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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main office tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@finearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar. -
Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes. -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
How Language Looks: on Asger Jorn and Noël Arnaud's La Langue Verte*
How Language Looks: On Asger Jorn and No ël Arnaud’s La Langue verte* STEVEN HARRIS In November 1968, the Paris publisher Jean-Jacques Pauvert brought out Asger Jorn and Noël Arnaud’s La Langue verte et la cuite , an event accompanied by a banquet for 2,000 at a Danish restaurant in Paris, and a considerable response from the press, though the book has largely dropped from view since. 1 Initially titled La Langue crue et la cuite , the book was written in French by artist Asger Jorn, founding member of Cobra and of the Situationist International, and revised by Arnaud, member of the Surrealist “Main à plume” group in occupied Paris, founding member of the Revolutionary Surrealist group in postwar Paris (with which Jorn was also involved), and later regent in the Collège de ’Pataphysique. 2 Jorn, in addition to writing the text, also chose the illustrations, while Arnaud added sections of his own and reordered the material in collaboration with Jorn. It is thus the collective labor of two individuals who had first met in Paris in 1946, and who were both involved in the Revolutionary Surrealist group, a splinter group of Communist persuasion that had seceded from the main body of the Surrealist group shortly before the opening of its exhibition Le Surréalisme en 1947 , at the Galerie Maeght. If Cobra was very much ori - ented against Arnaud when it was first formed in 1948, the paths of the two men crossed numerous times in subsequent years. Jorn turned to Arnaud as a trusted friend who was in in sympathy with his aims, who corrected Jorn’s rather casual French, and who in general was willing to lend a hand to the enterprise. -
HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
ART 502 Abstract Expressionism Through Postmodern Art Spring 2019, MW 11:00-12:15 Professor: Dr
ART 502 Abstract Expressionism through Postmodern Art Spring 2019, MW 11:00-12:15 Professor: Dr. David A. Lewis Office Hours: MTWRF, 10:00-10:50; MW 1:30-2:20pm, T/R 2:00-4:00pm, by appointment Office phone: 936.468.4328 E-mail: [email protected] (Dr. Lewis does not use social media like Facebook or Twitter) Text: H.H. Arnason & Elizabeth C. Mansfield, History of Modern Art, seventh edition. Pearson, 2013. NOTE: Selected required or recommended readings may be provided as handouts or with a web reference. Recommended resources: For those who want or need reference to background source for this course in Modern Art (c 1865-1945), see the earlier chapters of the textbook, Arneson/Mansfield, History of Modern Art, 7th edition. Also very useful is Niko Stangos, editor, Concepts of Modern Art, from Fauvism to Postmodernism. Highly recommended for a fuller understanding American art of the 20th century: Patricia Hills, Modern Art in the USA, Issues and Controversies of the 20th Century. For graduate students, Harrison and Wood’s Art in Theory, 1900-2000 is unmatched as a comprehensive, single volume source for primary documents. Course content: ART 502 (Abstract Expressionism through Postmodern Art) surveys the history of twentieth-century visual arts after WWII and the emergence of postmodernism in a global context. It examines art in relation to historical, cultural and sociopolitical developments within the context of various critical theories. The course will focus on developments in the US and Europe, but students are encouraged to consider for themselves developments in other parts of the world. -
IN the FOOTSTEPS of Margareta a City Tour of Burgundian and Contemporary Features in Mechelen WELCOME to the CITY of CONTENTS
EN IN THE FOOTSTEPS OF Margareta A city tour of Burgundian and contemporary features in Mechelen WELCOME TO THE CITY OF CONTENTS 4 History Mechelen 14 A tour of the city’s Burgundian highlights 02 03 Welcome to the city of Mechelen. Historical monuments, 48 Further abreast: parks, charming places near the water? Everything is through the Beguinage within walking distance. This guide offers you the best of Mechelen in a nutshell. This includes background 62 Further abreast: information on ancient monuments, useful tips and along the water and into nature surprising facts. The focus is on one of Mechelen’s most important periods: the Burgundian 74 City map ages. The times of Margaret of Austria and Margaret of York. Two fascinating women who left their mark on this city at the banks of the Dyle. During this tour you will tread in the footsteps of these powerful women. Imagine ... 500 years ago - Mechelen is the capital city of the Low Countries. It was where the court and the HIGHLIGHT OPENING HOURS Great Council were located. Many you just have Burgundian nobles came to live in to see this! this city. Mechelen was an important For the opening hours of churches, museums, place. This thriving time left many attractions and parks please check visit.mechelen.be/en traces in the city. You can still see the TRIVIA many city palaces, historic churches, this makes your wooden facades and richly decorated tour educational. INFORMATION WITH guild houses. CHILDREN IN MIND If that isn’t enough? Your route will TIP take you along the banks of the Dyle for the real fans! Many monuments in Mechelen have a and the Beguinage, to the brewery brown sign. -
Asger Jorn : 8 Litografier = (8 Lithographs) [Starr Figura]
Asger Jorn : 8 litografier = (8 lithographs) [Starr Figura] Author Jorn, Asger, 1914-1973 Date 1998 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/224 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art AsgerJorn 8 Litografier (8 Lithographs) (1945, published1949) Three from a portfolio of eight lithographs Eachsheet 19Yz x 14" (49.5 x 35.6 cm) Publisher:ARS-Verlag, Stockholm Printer: Jens Christian Sorensen,Copenhagen Edition: 160 The Museumof ModernArt, NewYork Gift of the artist, 1947 Plate 2 The Danishartist AsgerJorn (1914-1973)is best known art and mythologyfor inspiration.Jorn was the origina as one of the foundingmembers of the Europeanmove tor of the COBRAstyle, in which turbulent swarms of ment known as COBRA,a contemporary but indepen figurative and abstract forms suggesting ghosts and dent counterpart of Abstract Expressionism in the mythical figures are closely woventogether. United States.The term COBRAis an acronymderived 8 Litografier was created just before the advent of from its members'three cities: Copenhagen,Sffussels, COBRA,during a period in which Jorn was developing and Amsterdam.Among the other personalities in the his personal iconographyand experimenting with vari COBRA group, which officially ous ideas and techniques that he lasted from 1948 to 1951, were had encounteredas a youngartist Christian Dotremont and Pierre in the 1930s. He had spent several Alechinsky (Belgium), and Karel monthsin Paris in 1936-37, study Appel and Corneille (Cornelis van ing under Fernand Leger and Beverloo)(The Netherlands).Like working for Le Corbusier at the the Abstract Expressionists, the 1937 International Exhibition. -
AC Post-Impressionism 4C.Qxp
Post-ImpressionismPost-Impressionism Nathalia Brodskaïa Author: Nathalia Brodskaïa Layout: BASELINE CO LTD 33 Ter – 33 Bis Mac Dinh Chi St., Star Building; 6th floor District 1, Ho Chi Minh City Vietnam © Confidential Concepts, Worldwide, USA © Parkstone Press International, New York, USA © Pierre Bonnard, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Maurice Denis, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Ker Xavier Roussel, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Jan Verkade © Édouard Vuillard, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-802-4 Nathalia Brodskaïa POST-IMPRESSIONISM CONTENTS Introduction 7 Major Artists 23 Paul Cézanne 25 Neo-Impressionism 61 Vincent van Gogh 79 Paul Gauguin 117 Henri de Toulouse-Lautrec 159 The Nabis 179 Notes 194 Index 195 6 INTRODUCTION he term ‘Post-Impressionism’ has only one meaning: ‘after Impressionism’. Post- Impressionism is not an art movement, nor an art style; it is a brief period at the T end of the nineteenth century. Impressionism being a phenomenon unique to French painting, the idea of Post-Impressionism is also closely linked to French art. Generally, the beginning of the Post-Impressionist era dates from 1886, from the moment of the eighth and final joint Impressionist Art exhibition. -
Working Papers in Art Education, 1989-1990. INSTITUTION Iowa Univ., Iowa City
LAJL.Unt.NL KLJUMe. ED 405 242 SO 025 974 AUTHOR Zurmuehlen, Marilyn, Ed. TITLE Working Papers in Art Education, 1989-1990. INSTITUTION Iowa Univ., Iowa City. School of Art & Art History. PUB DATE 90 NOTE 151p.; For other annual volumes, see ED 379 199, ED 390 797, ED 391 764-769, and SO 025 973-975 and SO 026 850. AVAILABLE FROM Working Papers in Art Education, 13 North Hall, The University of Iowa, Iowa City, IA 52242. PUB TYPE Collected Works Serials (022) Reports Research /Technical (143) Viewpoints (Opinion/Position Papers, Essays, etc.) (120) JOURNAL CIT Working Papers in Art Education; n8-9 1989-1990 EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Aesthetic Values; Art; Art Criticism; *Art Education; Attitudes; *Childrens Art; Creativity; Curriculum Design; Deafness; *Discipline Based Art Education; Educational History; Elementary Secondary Education; Feminism; Measures (Individuals); Popular Culture; Preschool Children; Studio Art; Teaching Methods; Visual Arts; Visual Perception IDENTIFIERS Maya (People); Missouri; Ohio; Weaving ABSTRACT This publication presents manuscripts and research reports by graduate students. Accompanying papers from their mentors establish a context for the student papers. In this double volume the works are organized by sponsoring university. Student papers presented are:(1) "Looking, Talking, and Experiencing Art with Preschoolers" (Shari Stoddard); (2) "Feminist Art Criticism: Issues in Feminist Criticism Written about the Work of May Stevens" (Elizabeth L4rber); (3) "In What Ways Can Objects of Utility Be Considered as, Appropriate Study for Art Education? An Inquiry Grounded in British and American Contexts, 1832-1988" (Paul Sproll); (4) "Artist, Teacher, Scholar, Organizational Leader, Administrator, Collector: Art Educators' Beliefs about Roles and Status" (Thomas Ritenbaugh);(5) "The Influence of Structural Dimensions on Similarity /Dissimilarity Judgement when Categorizing Paintings: A Developmental Study Proposal" (John Hughley);.(6) "Popular Culture, Art Making and the Case of G.I.