Josef Albers Born 1888 in Bottrop, Germany
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Galerie Karsten Greve Ag
GALERIE KARSTEN GREVE AG Louise Bourgeois, New Orleans, oil on cardboard, 1946, 66 x 55.2 cm / 26 x 21 1/4 in LOUISE BOURGEOIS December 19, 2020 – extended until March 30, 2021 Opening: Tuesday, December 29, 2020, 11 am – 7 pm Galerie Karsten Greve AG is delighted to present its third solo exhibition of works by Louise Bourgeois (1911-2010) in its St. Moritz gallery space. Twenty-three distinctive pieces created during a period of six decades (1946-2007) are on show. The exhibition pays homage to one of the most significant artists of our time, reflecting thirty years of close collaboration between Galerie Karsten Greve and Louise Bourgeois. Following the artist’s first retrospective in Europe, shown at Frankfurter Kunstverein in 1989, Karsten Greve organized his first solo show of works by Louise Bourgeois in his recently opened Paris exhibition space in 1990. On the occasion of the opening of his gallery in St. Moritz in 1999, Karsten Greve dedicated a comprehensive show to the artist, followed by presentations in Paris and Cologne. Born in Paris in 1911, Louise Bourgeois grew up in a bourgeois family in Choisy-le-Roi near Paris, where her parents ran a workshop for restoring tapestries; at an early age, she made the drawings for missing sections in tapestry designs. After dropping out of mathematics at the Sorbonne, she completed her art studies, between 1932 and 1938, at the École des Beaux-Arts and selected studios and academies in Paris, taking lessons with Fernand Léger, among others. In 1938, she was married to Robert Goldwater, the American art historian, and went with him to New York. -
Galerie Karsten Greve
GALERIE KARSTEN GREVE Georgia Russell in her studio, Méru, 2021 photo: Nicolas Brasseur, Courtesy Galerie Karsten Greve, Cologne Paris St. Moritz GEORGIA RUSSELL Ajouré September, 3 – October 30, 2021 Opening on Friday, September 3, 2021, 11 am – 10 pm a DC OPEN GALLERIES 2021 event The artist will be present. Galerie Karsten Greve is delighted to show a solo exhibition featuring new work by Scottish artist Georgia Russell, who has been represented by the gallery since 2010. The show, which will be Georgia Russell's sixth solo exhibition with Galerie Karsten Greve, is a DC OPEN GALLERIES 2021 event. New works on canvas will be presented, created at her Méru studio between 2020 and 2021 during a worldwide state of crisis that was characterised by confinement and social distancing measures. By contrast, Georgia Russell has created her most recent works by breaking through matter. Her pieces epitomise the idea of the permeability of matter and breaking through the surface – ajouré – to bring this materiality to life by deliberately incorporating daylight and air into space. Born in Elgin, Scotland, in 1974, Georgia Russell, studied fine art at the Robert Gordons University of Aberdeen (until 1997) and the Royal College of Art, graduating with an MA in printmaking in 2000. Thanks to a scholarship from the Royal College of Art, the artist set up a studio in Paris. Her work has regularly been presented internationally in solo and group exhibitions. Works by Georgia Russell are also held in notable private and public collections, such as the Victoria & Albert Museum, London, the Centre Georges Pompidou, Paris, the E.On Art Collection, Düsseldorf, and the Museum Pfalzgalerie Kaiserslautern. -
Urban Landscapes Human Codes
via dufour 1 - 6900 lugano (CH) +41 (0)91 921 17 17 [email protected] PRESS RELEASE [dip] contemporary art is delighted to present I pag. 1 URBAN LANDSCAPES HUMAN CODES Opening: wednesday 22.01.2020 h. 18.00 - 20.30 Visits: 23.01 - 22.02.2020 A group show with Geraldo de Barros (Brazil), Paolo Canevari (Italy), Olga Kisseleva (France/Russia), Wang Tong (China), Avinash Veeraraghavan (India) A selection of works by three generations of artists, spanning four different continents. Different historical, political and artistic periods. Different social and urban contexts. Through their works, these artists depicts expressions of a visual vocabulary that refers to continuous interconnections between art and society: gathering strong inputs, eager to find a synergy between past and future, oscillating between different contexts. In this different explorations, the landscape, especially the urban one, becomes a metaphor for the incessant metamorphosis of society. PRESS RELEASE Geraldo De Barros (Sao Paulo, 1923 – 1998), was a Brazilian painter, I pag. 2 photographer and designer, who also worked in engraving, graphic arts, and industrial design. He was a leader of the concrete art movement in Brazil, cofounding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. Geraldo de Barros began his investigations into photography in the mid-1940s in São Paulo. He built a small photo studio and bought a 1939 Rolleiflex and, in According to The Guardian, 1949, he joined the Foto Cine Club Bandeirante, which was one of the few forums De Barros was "one of the most influential Brazilian artists of the for the city’s photography enthusiasts. -
The Creative Output of Alexej Von Jawlensky (Torzhok, Russia, 1864
The creative output of Alexej von Jawlensky (Torzhok, Russia, 1864 - Wiesbaden, Germany, 1941) is dened by a simultaneously visual and spiritual quest which took the form of a recurring, almost ritual insistence on a limited number of pictorial motifs. In his memoirs the artist recalled two events which would be crucial for this subsequent evolution. The rst was the impression made on him as a child when he saw an icon of the Virgin’s face reveled to the faithful in an Orthodox church that he attended with his family. The second was his rst visit to an exhibition of paintings in Moscow in 1880: “It was the rst time in my life that I saw paintings and I was touched by grace, like the Apostle Paul at the moment of his conversion. My life was totally transformed by this. Since that day art has been my only passion, my sancta sanctorum, and I have devoted myself to it body and soul.” Following initial studies in art in Saint Petersburg, Jawlensky lived and worked in Germany for most of his life with some periods in Switzerland. His arrival in Munich in 1896 brought him closer contacts with the new, avant-garde trends while his exceptional abilities in the free use of colour allowed him to achieve a unique synthesis of Fauvism and Expressionism in a short space of time. In 1909 Jawlensky, his friend Kandinsky and others co-founded the New Association of Artists in Munich, a group that would decisively inuence the history of modern art. Jawlensky also participated in the activities of Der Blaue Reiter [the Blue Rider], one of the fundamental collectives for the formulation of the Expressionist language and abstraction. -
OF SCULPTURE Behind Her Quaintly Old-Fashioned Clothes Lies an Avant-Garde Mind. As a Young Girl, She Would Pose
THE “QUEEN” OF SCULPTURE Behind her quaintly old-fashioned clothes lies an avant-garde mind. As a young girl, she would pose at her easel like a painter from another era. But Regina’s heart beats to the rhythm of modernity. Born in the province of Pavia to parents of humble origins, Regina Cassolo Bracchi, alias Regina (Mede Lomellina, Pavia, 21 May 1894 – Milan, 14 September 1974) attended a religious college in Pavia after the premature death of her father. She pursued her dream of enrolling at the Brera Academy in Milan before going on to study in Turin, in the atelier of the sculptor Giovanni Battista Alloati. Her first figurative works, in marble or plaster, bear the signs of her academic training. Sculptures in tin and alu- minium foil appeared at the beginning of the 1930s, at the same time as she approached Futurism. It was the painter Fillia who introduced her to the group. In June 1933 Regina took part in the exhibition Omaggio futurista a Umberto Boccioni (‘Futurist Homage to Umberto Boccioni’), presenting works in sheet metal, which were also exhibited at the Piccola mostra dei futuristi milanesi (‘Little Exhibition of Milanese Futurists’), held at the Bolaffio bookshop. The follow- ing March, she was among the signatories of the Manifesto tecnico dell’aeroplastica futurista (‘Technical Manifesto of Futurist Aeroplastics’), read by Bruno Munari at the opening of the exhibition Omaggio dei futuristi venticinquenni ai venticinque anni del Futurismo (‘Homage of the Twenty-Five-Year-Old Futurists to the Twenty-Five Years of Futurism’). Between May and October 1934, she took part in the Venice Biennale, alongside the Futurists once again. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. -
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. -
Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. -
Josef Albers: Process and Printmaking (1916-1976)
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 JOSEF ALBERS PROCESS AND PRINT MAKING 2014 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es FUNDACIÓN JUAN MARCH www.march.es 9 11117884111111 70111 11117562071111111111 111 Josef Albers Process and Printmaking (1916 1976) Fundación Juan March Fundación Juan March 6 Fundación Juan March 6 Fundación Juan March 6 Fundación Juan March Josef Albers Process and Printmaking (1916–1976) Fundación Juan March Fundación Juan March This catalogue and its Spanish edition have been published on the occasion of the exhibition Josef Albers Process and Printmaking (1916–1976) Museu Fundación Juan March, Palma April 2–June 28, 2014 Museo de Arte Abstracto Español, Cuenca July 8–October 5, 2014 And it is a companion publication to the exhibition catalogue Josef Albers: -
Plantaplanta Medica an Internationalmedica Journal of Natural Products and Medicinal Plant Research
PlantaPlanta Medica An InternationalMedica Journal of Natural Products and Medicinal Plant Research Editor-in-Chief Advisory Board Luc Pieters, Antwerp, Belgium Giovanni Appendino, Novara, Italy John T. Arnason, Ottawa, Canada Senior Editor Yoshinori Asakawa, Tokushima, Japan Lars Bohlin, Uppsala, Sweden Adolf Nahrstedt, Mnster, Germany Gerhard Bringmann, Wrzburg, Germany Reto Brun, Basel, Switzerland Review Editor Mark S. Butler, Singapore, R. of Singapore Matthias Hamburger, Basel, Switzerland Ihsan Calis, Ankara, Turkey Salvador Caigueral, Barcelona, Spain Editors Hartmut Derendorf, Gainesville, USA Wolfgang Barz, Mnster, Germany Verena Dirsch, Vienna, Austria Rudolf Bauer, Graz, Austria Jrgen Drewe, Basel, Switzerland Roberto Maffei Facino, Milan, Italy Veronika Butterweck, Gainesville FL, USA Alfonso Garcia-Pieres, Frederick MD, USA Jo¼o Batista Calixto, Florianopolis, Brazil Rolf Gebhardt, Leipzig, Germany Thomas Efferth, Heidelberg, Germany Clarissa Gerhuser, Heidelberg, Germany Jerzy W. Jaroszewski, Copenhagen, Denmark Jrg Gertsch, Zrich, Switzerland Ikhlas Khan, Oxford MS, USA Simon Gibbons, London, UK De-An Guo, Beijing, China Wolfgang Kreis, Erlangen, Germany Leslie Gunatilaka, Tuscon, USA Irmgard Merfort, Freiburg, Germany Solomon Habtemariam, London, UK Kurt Schmidt, Graz, Austria Andreas Hensel, Mnster, Germany Thomas Simmet, Ulm, Germany Werner Herz, Tallahassee, USA Kurt Hostettmann, Geneva, Switzerland Hermann Stuppner, Innsbruck, Austria Peter J. Houghton, London, UK Yang-Chang Wu, Kaohsiung, Taiwan Jinwoong Kim, Seoul,