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Artists' Journeys IMAGE NINE: Paul Gauguin. French, 1848–1903. Noa
LESSON THREE: Artists’ Journeys 19 L E S S O N S IMAGE NINE: Paul Gauguin. French, 1848–1903. IMAGE TEN: Henri Matisse. French, Noa Noa (Fragrance) from Noa Noa. 1893–94. 1869–1954. Study for “Luxe, calme et volupté.” 7 One from a series of ten woodcuts. Woodcut on 1905. Oil on canvas, 12 ⁄8 x 16" (32.7 x endgrain boxwood, printed in color with stencils. 40.6 cm). The Museum of Modern Art, 1 Composition: 14 x 8 ⁄16" (35.5 x 20.5 cm); sheet: New York. Mrs. John Hay Whitney Bequest. 1 5 15 ⁄2 x 9 ⁄8" (39.3 x 24.4 cm). Publisher: the artist, © 2005 Succession H. Matisse, Paris/Artists Paris. Printer: Louis Ray, Paris. Edition: 25–30. Rights Society (ARS), New York The Museum of Modern Art, New York. Lillie P. Bliss Collection IMAGE ELEVEN: Henri Matisse. French, 1869–1954. IMAGE TWELVE: Vasily Kandinsky. French, born Landscape at Collioure. 1905. Oil on canvas, Russia, 1866–1944. Picture with an Archer. 1909. 1 3 7 3 15 ⁄4 x 18 ⁄8" (38.8 x 46.6 cm). The Museum of Oil on canvas, 68 ⁄8 x 57 ⁄8" (175 x 144.6 cm). Modern Art, New York. Gift and Bequest of Louise The Museum of Modern Art, New York. Gift and Reinhardt Smith. © 2005 Succession H. Matisse, Bequest of Louise Reinhardt Smith. © 2005 Artists Paris/Artists Rights Society (ARS), New York Rights Society (ARS), New York/ADAGP,Paris INTRODUCTION Late nineteenth- and early twentieth-century artists often took advantage of innovations in transportation by traveling to exotic or rural locations. -
The Painting of Modern Life: Paris in the Art of Maner and His Followers / T
THE PAINTING of Copyright © 1984 by T. f. Clark All rights reserved under International and Pan-American Copyright Conventions. Published by Princeton University.Press, 41 William Street, Princeton, New Jersey 08540. Reprinted by arrangement with Alfred A. Knopf, Inc. MODERN LIFE Grateful acknowledgment is made to the following for permission to reprint previously pub- lished material: Excerpt from "Marie Lloyd" in Selected Essays by T. S. Eliot, copyright 1950 by Harcourt Brace [ovanovich, Inc.; renewed ]978 by Esme Valerie Eliot. Reprinted by permission PARISIN THE ART OF MANET AND HIS FOLLOWERS of the publisher. LIBRARY OF CONGRESS CATALOGING IN PUnUCATION DATA Revised Edition Clark, T. J. (Timothy J.) The painting of modern life: Paris in the art of Maner and his followers / T. 1- Clark. - Rev. ed. P: em. Includes bibliographica! references and index. T.1.CLARK ISBN 0-69!-00903-1 (pbk. : alk. paper) 1. Impressionism (Art)-France-Paris. 2. Painting, French- France-Paris. 3. Painting, Modern-19th century+=France-c-Paris. 4. Paris (Francej-c-In art. 5. Maner, Edouard, l832-1883--Inftuencc, I. Title. ND550.C55 1999 758'.9944361-dc21 99-29643 FIRST PRINTING OF THE REVISED EDITION, 1999 MANUFACTURED IN THE UNITED STATES OF AMERICA FIRST PRINCETON PAPERBACK PRINTING, 1986 THIRD PRINCETON PAPERBACK PRINTING, 1989 9 8 7 CHAPTER TWO OLYMPIA'S CHOICE "We shall define as prostitute only that woman who, publicly and without love, gives herself to the first comer for a pecuniary remuneration; to which formula we shall add: and has no other means of existence besides the temporary relations she entertains with a more or less large number of individuals." From which itfollows--and it seems to me the truth--that prostitute implies first venality and second absence of choice. -
Henri Matisse's the Italian Woman, by Pierre
Guggenheim Museum Archives Reel-to-Reel collection Hilla Rebay Lecture: Henri Matisse’s The Italian Woman, by Pierre Schneider, 1982 PART 1 THOMAS M. MESSER Good evening, ladies and gentlemen, and welcome to the third lecture within the Hilla Rebay Series. As you know, it is dedicated to a particular work of art, and so I must remind you that last spring, the Museum of Modern Art here in New York, and the Guggenheim, engaged in something that I think may be called, without exaggeration, a historic exchange of masterpieces. We agreed to complete MoMA’s Kandinsky seasons, because the Campbell panels that I ultimately perceived as seasons, had, [00:01:00] until that time, been divided between the Museum of Modern Art and ourselves. We gave them, in other words, fall and winter, to complete the foursome. In exchange, we received, from the Museum of Modern Art, two very important paintings: a major Picasso Still Life of the early 1930s, and the first Matisse ever to enter our collection, entitled The Italian Woman. The public occasion has passed. We have, for the purpose, reinstalled the entire Thannhauser wing, and I'm sure that you have had occasion to see how the Matisse and the new Picasso have been included [00:02:00] in our collection. It seemed appropriate to accompany this public gesture with a scholarly event, and we have therefore, decided this year, to devote the Hilla Rebay Lecture to The Italian Woman. Naturally, we had to find an appropriate speaker for the event and it did not take us too long to come upon Pierre Schneider, who resides in Paris and who has agreed to make his very considerable Matisse expertise available for this occasion. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
The Steerage
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Steerage 1907, printed 1911 photogravure image: 19.3 × 15.1 cm (7 5/8 × 5 15/16 in.) Alfred Stieglitz Collection 1949.3.1278.37 Key Set Number 310 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Steerage 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz Alfred Stieglitz The Steerage The Steerage The Steerage 1907, printed in or before 1913 1907, printed 1915 1907, printed 1911 photogravure photogravure photogravure Key Set Number 312 Key Set Number 313 Key Set Number 311 same negative same negative same negative Alfred Stieglitz The Steerage 1907, printed 1929/1932 gelatin silver print Key Set Number 314 same negative Remarks On 14 May 1907 Stieglitz and his family sailed to Europe aboard the fashionable Kaiser Wilhelm II. This photograph was most likely taken several days later while The Steerage 2 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set the ship was moored in Plymouth, England (see Beaumont Newhall, “Alfred Stieglitz: Homeward Bound,” Art News 87:3 [March 1988], 141–142). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1913, New York (no. 21, as The Steerage, 1907) 1916, New York (no. -
Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Duchamp's Readymades
INTRODUCTION: DUCHAMP’S READYMADES — A REEVALUATION In a poll conducted for Gordon’s Gin, the 2004 sponsor of the Turner Prize, a large majority of the 500 leading artists, dealers, critics and curators surveyed named Marcel Duchamp’s Fountain (Fig. 1.8) the work of art that has had the highest impact on contemporary art today. The urinal that in April 1917 was turned around, signed R. Mutt, handed in to but then refused (or at least displaced) from the exhibition of the Society of Independent Artists in New York still seems to mock and destabilize the whole horizon of expectance that works of art generate: skill, originality, taste, aesthetic value, difference from utilitarian technology, distance from bodily functions, even stable objecthood. Although many observers worry that the art institution has long since domesticated and commercialized the avant-gardist riot that Fountain took part in initiating, this object—albeit lost almost immediately after it was conceived—retains its status as an ever- flowing source for the disruptive and subversive energy in which contemporary art forms, at least desire to, participate. Whereas its closest competitor in the same poll, Picasso’s Les Demoiselles d’Avignon from 1907, makes its revolution still in the domain of form—as if, in Braque’s words, Picasso had drunk petroleum in order to spit fire at the canvas—Fountain and its small family of other readymades make their riot by completely abandoning the battlefield of forms, what Duchamp termed the retinal. On the one hand, by appropriating pieces of technology that were not produced by Duchamp himself but by machines—a urinal, a bottle dryer, a dog comb, a snow shovel, an art reproduction, and so on—the readymades bring attention to what we could call the thingness of art: that despite all the transformations to which the artist can subject artistic materials, there is still a leftover of something pre-given, a naked materiality imported from the real, non-imaginary world. -
E N G L I S H
Matura Examination 2017 E N G L I S H Advance Information The written Matura examination in English consists of four main sections (total 90 credits in sections I-III): Section I: Listening (credits: 14) Multiple choice and questions Section II: Reading Comprehension (credits: 20) 1. Short answer questions Section III: Use of English (credits: 56) 1. Synonyms 2. Antonyms 3. Word Formation 4. Sentence Transformation 5. Open Cloze Section IV: Writing, approx. 400 words (the mark achieved in this part will make up 50% of the overall mark) Time management: the total time is 240 minutes. We recommend you spend 120 minutes on sections I-III, and 120 minutes on section IV. Write legibly and unambiguously. Spelling is important in all parts of the examination. Use of dictionary: You will be allowed to use a monolingual dictionary after handing in sections I-III. The examination is based on Morgan Meis’s article “Frank Lloyd Wright Tried to Solve the City”, published in the “Critics” section of the May 22, 2014 issue of The New Yorker magazine. Frank Lloyd Wright Tried to Solve the City by MORGAN MEIS In: The New Yorker, May 22, 2014 Frank Lloyd Wright1 hated cities. He thought that they were cramped and crowded, stupidly designed, or, more often, built without any sense of design at all. He once wrote, “To look at the 5 plan of a great City is 5 to look at something like the cross-section of a fibrous tumor.” Wright was always looking for a way to cure the cancer of the city. -
Piet Mondrian, Early Neo-Plastic Compositions, and Six Principles of Neo-Plasticism
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 11, No. 3, October-December, 2019. 1-18 Full Text: http://rupkatha.com/V11/n3/v11n312.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v11n3.12 Piet Mondrian, early Neo-Plastic compositions, and six principles of Neo-Plasticism Ali Fallahzadeh1 & Ghulam-Sarwar Yousof2 1Visual Art Department, Cultural Center, 50603 Kuala Lumpur, University of Malaya, Malaysia. ORCID: 0000-0002-0414-8702. Email: [email protected] 2(Corresponding author) Visual Art Department, Cultural Center, 50603 Kuala Lumpur, University of Malaya, Malaysia. ORCID: 0000-0003-3567-6812 Email: [email protected] Abstract In spite of the prominent role of Piet Mondrian (1872-1944) as a pure abstract painter and writer of his theories who developed the abstract art into what he called Neo-Plasticism, little has been written about him compared to other painters such as Picasso and Matisse. Examining the past and recent literature published about Mondrian, some scholars examined the aesthetic evolution of Mondrian’s vision toward his Neo-Plastic art and theory within a historical context by depending on the influences he received from circle of thinkers, artists, and friends during his life. While other scholars analyzed the components of Neo- Plastic theory through formal tenets of De Stijl or a metaphysical lens through premises of western philosophies such as Theosophy, Hegel, and Platonism. Nevertheless, despite the emphasis of the majority of scholars on close relation between Mondrian’s paintings and writings, researchers showed little tendency to examine the development of core formal theories of Neo-Plasticism through a parallel analysis of his Neo-Plastic paintings and his theoretical writings. -
Artistic Evolution at the Confluence of Cultures
Dochaku: Artistic Evolution at the Confluence of Cultures Toshiko Oiyama A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy School of Art, College of Fine Arts University of New South Wales 2011 Acknowledgements Had I known the extent of work required for a PhD research, I would have had a second, and probably a third, thought before starting. My appreciation goes to everyone who made it possible for me to complete the project, which amounts to almost all with whom I came in contact while undertaking the project. Specifically, I would like to thank my supervisors Dr David McNeill, Nicole Ellis, Dr Paula Dawson, Mike Esson and Dr Diane Losche, for their inspiration, challenge, and encouragement. Andrew Christofides was kind to provide me with astute critiques of my practical work, while Dr Vaughan Rees and my fellow PhD students were ever ready with moral support. Special thanks goes to Dr Janet Chan for giving me the first glimpse of the world of academic research, and for her insightful comments on my draft. Ms Hitomi Uchikura and Ms Kazuko Hj were the kind and knowledgeable guides to the contemporary art world in Japan, where I was a stranger. Margaret Blackmore and Mitsuhiro Obora came to my rescue with their friendship and technical expertise in producing this thesis. My sister Setsuko Sprague and my mother Nobuko Oiyama had faith in my ability to complete the task, which kept me afloat. Lastly, a huge thanks goes to my husband Derry Habir. I hold him partly responsible for the very existence of this project – he knew before I ever did that I wanted to do a PhD, and knew when and how to give me a supporting hand in navigating its long process.