. 212 2.7 Brassaï, View of Picasso’s rue de La Boétie Studio, 1932–3. Minotaure 1.1 (January 1933): 12. 2.8. Brassaï, View of Picasso’s rue de La Boétie Studio, 1932–3. Minotaure 1.1 (January 1933): 13. 213 2.9 Brassaï, Picasso’s Wood Sculptures, 1932–3. Minotaure 1.1 (January 1933): 23. 2.10 Brassaï, Picasso’s Palette, 1932–3. Minotaure, 1.1, (January 1933): 8. : 214 2.11 Brassaï, Picasso’s Boisgeloup Heads, 1932–3. Minotaure 1.1 (January 1933): 26. 2.12 Brassaï, Picasso’s Welded Iron Sculptures, 1932–3. Minotaure 1.1 (January 1933): 20–21. 215 2.13 Brassaï, Picasso’s Plaster Sculptures, 1932–3. Minotaure 1.1 (January 1933): 18–9. 2.14 Brassaï, Entrance to Picasso’s Boisgeloup Studio. Minotaure 1.1 (January 1933): 15. 216 2.15 Brassaï, Picasso’s Model for the Apollinaire Monument, 1932–3. Minotaure 1.1 (January 1933): 22. 2.16 Brassaï, View of Picasso’s rue de La Boétie Studio (Top: L’étagère, bottom: La Fenêtre), 1932–3. Minotaure 1.1 (January 1933): 27. 217 2.17 Brassaï, Boisgeloup after Dark, 1932–3. Minotaure 1.1 (January 1933): 17. 2.18 Member of the Dakar Djibouti Expedition, Mothers of Masks as found in a Cave in Mali, 1930–2. Minotaure 1.2 (January 1933): 10. 218 3.1 Brassaï, Picasso’s “The Crane,” 1942. Les Sculptures de Picasso. Paris, Chêne, 1948, plate 119. 3.2 Brassaï, Picasso’s “Death Head,” 1943. Les Sculptures de Picasso. Paris, Chêne, 1948, plate 162. 219 3.3 Brassaï, Picasso’s “Man with a Sheep,” 1944. Les Sculptures de Picasso. Paris, Chêne, 1948, plate 193. 3.4 Brassaï, Picasso’s Paper Sculpture, 1943. Les Sculptures de Picasso. Paris, Chêne, 1948, plate 135. 220 3.5 Brassaï, Picasso’s “Cigar” 1941. Les Sculptures de Picasso. Paris, Chêne, 1948, plate 87. 3.6 Brassaï, Picasso’s Engraved Pebbles, 1937–40. Les Sculptures de Picasso. Paris, Chêne, 1948, plates 100, 101, 102. 221 3.7 Brassaï, Picasso’s Crumpled Paper Sculpture, 1943. Les Sculptures de Picasso. Paris, Chêne,1948, plate 176. 3.8 Brassaï, Boisgeloup after Dark, 1932–3. Minotaure 1.1 (January 1933): 17. 222 3.9 Alfred Stieglitz, Picasso’s Fernande’s Head, 1911. Camera Work: Special Number Matisse-Picasso (August, 1912) : 13. 3.10 Émile Delétang, Picasso’s “Glass of Absinthe,” 1914. Gelatin silver print, Picasso Archives, Musée Picasso, Paris. 223 3.11 Brassaï, Picasso’s Sculptures 19, Contact Sheet number 19, 1946–9. Five contact prints, no. 51 to no. 51d: Glass of Absinthe, bronze and absinthe spoon, 1914; Two contact prints no. 52 to no. 52a: Metamorphosis II, bronze, 1928; Two contacts from no. 53 to no. 53a Metamorphosis I, bronze 1928; Three contact prints no. 30 to no. 30 b: Vertical Hand, bronze, 1943. Gelatin silver proofs pasted on cardboard and annotated by the photographer, 24 x 32 cm. Brassaï files, Photographic archives, Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 3.12 Brassaï, Picasso’s Sculptures 1, Contact Sheet number 1, 1946–9. six contacts no. 11 to no. 11e: Death’s Head: bronze, 1943. Gelatin silver proofs pasted on cardboard and annotated by the photographer, 24 x 32 cm. Brassaï files, Photographic archives, Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 224 3.13 Brassaï, Les Sculptures de Picasso. Paris, Chêne, 1948, cover. 3.14 Brassaï, Picasso’s “Hand,” 1943, Proof of a Gelatin silver contact, 27.8 x 19.3 cm. Contact sheet 24, (1946–9). Brassaï files, Photographic archives, Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 225 3.15 Pablo Picasso, Study of the Artist’s Hands, 1919. Jaime Sabartés, Picasso: Documents iconographique. Paris, Pierre Cailler, 1963, p. 124 3.15a Pablo Picasso, Study of the Artist’s Hands, 1919. Jaime Sabartés, Picasso: Documents iconographique. Paris, Pierre Cailler, 1963, p. 125. 226 3.16 Nick de Morgoli, Picasso’s Hands, 1938. Jaime Sabartés , Picasso: Documents iconographique. Paris, Pierre Cailler, 1963, p. 156. 3.16a Nick de Morgoli, Picasso’s Hands, 1938. Jaime Sabartés, Picasso: Documents iconographique. Paris, Pierre Cailler,1963, p. 157. 227 3.17 Marcel Duchamp and Enrico Donati, Le Surréalisme en 1947 (Prière du toucher), 1947. Modified Readymade: collage of foam-rubber breast and velvet mounted on board, 23.5 x 20.5 cm. Museum of modern Art, New York. 3.18 Brassaï, Pablo Picasso’s “Fist,” 1948. Les Sculpture de Picasso. Paris, Chêne,1948, plate 216. 228 3.19 Brassaï, Picasso and the Orator, 1939. Les Sculpture de Picasso. Paris, Chêne, 1948, p. ii. 229 4.1 Henri Matisse, Jeanette V, 1913. Bronze, 58.0 x 20.8 x 28.7 cm. Art Gallery of Ontario, Toronto. 4.2 Pablo Picasso, Head of a Woman, 1931. Bronze, 87 x 30 x 45 cm. Musée Picasso, Paris. 230 4.3 Pablo Picasso, Head, 1928. Painted brass and iron, 18 x 11 x 7.5 cm. Musée Picasso, Paris. 4.4 Constantin Brancusi, Kiss, 1909. Stone, height 89.5 cm. Montparnasse Cemetery, Paris. 231 4.5 Brassaï, Picasso’s Cigarette Box Construction at his Studio, 1932–3. Minotaure 1.1 (January 1933): 13. 4.6 Constantin Brancusi, Self Portrait with Endless Columns, 1920/3. Gelatin silver Print, 16.5 x 20. Musée National d'Art Moderne, Centre Georges Pompidou, Paris.
Load more

Recommended publications
  • Art on the Page
    Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it.
    [Show full text]
  • Surrealist Masculinities
    UC-Lyford.qxd 3/21/07 12:44 PM Page 15 CHAPTER ONE Anxiety and Perversion in Postwar Paris ans Bellmer’s photographs of distorted and deformed dolls from the early 1930s seem to be quintessential examples of surrealist misogyny (see Fig. 4). Their violently erotic Hreorganization of female body parts into awkward wholes typifies the way in which surrealist artists and writers manipulated and objectified femininity in their work. Bellmer’s manipulation and reconstruction of the female form also encourage comparison with the mutilation and reconstruction that prevailed across Europe during World War I. By viewing the dolls in this context, we might see their distorted forms as a displacement of male anxiety onto the bodies of women. Thus, Bellmer’s work—and the work of other male surrealists who de- picted fragmented female bodies—might reflect not only misogyny but also the disavowal of emasculation through symbolic transference. The fabrication of these dolls also expresses a link to consumer society. The dolls look as if they could be surrealist mannequins made by the prosthetic industry; their deformed yet interlocking parts reflect a chilling combination of mass-market eroticism and wartime bodily trauma. These connections between misogyny and emasculation anxiety, between eroticism and the horror of war trauma, and between consump- tion and desire are not specific to Bellmer’s idiosyncratic visual rhetoric, however. The practice of joining contradictory approaches and blurring boundaries between objects, identities, and media was more prevalent among the male surrealists than is usually acknowledged. If we open our eyes to consider these contrasts as part of a broader surrealist agenda, we can see how the surrealists aimed to destabilize their viewers’ assumptions about the boundaries 15 Copyrighted Material UC-Lyford.qxd 3/21/07 12:44 PM Page 16 FIGURE 4 Hans Bellmer, Poupée, 1935.
    [Show full text]
  • Albert Skira Et Ses Livres D'art
    Albert Skira et ses livres d’art (1948-1973) Corisande Evesque To cite this version: Corisande Evesque. Albert Skira et ses livres d’art (1948-1973). Histoire. 2015. dumas-01256888 HAL Id: dumas-01256888 https://dumas.ccsd.cnrs.fr/dumas-01256888 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 Couverture : Albert Skira au milieu de ses reproductions, le 6 février 1954 BGE, Centre d’iconographie genevoise Fonds du photographe Paul Boissonnas !2 UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 !3 REMERCIEMENTS Tout d’abord, tous mes remerciements vont à Julie Verlaine qui m’a orientée et suivie tout au long de mes recherches, ainsi qu’à Pascal Ory et à Jean-Yves Mollier qui ont répondu à mes questionnements.
    [Show full text]
  • Natee Utarit Demetrio Paparoni
    Natee Utarit Demetrio Paparoni NATEE UTARIT Optimism is Ridiculous Contents Cover and Back Cover First published in Italy in 2017 by Photo Credits Special thanks for their support 6 The Perils of Optimism. Passage to the Song of Truth Skira editore S.p.A. © 2017. DeAgostini Picture Library/ and collaboration to and Absolute Equality, 2014 Palazzo Casati Stampa Scala, Firenze: pp. 14 (top), 76, 102 The Art of Natee Utarit (details) via Torino 61 © 2017. Digital image, The Museum Demetrio Paparoni 20123 Milano of Modern Art, New York/Scala, Art Director Italy Firenze: pp. 14 (bottom), 18, Makati Avenue corner Marcello Francone www.skira.net 124 (bottom) De La Rosa Street, Greenbelt Park, Makati City, 147 © 2017. Foto Austrian Archives/ 1224 Philippines Optimism is Ridiculous Design © All rights reserved by Richard Koh Scala, Firenze: p. 90 Luigi Fiore Fine Art, Singapore © 2017. Foto Joerg P. Anders. © 2017 Skira editore for this edition Editorial Coordination Foto Scala, Firenze/bpk, Bildagentur 241 Writings by the Artist © 2017 Demetrio Paparoni for his Vincenza Russo fuer Kunst, Kultur und Geschichte, text Berlin: p. 134 Editing © 2017 Natee Utarit for his works © 2017. Foto Klaus Goeken. 249 Appendix Valeria Perenze and texts Foto Scala, Firenze/bpk, Bildagentur © Joseph Beuys, Juan Muñoz, Layout fuer Kunst, Kultur und Geschichte, by SIAE 2017 Antonio Carminati Berlin: p. 82 Jl. Medan Merdeka Timur No. 14 © Man Ray Trust, by SIAE 2017 Jakarta Pusat 10110 - Indonesia © 2017. Foto Scala, Firenze: pp. 8, Translation © Succession Marcel Duchamp 29 (top left), 34, 48, 116 Natalia Iacobelli by SIAE 2016 © 2017. Foto Scala, Firenze/bpk, © Succession Picasso, by SIAE 2017 Iconographical Research Bildagentur fuer Kunst, Kultur © The Andy Warhol Foundation for Paola Lamanna und Geschichte, Berlin: pp.
    [Show full text]
  • A Thesis Submitted to the College of the Arts of Kent State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts
    FROM ANCIENT GREECE TO SURREALISM: THE CHANGING FACES OF THE MINOTAUR A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brenton Pahl December, 2017 Thesis written by Brenton Pahl B.A., Cleveland State University, 2009 M.A., Kent State University, 2017 Approved by —————————————————— Marie Gasper-Hulvat, Ph.D., Advisor —————————————————— Marie Bukowski, M.F.A., Director, School of Art —————————————————— John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES ………………………………………………………………………………….……iv ACKNOWLEDGMENTS ………………………………………………………………………………..vii I. INTRODUCTION Mythology in Surrealism ………………………………………………………………………….1 The Minotaur Myth ………………………………………………………………………………..4 The Minotaur in Art History …………………………………………………..…………………..6 II. CHAPTER 1 Masson’s Entry into Surrealism ……………………..…………………………………..…….…10 The Splintering of Surrealism …………..…………………….…………………………….……13 La Corrida …………………………………………………………………………………….….15 III. CHAPTER 2 The Beginnings of Minotaure ……………………………………………………………………19 The Remaining Editions of Minotaure …………………………………………………………..23 IV. CHAPTER 3 Picasso’s Minotaur ……………………………………………………………..………….……..33 Minotauromachy …………………………………………………………………………………39 V. CHAPTER 4 Masson and the Minotaur …………………..…………………………………………………….42 Acephalé ………………………………………………………………………………………….43 The Return to the Minotaur ………………………………………………………………………46 Masson’s Second Surrealist Period …………………..………………………………………….48 VI. CONCLUSION
    [Show full text]
  • The International Surrealist Exhibition 1936 by David Stent in Late 2016
    © David Stent, 2018 Dalí / Duchamp in light of Edward James – The International Surrealist Exhibition 1936 By David Stent In late 2016, the discovery of a few sheets of paper in the Edward James Archive at West Dean College suggested a rare and important find. The previously uncatalogued pages combined sections of neatly transcribed text consistent, it would later transpire, with having been taken by dictation, with urgent brightly-coloured pencil scribbles in another hand. It soon became clear that the two texts constituted an English translation of the lecture given by Salvador Dalí at the International Surrealist Exhibition in London in July 1936, together with notes for his introduction to the audience by his friend and patron Edward James. Even incomplete, the importance of the document reflects the fact that few details of Dalí’s lecture have been known since the event, with inconsistent press reports giving only partial clues as to what its subject, ‘Authentic Paranoiac Phantoms’, might have involved. It also showed the degree to which James was involved in Dalí’s introduction to the public at the first major exhibition of Surrealism in Britain. Of course, James’ association with Dalí is well known, yet it was clear that the details and significance of his role at the International Surrealist Exhibition were still coming to light. James not only introduced Dalí but translated his infamous ‘diving suit’ lecture (indicative of his close relationship with the artist at the time) – the newly-discovered transcript allowing us to hear the artist’s words, albeit at one remove. It is likely that James purchased many of the works on display at the Burlington Galleries, helping to establish what would become one of the most significant collections of Surrealist art in the world.
    [Show full text]
  • An Historical List of Some Prominent Books and Artist's Books
    An Historical List of Some Prominent Books and Artist’s Books 1896 The Works of Geoffrey Chaucer, Now Newly Imprinted. Text by Chaucer, designed by William Morris with images by Edward Bourne-Jones, Kelmscott Press, Hammersmith, England. Letterpress and wood engravings; 567 pp. 1887 Un coup de dés jamais n'abolira le hasard. Poem by Stéphane Mallarmé, published in Paris. 1900 Parallèlement. Text by Paul Verlaine, images by Pierre Bonnard, published in Paris by Ambroise Vollard. Letterpress with 110 lithographs, 8 woodcuts; 152 pp. 1913 La Prose du Transsibérien et de la petite Jehanne de France. Text by Blaise Cendrars, images by Sonia Delaunay, published in Paris by Editions des Hommes Nouveaux [Blaise Cendrars]. Letterpress with pochoir imagery. 4 joined sheets folded once vertically and 21 times horizontally to fit wrapper. 1915 Rarefazioni e Parole in Liberta. Text by Corrado Govoni, published in Milan by Ediziono Futuriste di Poesia. Letterpress and relief engravings; 58 pp. 1919 La Fin du Monde. Text by Plaise Cendrars, design by Fernand Léger, published in Paris by Editions de la Sirene. Letterpress with line engravings and pochoir color. 30 pp. 1920 Die Kathedrale. Text and images by Kurt Schwitters, published in Hannover by Paul Steegemann. Transfer lithographs; 8 folios. 1930 Calligrammes. Text by Guillaume Apollinaire, images by Giorgio de Chirico, published in Paris by Librairie Gallimard. Letterpress and lithographs; 276 pp. 1931 Les Métamorphoses. Text by Ovid, images by Pablo Picasso, published in Lausanne by Albert Skira. Letterpress and etchings; 412 pp. 1932 Poésies. Text by Stéphane Mallarmé, images by Henri Matisse, published in Lausanne by Albert Skira & Co.
    [Show full text]
  • Opmaak Marcel Duchamp V3.Indd
    RONNY VAN DE VELDE 2015 Opgebouwd rond een cruciaal ontwerp voor het legendarische Based around a crucial design for the legendary Large Large Glass biedt deze collectie een breed overzicht van Glass, this collection offers a broad overview of Marcel Marcel Duchamps multipels en grafi ek. Wanneer hij in de Duchamp's multiples and graphic works. When in the jaren twintig afscheid neemt van het kunstenaarschap om 1920s he bids farewell to art in order to fully devote himself zich volledig te wijden aan schaken, heeft hij al gezorgd voor to the game of chess, he had already assured for the museal de museale toekomst van zijn belangrijkste werken door ze future of his most important works by seeing that they onder te brengen bij een paar trouwe verzamelaars die aan were acquired by a few loyal collectors with a philanthropic mecenaat doen. Zijn schaarse tussenkomsten achteraf op bent. His rare subsequent interventions in the domain of het artistieke terrein hebben een bijna clandestien karakter; art have an almost clandestine character; they also are in ze beantwoorden ook aan zijn reputatie van onverbeterlijke line with his reputation as an inveterate troublemaker dwarsligger en behoeder van de ware geest van dada. De and true keeper of the dada faith. The installation Etant installatie Etant donnés waar hij jaren in het grootste geheim donnés, which he had for years worked on in secret, would aan had gewerkt, zal bij onthulling na zijn dood nog het upon its unveiling after the artist's death equally serve to nodige schandaal verwekken. evoke the necessary degree of scandal.
    [Show full text]
  • Monsters & Myths: Surrealism and War in the 1930S and 1940S
    MONSTERS & MYTHS: SURREALISM AND WAR IN THE 1930S AND 1940S History and Culture Timeline August 1, 1914 – World War I begins November 7, 1917 – October Revolution leads to creation of socialist state in Russia November 11, 1918 – World War I ends October 28, 1922 – Fascists march on Rome, leading to Benito Mussolini’s rise to power in Italy 1922 – First French edition of Sigmund Freud’s Introduction to Psychoanalysis is published in Paris 1924 – André Breton founds Surrealism by publishing its first manifesto January 1927 – André Breton joins Communist Party November 1931 – First exhibition of Surrealist art in the United States, Newer Super-Realism, opens at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut January 30, 1933 – Adolf Hitler becomes Chancellor of the Reich, his first step to full dictatorship in Germany June 1933 – André Breton, Pierre Mabille, and Albert Skira launch Minotaure magazine in Paris February 1934 – Right-wing riots and demonstrations take place in Paris October 1934 – Left-wing strikes and uprisings take place in Spain July 17, 1936 – Spanish Civil War begins June 1936 – Georges Bataille launches Acéphale magazine in Paris. December 7, 1936 – Fantastic Art, Dada, Surrealism exhibition, organized by Alfred H. Barr Jr., opens at The Museum of Modern Art, New York April 26, 1937 – German and Italian warplanes bomb Guernica, Spain, in support of Francisco Franco’s Nationalist forces May 25, 1937 – Exposition Internationale opens in Paris with works by Pablo Picasso (Guernica), Joan Miró, and Alexander Calder on view in the Spanish Pavilion. July 19, 1937 – Degenerate Art exhibition opens in Munich March 12, 1938 – Nazi Germany annexes Austria.
    [Show full text]
  • Salvador Dalí
    Life and Death in the Visions of Salvador Dalí Illustrations for Les Chants de Maldoror and The Divine Comedy Organized by Carole Sorell Incorporated David S. Rubin, Curator Presented with generous support from the Park West Foundation 143 framed prints 400-600 linear feet / No rental or shipping fees / 100 catalogs included Available beginning September 2017 2 Life and Death in the Visions of Salvador Dalí Salvador Dalí, Plate 11, Les Chants de Maldoror, 1934, Salvador Dalí, Choleric People from The Divine Comedy, 1960, 15 7 3 intaglio print, sheet: 13 1/8 x 10 in. / plate: 8 ⁄16 x 6 ⁄8 in. wood engraving on wove paper after a watercolor, 9 ⁄4 x 7 in. 3 Exhibition Package • 143 framed prints, ready to hang • Didactic labels and wall text panels • 100 catalogs with checklist, illustrations of selected works, and essay by David S. Rubin • 100 posters • 50 copies of Dalí - Illustrator by Eduard Fornés (2016, hardcover, 407 pages) • Press kits • Docent training • Hosted VIP reception • National marketing and PR assistance from Carole Sorell, Inc. For further information and to book the exhibition please contact Carole Sorell 845-687-9667 / 212-945-7878 [email protected] [email protected] www.carolesorellinc.com PO Box 286, Stone Ridge, NY 124844 4 Throughout his prolific career, Salvador Dalí illustrated more than 100 books. Among the most celebrated of his book illustrations are his portfolios for the Comte de Lautréamont’s Les Chants de Maldoror and Dante Alighieri’s The Divine Comedy. The exhibition Life and Death in the Visions of Salvador Dalí presents these two portfolios together.
    [Show full text]
  • Picasso, a Model Shaping Dalí's “Spectral Surrealism”: Towards New Mythologies by Astrid Ruffa Over the Years, Dalí Deve
    Picasso, a Model Shaping Dalí’s “Spectral Surrealism”: Towards New Mythologies By Astrid Ruffa Over the years, Dalí developed an ambiguous and evolving relationship with Picasso: the admi- ration he had for the master in the 1920s results in a more and more clear-cut affirmation of his own superiority starting from the 1940s. In 1922, Picasso is one of his favorite artists[1] and, in 1928, he is considered “the first poet of all”[2]. Instead, in 1942[3], Dalí, though signaling a con- tinuity, establishes a hierarchy between his works and Picasso’s: the mimetic effectiveness of Dalí’s 1942 paranoiac images is seen as superior to Picasso’s 1914 cubist harlequins. In Diary of a Genius (1964), his overtaking of Picasso, considered a spiritual father, is even more pro- nounced. Dalí identifies with the son of William Tell – however, not as a defenseless son facing an omnipotent father ready to sacrifice him, but one that “turned the apple” placed dangerously on his head “into solid gold”, thus becoming the “savior of modern art”[4]. In this trajectory, the 1930s represent an interesting period as Dalí demonstrates the willingness to collaborate with Picasso as an equal. This is confirmed by the claims about the Cadavre exquis, Picasso/Dalí (1933-1934): the Catalan declares it is a composition carried out by both hands in the workshop of Roger Lacourière while the two artists prepare book illustrations for the publisher Skira. The work is, actually, a Dalinian taken on an etching of Picasso from 1933. The latter provides a print of Three bathers II, that Dalí reworks by integrating variations, inver- sions, and additions[5].
    [Show full text]
  • As Ill Ustrat Or S
    /: MoMAExh_0047_MasterChecklist ------------- ( ) I MODERN PAINTERS AND SCULPTORS AS ILL U S T RAT OR S BY MONROE WHEELER THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY SIMON AND SCHUSTER, NEW YORK CHECK-LIST 1 The following list comprises the catalog of the exhibition held at the Museum of Modern Art from April 7 to September 2, 1936, upon which this book is based. A star (*) before an item indicates that it is illustrated. A dagger (f) indicates works published since the exhibition which have been added in this I revis~d edition. Further biographical notes ,on many of the artists may be found in other catalogs published by the Museum of Modern Art, New York. NATAN ISAYEVICH ALTMAN I Painter. Born Vinnitza, Russia, ,88g. Lived in Moscow in '930. Aseev: Krasnosheika (Red-neck). Giz. Leningrad. J929. Drawings. V. ANNENKOV Painter. Russian contemporary. *Block: Dvenad tzat (The Twelve). Alkonost. Petersburg. 1918. Drawings. Ill. p. 88. Chukovskii: t-.101Do Dyr (\IVashTilt It Hurts). Giz. Leningrad. 1930. Drawings. PEGGY BACON MoMAExh_0047_MasterChecklist Graphic artist, illustrator, writer. Born Ridgefield, Ccnn., 1895. Lives in New York. Untermeyer and Mannes: New Songs for New Voices. Harcourt, Brace. New York. 1928. Drawings. Bacon: Cat Calls. McBride. New York. 1935. Drawings. ERNST BARLACH Sculptor. Born Wedel near Hamburg, Germany, 1870. Died Giistrow, north Prussia, 1939· Barlach: Der Arme Vetter. P. Cassircr. Berlin. 1919. Lithographs. "Goethe: Walpurgisnacht. P. Cassirer. Berlin. 1923. Woodcuts. Ill. p. 79. Goethe: Gedichte. P. Cassirer. Berlin. 1924. Lithographs. Schiller: An die Freude. P. Cassirer. Berlin. Ig27. Woodcuts. ANDRE BEA UDIN Painter. Born Meneey (Seinc-et-Mame), France, I895' Studied, Ecole des Arts Decoto- tifs, until 19'5.
    [Show full text]