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Acquisitions
Acquisitions as of June 30, 2009 African and David Soltker and Irving Dobkin Feldstein Endowment Fund for endowments (2008.206). Decorative Arts (2008.558). Amerindian Art North American Furniture African Mexico Artist unknown, Tea Table, Bwa, Dossi, Burkina Faso, Teotihuacan, Figurine, c. 1750/90, mahogany: Roger and Butterfly Mask, early/mid-20th a.d. 400, greenstone: gift of J. Peter McCormick endow- cen., wood and pigment: Charles Ethel F. and Julian R. Goldsmith ments; restricted gift of Jamee J. H. and Mary F. S. Worcester (2008.675). Tlatilco, Female and Marshall Field, and Carol Collection Fund (2008.190). Edo, Figurines, c. 500 b.c., ceramic W. Wardlaw (2009.58); Stand, Benin City, Nigeria, Container and pigment: gift of Ethel F. and 1790/1810, birch: gift of Jamee J. in the Form of a Leopard Head, Julian R. Goldsmith (2008.676–78). and Marshall Field (2008.679). early 21st cen., brass: gift of Omo Vladimir Kagan, Occasional N’Oba N’Edo Uku Akpolokpolo, United States Table, c. 1952, walnut and brass: Oba of Benin (2008.674). The Orbit Fund (2009.232). Navajo, northern Arizona or Mahdiyya State, Sudan, Tunic Walter von Nessen, manufactured New Mexico, Concho Belt, (Jibbeh), 1885/99, cotton: African by Nessen Studio, Inc., Occa- 1880/95, silver and leather: and Amerindian Curator’s Discre- sional Table, c. 1931, aluminum, Auxiliary Board of the Art tionary, Holly and David Ross, Bakelite, and iron: Quinn E. Institute of Chicago (2009.572); Arnold H. Crane, African and Delaney Fund (2009.156). Bow Guards (Ketoh), 1900/20, Amerindian Art Purchase, and silver, leather, turquoise, and O. -
Francis Bacon: the Logic of Sensation
Francis Bacon: the logic of sensation GILLES DELEUZE Translated from the French by Daniel W. Smith continuum LONDON • NEW YORK This work is published with the support of the French Ministry of Culture Centre National du Livre. Liberte • Egalite • Fraternite REPUBLIQUE FRANCAISE This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Francais du Royaume-Uni. Continuum The Tower Building 370 Lexington Avenue 11 York Road New York, NY London, SE1 7NX 10017-6503 www.continuumbooks.com First published in France, 1981, by Editions de la Difference © Editions du Seuil, 2002, Francis Bacon: Logique de la Sensation This English translation © Continuum 2003 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Gataloguing-in-Publication Data A catalogue record for this book is available from The British Library ISBN 0-8264-6647-8 Typeset by BookEns Ltd., Royston, Herts. Printed by MPG Books Ltd., Bodmin, Cornwall Contents Translator's Preface, by Daniel W. Smith vii Preface to the French Edition, by Alain Badiou and Barbara Cassin viii Author's Foreword ix Author's Preface to the English Edition x 1. The Round Area, the Ring 1 The round area and its analogues Distinction between the Figure and the figurative The fact The question of "matters of fact" The three elements of painting: structure, Figure, and contour - Role of the fields 2. -
Ofer Lellouche, Nine, 2013 the Division to Triads Also Echoes the Other Groups in the Nine
2013 V !" 6219868 03.6915060 03.6914582 [email protected] www.zcagallery.com 2013 © I 34 11 ,14 ,15 ,4 D 4 A 1514AD ,I 19241514 1514 I 154 ,9 ,2 4 ,5 ,63 ,5 ,7 3 2013 1 + 390901652013 , Nine, 2013, bronze, 165x90x90, edition: 3 + 1 A.P. Head I 156x30x30 I Head II 150x30x30 II Head III 163x30x30 III Head IV 160x30x30 IV Head V 157x30x30 V Head VI 152x30x30 VI Head VII 150x30x30 VII Head VIII 159x30x30 VIII Head IX 149x30x30 IX 1 + 390901652013 , Nine, 2013, bronze, 165x90x90, edition: 3 + 1 A.P. own writing, mentioned time and again Ovid’s Narcissus, his story and its variations, as a central prism for reading his self portraits. In di!erent essays we have read about the unique gaze of the artist who looks at himself, a gaze whose singularity he formulated when he wrote about looking at one of Rembrandt’s self portraits: “either I am Rembrandt and the painting is a mirror, or Rembrandt is looking at himself and I am the mirror”; we have read about bridging the distance between the painter and the model, while providing a more accurate answer to the demands of the observing eye from the painting hand; we have read on about the aspiration for a union of signifier and signified as a metaphor for Narcissus who could not distinguish himself from his reflection. Yet Narcissus is not the only one punished by the burden of reflection at all. In the third book of Metamorphoses Ovid recounts the story of the nymph Echo, whose role was to engage in conversation and distract Hera, queen of Olympus and Zeus’ wife, while the king of the gods seduced the nymphs. -
Francis Bacon: Five Decades Free
FREE FRANCIS BACON: FIVE DECADES PDF Anthony Bond,Martin Harrison | 240 pages | 15 Jun 2015 | Thames & Hudson Ltd | 9780500291955 | English | London, United Kingdom Francis Bacon: Five Decades by Anthony Bond It was November 12,when one of the Francis Bacon paintings was sold at auction in New York setting the world record as the most expensive piece of art sold at auction you probably know which piece we are talking about, but we are not going to reveal it in the introduction. Bacon became a star although he died in ; however, this a bit unexpected sale that broke all the records put Francis Bacon at the list of the most popular contemporary artists of our era. This sale raised a lot of controversies though. How could you possibly ever see the painting without seeing the money in front? Marina might be right, but that is the question about the prices at the art market. Here, we Francis Bacon: Five Decades to focus first on some famous Francis Bacon paintings regardless of the price they were sold forand on his quite unique style and approach. In the beginnings of the s, Bacon met George Dyer Francis Bacon: Five Decades whom he had fallen in love. Infatuated, Bacon chose Dyer as a recurrent subject of his works in the s some of the most notable ones. The death of his lover led to a different approach by Bacon, which would eventually lead to a more reductive artistic approach, which culminated during the s. But, in this article, we are not focusing on Francis Bacon's unique art, and his life, Francis Bacon: Five Decades on his paintings. -
Bacon – Giacometti April 29 – September 2, 2018
Media release Bacon – Giacometti April 29 – September 2, 2018 From April 29, 2018, the Fondation Beyeler is staging an exhibition devoted to Alberto Giacometti and Francis Bacon: two outstanding protagonists of modern art who were at once friends and rivals, and whose creative vision exerted a powerful influence that still persists today. This is the first-ever joint museum exhibition involving Giacometti and Bacon, illuminating the relationship between the two artistic personalities. Different as their art may at first appear, the dual presentation of their work reveals many striking similarities. The exhibition brings together well-known key works by both artists with other works that are rarely shown—including, in particular, a series of original plaster figures from Giacometti’s estate that have never been publicly displayed before, and four triptychs by Bacon. A multimedia room offers spectacular insights into the artists’ studios. The exhibition has been organized by the Fondation Beyeler in cooperation with the Fondation Giacometti, Paris. The British painter Bacon and the Swiss sculptor Giacometti were introduced to one another in the early 1960s by a mutual friend, the painter Isabel Rawsthorne. By 1965, their friendship had grown close enough for Bacon to visit Giacometti at the Tate Gallery in London, where he was setting up a retrospective. This meeting is documented in a series of pictures taken by the English photographer Graham Keen, showing the two artists engaged in animated conversation. Over fifty years later, they meet again at the Fondation Beyeler, where their dual portrait, in the photograph by Graham Keen, stands at the start of the present exhibition. -
Gardner's Art Through the Ages
Understanding Art by Lois Fichner-Rathus Transition Guide, 9th Edition to 10th Edition Fichner-Rathus 9th Edition Fichner-Rathus 10th Edition Chapter Number & Title Chapter Number & Title Chapter 1 - What is Art? Chapter 1 - What is Art? Chapter 2 - Visual Elements of Art Chapter 2 - Visual Elements of Art Chapter 3 - Principles of Design Chapter 3 - Principles of Design Chapter 4 - Style, Form and Content Chapter 4 - Style, Form and Content Chapter 5 - Drawing Chapter 5 - Drawing Chapter 6 - Painting Chapter 6 - Painting Chapter 7 - Printmaking Chapter 7 - Printmaking Chapter 8 – Imaging: Photography, Film, Video, and Chapter 8 - Imaging: Photography, Film, Video, and Digital Arts Digital Arts Chapter 9 – Sculpture Chapter 9 - Sculpture Chapter 10 – Site-Specific Art Chapter 10 – Site-Specific Art Chapter 11 – Architecture Chapter 11 - Architecture Chapter 12 – Craft and Design Chapter 12 - Craft and Design Chapter 13 – The Art of the Ancients Chapter 13 - The Art of the Ancients Chapter 14 – Classical Art: Greece and Rome Chapter 14 - Classical Art: Greece and Rome Chapter 15 – Christian Art: From Catacombs to Chapter 15 - The Age of Faith Cathedrals Chapter 16 – The Renaissance Chapter 16 - The Renaissance Chapter 17 – The Age of Baroque Chapter 17 – The Age of Baroque Chapter 18 – Art Beyond the West Chapter 18 - Non-Western Perspectives Chapter 19 – Modern Art Chapter 19 - Modern Art Chapter 20 – The Twentieth Century: The Early Years Chapter 20 - The Twentieth Century: The Early Years Chapter 21 - The Twentieth Century: Post-war to Chapter 21 - The Twentieth Century: Postwar to Postmodern Postmodern Chapter 22 - Art in the Twenty-first Century: A Chapter 22 - Art in the Twenty-first Century: A Global Perspective Global Perspective Image Comparison – by Chapter Understanding Art , 9th Edition Understanding Art , 10th Edition Chapter 1- What is Art? Chapter 1- What is Art? CO Dale Chihuly. -
Francis Bacon
Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/francisbaconOOsolo I FRMfIS THE SOLOMOI R. GlGGEnEIM MISEUM, MW VORR IN COLLABORATION WITH THE ART INSTITUTE OF CHICAGO Published by The Solomon R. Guggenheim Foundation, New York, 1963 All Rights Reserved Library of Congress Card Catalog Number: 63-21154 Printed in The Netherlands The Solomon R. Guggenheim Museum is honored to present the first American Museum retrospective exhibition by the distinguished British painter Francis Bacon. The Museum, thereby implements its stated policy to exhibit modern art of exceptional quality and significance regardless of national origins or stylistic categories. That we should be joined in this endeavor by one of the great museums in this country. The Art Institute of Chicago, is a source of particular gratification and sets a fruitful precedent for similar collaborative ventures in the future. Harry F. Guggenheim. President, The Solomon R. Guggenheim Foundation THE SOLOMON R. GUGGENHEIM FOtrNDATlON TRUSTEES HARRY F. GUGGENHKIM, PRE^SIDENT ALBERT E. THIELE, VICE PRESIDENT H. H. ARNASON, VICE PRESIDENT, ART ADMINISTRATION ELEANOR, COVNTESS CASTLE STE^VART A. CHAL'NCEY NE^VHN MRS. HENRV OBRE DANIEL CATTON RICH MICHAEL F. M'ETTACH MEDLEY G. B. WHELPLEY CARL ZIGROSSER THE ART INSTITUTE OF CHICAGO OFFICERS •WILLIAM McCORMICK BLAIR President PERCY B. ECKHART Senior Vice President LEIGH B. BLOCK Vice President FRANK B. HUBACHEK Vice President GEORGE B. YOUNG Vice President EDWARD BYRON SMITH Treasurer ALLAN McNAB Director of Administration JOHN MAXON Director of Fine Arts LOUISE LUTZ Assistant Secretary TRUSTEES JAMES W. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Context and Application - Perceiving Musical Stimuli and Developing an Identity Permalink https://escholarship.org/uc/item/5pm9s8m6 Author Hamel, Edward Publication Date 2014 Supplemental Material https://escholarship.org/uc/item/5pm9s8m6#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Context and Application – Perceiving Musical Stimuli and Developing an Identity A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Edward Hamel Committee in charge: Professor Lei Liang, Chair Professor Eun-Young Jung Professor Chinary Ung 2014 The Thesis of Edward Hamel is approved and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page………………….………………………………………………… iii Table of Contents……………….………………………………………………... iv List of Figures…….….…….………………………………………………………. v Abstract of the Thesis……….………………….…………………………...……. vii Dimensional Expansion of Recursive Material….……………...……….…………1 Raised by Visual Artists……………………………….……………….…….…….14 Identity is Inherent in Creation……..……………….……………………………34 As a Portrait of Absence….……………….………….……..……………....……..51 Remain……………………………………….……………………………………54 Sedentary Knead………………….………………………………………………58 Recordings on file at Mandeville Special Collections Library iv LIST OF FIGURES Figure 1.1: Mm. 1 – 4 Triadic Memories…………………………………………….…2 Figure 1.2: Mm. 11 – 14 Triadic Memories…………………………………….………3 Figure 1.3: Patterns of Rest mm. 1 - 90……………………………………….…...…3 Figure 1.4: Chart of periodicity from Tempus ex Machina…………………….……….6 Figure 1.5: Mm. 43 – 44 Triadic Memories…………………………………….………8 Figure 1.6: Mm. 35 – 36 Triadic Memories……………………………………….……9 Figure 1.7: Timbral Phrases of mm. -
Annual Report 1991
National Gallery of Art 1991 ANNUAL REPORT IB 1991 ANNUAL REPORT 1991 ANNUAL REPORT National Gallery of Art Copyright © 1992. Board of Trustees, National Gallery of Art All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Photographs on p. 33, © August Sander Archive; p. 46, © Robert Frank; and p. Ill, © Estate of Walker Evans This publication was produced by the Editors Office, National Gallery of Art Edited by Tarn L. Curry Designed by Susan Lehmann, Washington, D.C. Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by BG Composition, Baltimore, Maryland Photo credits: Dean A. Beasom, this page and pp. 19, 20, 23, 25, 26, 29, 31, 33, 42, 46, 69, 71, 73, 78, 92,97, 111, 128 Dennis Brack, Black Star, p. 100 Kathleen Buckalew, pp. 2-3, 50, 75 Richard A. Carafelli, pp. 7, 36, 40, 57, 83, 88, 95 Jacques-Louis David, Thirius de Pautrizel, c. 1795 Philip A. Charles, pp. 8, 17, 37, 41, 48, 55, Gift of Walter H. and Leonore Annenberg, in Honor of the 86, 109 Fiftieth Anniversary of the National Gallery of Art, Jose Naranjo, p. 11 1990.47.2 James Pipkin, cover William D. Wilson, p. 106 ISBN 0-89468-174-5 Pages 2-3: Installation of "animobiles" by Alexander Calder, 1970-1976 Gift of Mrs. Paul Mellon, 1991.7.6-15 Contents President's Preface 6 Administration Director's Report 9 Protection Services 87 Publication Sales 88 Art Programs Gallery Architect 90 Acquisitions 15 Facilities Management 91 Renaissance Paintings -
Viral Ethics: Media, Ecology, Debt
VIRAL ETHICS: MEDIA, ECOLOGY, DEBT by STEPHEN MCNULTY A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of American Studies Graduate Program in written under the direction of Dr. Frances Bartkowski and approved by ________________________ ________________________ ________________________ ________________________ Newark, New Jersey May, 2017 Copyright page: ©2017 Stephen McNulty ALL RIGHTS RESERVED ii ABSTRACT OF THE DISSERTATION Viral Ethics: Media, Ecology, Debt By STEPHEN MCNULTY Dissertation Director: Dr. Frances Bartkowski This dissertation charts the manifold ways in which contemporary ethics has divided humans from other forms of life. It offers an alternative to anthropocentricity through an ethics of virality. Utilizing the image, architecture, and dissemination of the virus as a model, it explores a vibrant ontological borderlands human-oriented ethics has abandoned. Where humanist ethics seeks purity, individuality, and normativity, viral ethics opts for infection, entanglement, and weakness. Though the discipline of animal studies has critiqued dominant discourses of taxonomy, consciousness, and ability, those studies often fail to move beyond our closest animal brethren. This work, instead, foregrounds the virus as a being which both straddles the scientific divide between life and non-life and revels in radical difference, espousing a form of ethics that embraces dissimilarity over resemblance. Thus, when life becomes a stand-in for human and vice versa, anything that falls outside the parameters of human has no ethical recourse to justice. To explode the dynamic of humanist ethics is to reorient being and politics towards a more expansive notion of life. -
Official Gazette European Coal & Steel Community
OFFICIAL GAZETTE OF THE EUROPEAN COAL & STEEL COMMUNITY FIFTH YEAR No. 8 MARCH 27, 1956 Third year No. 17/18 was the first issue of the Official Gazette to be published in an English edition. Earlier issues (first year No. 1, second year Nos. 1-14 and third year Nos. 1-16) have been printed in Dutch, French, German and Italian only and are obtainable from H.M. Stationery Office at the addresses on the back cover. LONDON HER MAJESTY'S STATIONERY OFFICE ONE SHILLING NET LIST OF PUBLICATIONS ISSUED BY THE EUROPEAN COAL AND STEEL COMMUNITY High Authority-English Editions Price each £ s. d. Treaty establishing the European Coal and Steel Com munity 5 6 Report on the Situation of the Community, January, 1953 3 6 Speeches delivered by M. JEAN MONNET: August, 1952 in Luxembourg and September, 1952 in Strasbourg 1 6 Addresses delivered by M. JEAN MoNNET before the Common Assembly: January, 1953 at Strasbourg ... 6 Interventions by the President and the Members of the High Authority before the Common Assembly: January, 1953 at Strasbourg 3 6 The activities of the European Community: General Report of the High Authority(August 10,1952 to Apri/12, 1953) 3 6 The establishment of the common market for steel: Special Report of the High Authority 2 6 Exchange of letters between President Eisenhower and the Chairmen of the Foreign Affairs Committees of the United States Congress relating to the European Coal and Steel Community and the Unification of Europe 6 Report on the problems raised by the different turnover tax systems applied within the common market .. -
Francis Bacon: the Logic of Sensation
Francis Bacon: the logic of sensation GILLES DELEUZE Translated from the French by Daniel W. Smith continuum LONDON • NEW YORK This work is published with the support of the French Ministry of Culture Centre National du Livre. Liberte • Egalite • Fraternite REPUBLIQUE FRANCAISE This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Francais du Royaume-Uni. Continuum The Tower Building 370 Lexington Avenue 11 York Road New York, NY London, SE1 7NX 10017-6503 www.continuumbooks.com First published in France, 1981, by Editions de la Difference © Editions du Seuil, 2002, Francis Bacon: Logique de la Sensation This English translation © Continuum 2003 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Gataloguing-in-Publication Data A catalogue record for this book is available from The British Library ISBN 0-8264-6647-8 Typeset by BookEns Ltd., Royston, Herts. Printed by MPG Books Ltd., Bodmin, Cornwall Contents Translator's Preface, by Daniel W. Smith vii Preface to the French Edition, by Alain Badiou and Barbara Cassin viii Author's Foreword ix Author's Preface to the English Edition x 1. The Round Area, the Ring 1 The round area and its analogues Distinction between the Figure and the figurative The fact The question of "matters of fact" The three elements of painting: structure, Figure, and contour - Role of the fields 2.