DOCSLIB.ORG

Willem De Kooning: Schwarz Und Weiß Im Abstrakten Expressionismus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Willem De Kooning: Schwarz Und Weiß Im Abstrakten Expressionismus Willem de Kooning: Schwarz und Weiß im Abstrakten Expressionismus. „Black and White Paintings” (ca. 1945–50) und „Rome Series” (1959/60) Band I (Text) Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie des Fachbereiches 04 der Justus-Liebig-Universität Gießen vorgelegt von Sylvia Metz Berlin, 2017 2 „Rien n’est difficile à faire en peinture comme le noir et le blanc.” Auguste Renoir 3 4 Inhaltsverzeichnis Danksagung ...................................................................................................................... 7 Einleitung ....................................................................................................................... 10 Zum Forschungsstand und zur Systematisierung der Fachtermini ................................. 25 Grundlegende terminologische Fragen ....................................................................... 36 I Black and White Paintings (ca. 1945–50) .............................................................. 41 1 Von Kierkegaard zu Monroe: Selbstfindung, kunsthistorische Überväter und das Frauenbild in den amerikanischen Medien der 1940er Jahre ..................................... 42 Kunsthistorische Vorbilder ..................................................................................... 43 Pink Angels (ca. 1945) ............................................................................................ 45 Special Delivery (1946) .......................................................................................... 52 Exkurs: Pablo Picasso, Guernica (1937) .................................................................... 54 Medial vermittelte Stereotype ................................................................................ 63 Carole Lombard (1947) .......................................................................................... 64 The Moraine (1947) ................................................................................................ 67 2 1948: Die erste Einzelausstellung de Koonings und sein Aufenthalt am Black Mountain College ....................................................................................................... 69 Die Rekonstruktion der Ausstellung in der Charles Egan Gallery ......................... 71 Bilder malen, schneiden, schreiben ........................................................................ 76 Orestes (1947) und Light in August (ca. 1946) ...................................................... 76 Painting (1948) ....................................................................................................... 84 Exkurs: Henri Matisse, Jazz (1943-47) ...................................................................... 87 Zurich, 1947 ........................................................................................................... 92 De Kooning und das Black Mountain College ....................................................... 94 3 Radikalisierungen: Black Paintings, White Paintings ....................................... 101 Mehrschichtige Bedeutungsebenen: White Paintings .......................................... 101 Asheville (1948/49) ............................................................................................... 102 Zerstörung als künstlerisches Konzept ................................................................. 105 Überlegungen zur Datierung der Black Paintings ................................................ 113 Exkurs: Mark Tobey, White Writings ....................................................................... 116 Excavation (1950)................................................................................................. 121 4 Schnittstellen und Experimente: Black and White Abstractions (1948–51) und schwarz-weiße Women (1948–50)............................................................................ 133 5 Zur Abgrenzung von Zeichnung und Malerei im Werk de Koonings .................. 134 Die Black and White Abstractions (1948–51) ...................................................... 135 Exkurs: Jackson Pollock, Black Paintings (1950/51) ............................................... 139 Die zweite Women-Serie (1948–50) ..................................................................... 143 5 Resümee ............................................................................................................ 147 II Rome Series (1959/60) ......................................................................................... 150 1 Zur Rekonstruktion von de Koonings Aufenthalt in Rom ................................ 151 2 Der Werkkomplex der Rome Series .................................................................. 154 „Black and White Rome plus x“ (Die Alphabetische Klassifizierung) ................ 156 Sidney Janis und die Sidney Janis Gallery ........................................................... 159 „Untitled“ ............................................................................................................. 161 Plinio De Martiis und die Galleria La Tartaruga .................................................. 166 „Souvenirs“ ........................................................................................................... 170 3 Die Rome Series im Kontext zeitgenössischer italienischer Kunstproduktion.. 172 Das künstlerische Klima in Rom Ende der 1950er Jahre ..................................... 172 Afro Basaldella ..................................................................................................... 178 Toti Scialoja .......................................................................................................... 184 Alberto Burri ........................................................................................................ 188 Mimmo Rotella ..................................................................................................... 191 Lucio Fontana ....................................................................................................... 195 Exkurs: Franz Kline .................................................................................................. 202 4 Die Rome Series vor dem Hintergrund zentraler Aspekte der Kunst des 20. Jahrhunderts .............................................................................................................. 205 5 Resümee ............................................................................................................ 218 III Fazit: Schwarz und Weiß als Ausdruck der Reflexion über grundlegende künstlerische und kunsttheoretische Fragestellungen................................................... 220 Anhang ......................................................................................................................... 226 Verzeichnis der konsultierten Archive und Sammlungen ........................................ 226 Literaturverzeichnis .................................................................................................. 227 Allgemeine Nachschlagewerke ................................................................................ 271 Briefe und Notizen.................................................................................................... 271 Die Abbildungen befinden sich in Band II 6 Danksagung Bei der vorliegenden Arbeit handelt es sich um die Dissertation, die ich im Januar 2016 am Institut für Kunstgeschichte der Justus-Liebig-Universität Gießen verteidigt und für die Veröffentlichung leicht überarbeitet habe. Einen Großteil dieser Studie habe ich während meiner Zeit als wissenschaftliche Mitarbeiterin von Claudia Hattendorff, die zugleich meine Doktormutter war, an der JLU Gießen verfasst. Ihr gebührt an erster Stelle mein Dank, da sie mir als Gesprächspartnerin und Mentorin stets unterstützend zur Seite stand, die Arbeit kontinuierlich wissenschaftlich betreut und gefördert hat und mir zugleich genügend Freiraum ließ, um eigenen Ideen nachzugehen. Ein großer Dank gilt auch Sigrid Ruby, sie hat die Arbeit als Zweitgutachterin betreut. Mit einem Semi- nar, das sie vor langer Zeit während meines Grundstudiums hielt, hat sie nachhaltig meine Begeisterung für den Abstrakten Expressionismus geweckt und zugleich mein Interesse am Kuratieren und Vermitteln von Kunst gefördert. Meinen ehemaligen Kolleginnen und Kollegen an der JLU Gießen, besonders Gerd Steinmüller, danke ich für die inspirierenden Gespräche zu Schwarz und Weiß in der Kunsttheorie und natürlich für seinen Kaffee und sein offenes Ohr in Krisenzeiten. Den Studierenden, mit denen ich gemeinsam arbeite durfte, besonders den Teilnehmerinnen und Teilnehmern meiner Seminare über den Abstrakten Expressionismus und über Wil- lem de Kooning aus dem Wintersemester 2009/10 und dem Sommersemester 2013, danke ich für ihre Diskussionsleidenschaft und ihre inspirierenden und erfrischenden Blickwinkel. Meinen Kommilitoninnen und Kommilitonen im kunsthistorischen Dokto- randenkolloquium danke ich für ihre bereichernden Anregungen und ihre konstruktive Kritik. Durch ein Stipendium des Deutschen Akademischen Austauschdienstes (DAAD) und der JLU Gießen war es mir möglich, viele der in der Arbeit besprochenen Werke im Original analysieren und wichtige Archivmaterialien in New York und Washington, D.C., einsehen zu können. Die Terra Foundation for American Art, das Museum of Modern Art in New York, The Willem de Kooning Foundation und die American Academy in Rom sorgten zudem durch Einladungen zu Seminaren, Tagungen und Kon- ferenzen dafür, dass ich meine Erkenntnisse
Load more

Recommended publications
  • Pages 4 Rotella, Lot 51 Pagine
    LOT 42 In copertina | Cover Pagine 4 | Pages 4 Pagina 133 | Page 133 Baechler, lot 15 Rotella, lot 51 Turcato, lot 29 Retro copertina | Back cover Pagine 6-7 | Pages 6-7 Pagina 142 | Page 142 Arman, lot 25 Schifano, lot 30 Melotti, lot 33 Pagina 1 | Page 1 Pagine 8-9 | Pages 8-9 Pagina 143 | Page 143 Dorazio, lot 42 Music, lot 60 Cassinari, lot 39 SEDE - VIA SANT’AGNESE 18, 20123 MILANO ASTA ARTE MODERNA E CONTEMPORANEA 10 NOVEMBRE 2020 MILANO, VIA SACCHI 7 – presso LA POSTERIA 23 OTTOBRE - 4 NOVEMBRE, MILANO VIA SANT’AGNESE 18 0 (ORARIO 10.00-19.00 – ESCLUSO FESTIVI E 29 OTTOBRE) PREVIO APPUNTAMENTO 7-8-9 NOVEMBRE, MILANO, VIA SACCHI 7 (ORARIO 10.00-19.00) UNICA SESSIONE MARTEDÌ 10 NOVEMBRE 2020 ORE 16.00 LOTTI 1 - 243 PRESENTAZIONE TELEVISIVA TOP LOTS Lunedì 2/11 ore 21.30-23 canale 134 del digitale terrestre Martedì 3/11 ore 21.30-23 canale 134 del digitale terrestre Giovedì 5/11 ore 21.30-23 canale 134 del digitale terrestre Venerdì 6/11 ore 21.30-23 canale 134 del digitale terrestre OFFERTE SCRITTE FINO A LUNEDÌ 9 NOVEMBRE 2020 ORE 15.00 FAX +39 02 40703717 [email protected] È possibile partecipare in diretta on-line inscrivendosi (almeno 24 ore prima) sul nostro sito www.ambrosianacasadaste.com CONSULTAZIONE CATALOGO E MODULISTICA www.ambrosianacasadaste.com da venerdì 23 ottobre 2020 AMBROSIANA CASA D’ASTE / GALLERIA POLESCHI CASA D’ASTE - VIA SANT’AGNESE 18 20123 MILANO - TEL. +39 0289459708 - FAX +39 0240703717 www.ambrosianacasadaste.com • [email protected] LOT 51 338 1226703 5 MODERN AND CONTEMPORARY ART
    [Show full text]
  • Copertina Artepd.Cdr
    Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo.
    [Show full text]
  • Esteban Vicente (Turégano, 1903 – Long Island, 2001)
    Esteban Vicente (Turégano, 1903 – Long Island, 2001) SOLO EXHIBITIONS 1928 Exposición Juan Bonafé y Esteban Vicente. Madrid: Ateneo de Madrid, 16 enero 1928 (inauguración). 1930 Pinturas de Esteban Vicente. Madrid: Salón del Heraldo de Madrid, 25 junio-9 julio. Galería Dalmau, Barcelona. 1931 Exposició Esteban Vicente: [15 Pintures]. Barcelona: Galeria Avinyó, 31 enero-13 febrero. [20 gouaches]. Madrid: Ateneo de Madrid, 17 octubre-noviembre. Galeriá Vives, Barcelona. Sala Badrinas, Barcelona. 1931-1932 Exposició de pintures al gouache de Esteban Vicente. Barcelona: Galeries Syra, 19 diciembre 1931-1 enero 1932. 1932 Sala Badrinas, Barcelona. 1933 28 acuarelas. París: Patronato Nacional de Turismo, 3 marzo, 1933. Sala Badrinas, Barcelona. 1934 Exposició Esteve Vicente. Barcelona: Galeria d’Art Catalònia, 8-26 febrero, 1934. Dibujos y pintura]. Madrid: Patronato Nacional de Turismo, 21-28 marzo, 1934. 1935 Esteve Vicente. Dibuixos. Barcelona: Sala Busquets, 27 abril-10 mayo, 1935. 1937 Kleeman Gallery, Nueva York. 1939 Kleeman Gallery, Nueva York. 1941 Esteban Vicente. Nueva York: Blanche Bonestell Gallery, 24 marzo-5 abril. 1945 Universidad de Puerto Rico, Río Pietras. Ateneo Puertorriqueño, San Juan. 1946 Ateneo Puertorriqueño, San Juan. 1950 Peridot Gallery, Nueva York. 1951 Peridot Gallery, Nueva York. 1953 Allan Frumkin Gallery, Chicago. The California Palace of the Legion of Honor, San Francisco. 1955 Charles Egan Gallery, Nueva York. 1957 Esteban Vicente. Nueva York: Rose Fried Gallery, 26 febrero-16 marzo. 1958 Esteban Vicente. Nueva York: Rose Fried Gallery, 10 febrero-5 marzo. Esteban Vicente. Drawings. Nueva York: Leo Castelli, 25 noviembre-20 diciembre. 1959 The University of Minnesota, Minneapolis. 1960 Esteban Vicente: new paintings. Nueva York: André Emmerich Gallery, 29 febrero-26 marzo.
    [Show full text]
  • Catalogo 144 TENDENZE INFORMALI
    COMUNE DI BRESCIA CIVICI MUSEI D’ARTE E STORIA PROVINCIA DI BRESCIA ASSOCIAZIONE ARTISTI BRESCIANI TENDENZE INFORMALI DAGLI ANNI CINQUANTA AI PRIMI ANNI classici del contemporaneo SETTANTA NELLE COLLEZIONI BRESCIANE mostra a cura di Alessandra Corna Pellegrini 144 aab - vicolo delle stelle 4 - brescia 22 settembre - 17 ottobre 2007 orario feriale e festivo 15.30 - 19.30 edizioni aab lunedì chiuso L’AAB è orgogliosa di inaugurare la stagione 2007/2008 con una prestigiosa esposizione, di rilievo certamente non solo locale, che propone opere di artisti fra i più rappresentativi dell’Informale. La mostra prosegue la fortunata serie “Classici del contemporaneo” dedicata al collezionismo della nostra provincia, che ha già proposto artisti come Kolàr, Demarco, Fontana, Munari, Birolli, Dorazio, Vedova, Fieschi, Adami, Baj ed esponenti della Nuova Figurazione. La curatrice della rassegna, la storica dell’arte Alessandra Corna Pellegrini, ha selezionato un nucleo essenziale di opere (34) che rappresentano esempi molto significativi dell’esperienza e del linguaggio di un movimento pur tanto complesso e così difficile da circoscrivere come l’Informale e dimostrano l’alta qualità delle collezioni bresciane, sia pubbliche sia private. L’impegno dell’AAB, scientifico organizzativo finanziario, può ben essere documentato dall’importanza internazionale degli autori proposti, da Dubuffet Mathieu Schneider a Afro Basaldella Corpora Dorazio Fontana Morlotti Santomaso Scanavino Scialoja Tancredi Turcato. L’esposizione, come è prassi costante dell’Associazione,
    [Show full text]
  • Masterthes R.B.Fokker
    Masterthesis Richard Fokker Studentnummer 3037142 Willem de Kooning en de Grote Verhalen Kunstgeschiedenis UU 2010 Begeleidend docent Dr. Hestia Bavelaar Moderne en Eigentijdse Kunst 2 Omslagfoto (z.j.): Bert Stern (1929). Willem de Kooning poseert voor Suburb in Havanna uit 1958, olieverf op doek, 203,2 x 177,8 cm. 3 WILLEM DE KOONING EN DE GROTE VERHALEN Masterthesis Richard Fokker Studentnummer 3037142 Kunstgeschiedenis UU 2010 Begeleidend docent Dr. Hestia Bavelaar Moderne en Eigentijdse Kunst 4 INHOUDSOPGAVE VOORWOORD ........................................................................................... 5 INLEIDING .................................................................................................. 6 HOOFDSTUK 1 ROTTERDAM - NEW YORK ........................................ 10 HOOFDSTUK 2 KUNST EN VLIEGWERK .............................................. 21 HOOFDSTUK 3 WILLEM SANDBERG EN WILLEM DE KOONING ... 40 HOOFDSTUK 4 EDY DE WILDE EN WILLEM DE KOONING ............ 61 CONCLUSIES .............................................................................................. 82 LITERATUURLIJST ................................................................................... 86 BIJLAGEN ................................................................................................... 89 5 VOORWOORD Bij deze dank ik de medewerkers van de archieven van het Van Abbemuseum Eindhoven en het Stedelijk Museum Amsterdam voor hun inspanningen, onmisbaar voor de totstandkoming van deze masterthesis. Mijn dank gaat tevens
    [Show full text]
  • Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.
    [Show full text]
  • Mira Schor and Jason Andrew with PHONG BUI
    ii BROOKLYNRAIL CRI ICA L PE:RSP CTIVES O N A RTS, PO LITICS, AN D CU LTU RE Art October 5th, 2009 INCONVERSATION Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all
    [Show full text]
  • Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty
    1950 Sculpture in Wood and Stone by Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) worked in various careers before turning his attention to sculpture full time at the age of thirty. His skills earned him a position as a professor of art at the University of Texas and commissions from many public and private institutions. His sculptures are created in various media, such as Lucite and steel. This exhibition of the California-based artist’s work presented thirty-seven of his sculptures. Barnes studied with Carl Milles (1875– 1955) at the Cranbrook Academy of Art. [File contents: exhibition flier] Color Compositions by June Wayne (March) June Wayne’s (1918–2011) work received publicity in an article by Jules Langsner, who praised her for developing techniques of drawing the viewer’s eye through imagery and producing a sense of movement in her subjects. Her more recent works (as presented in the show) were drawn from the dilemmas to be found in Franz Kafka’s works. [File contents: two articles, one more appropriate for a later show of 1953 in memoriam Director Donald Bear] Prints by Ralph Scharff (April) Sixteen pieces by Ralph Scharff (1922–1993) were exhibited in the Thayer Gallery. Some of the works included in this exhibition were Apocrypha, I Hate Birds, Walpurgisnacht, Winter 1940, Nine Cats, and Four Cows and Tree Oranges. Watercolors by James Couper Wright (April 3–April 15) Eighteen of James Couper Wright’s (1906–1969) watercolors were presented in this exhibition. Wright was born in Scotland, but made his home in Southern California for the previous eleven years.
    [Show full text]
  • Mira Schor and Jason Andrew with PHONG BUI
    Art October 5th, 2009 Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all else, I distinguish between painting and picture.” Of course he’s making reference to Cézanne and Picasso, “where I have to choose between them, I choose painting.” While the former reminded me of something de Kooning had said similarly: “The desire to force a style beforehand is a mere apology of one’s own anxiety,” the latter, which was elaborated in the letter he wrote to Andrew Forge (whom he knew and admired) on June 30, 1981 where he emphatically stated, “Cézanne’s grandeur parallels the severity and seriousness of his search.
    [Show full text]
  • Hollis Taggart to Examine the Work of Acclaimed Artist Knox Martin in Two Solo Presentations This May
    Hollis Taggart to Examine the Work of Acclaimed Artist Knox Martin in Two Solo Presentations This May Opening at Frieze New York, May 1 – 5, 2019, And in a Concurrent Exhibition at the Gallery’s Primary Space in Chelsea, May 2 – 27, 2019 Knox Martin: Radical Structures to Include New Work by the Prolific 96-Year-Old Artist This May, Hollis Taggart will present an in-depth exploration of the work of acclaimed artist Knox Martin, with a solo presentation at Frieze New York and a concurrent solo exhibition at its primary location in Chelsea. Martin’s practice, which spans nearly seven decades, has engaged with the conceptual and aesthetic underpinnings of a wide range of artistic movements, from Cubism to Abstract Expressionism to Pop Art. His use of bright swaths of color, precise, architectural lines, and organic forms that reference the female body have resulted in energetic and vibrant compositions that speak to a visual vocabulary that is entirely his own. For the upcoming edition of Frieze New York, Hollis Taggart will present a focused selection of paintings, from the 1950s through the 1970s, providing an introduction to the artist’s early works. To foster a broader understanding of Martin’s practice, the gallery will also open Knox Martin: Radical Structures at its 521 W. 26th Street space on May 2, 2019. The exhibition at the gallery will emphasize in particular Martin’s paintings from the 1960s and 1970s, and also include several later works, among which are two new paintings created by the 96-year-old artist in 2019.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day
    [Show full text]
  • Werner Haftmann As the Director of the Neue Nationalgalerie in Berlin
    692 V. Benedettino УДК: 7.036(4), 069.02:7 ББК: 79.17 А43 DOI: 10.18688/aa200-5-66 V. Benedettino Werner Haftmann as the Director of the Neue Nationalgalerie in Berlin (1967–1974): Survey of the Curatorial Concept in the West German National Modern Art Gallery during the Cold War The following paper will present preliminary results related to key aspects of Werner Haft- mann’s curatorial activity as the director of the Neue Nationalgalerie in Berlin from 1967 un- til 1974. The archival research was undertaken in several public archives in Germany and Italy in the frame of my Ph. D. at Universität Heidelberg and École du Louvre in Paris1. Firstly, Haftmann’s biography will be briefly outlined in order to contextualize his career as an art historian in the first half of the 20th century in Germany, Italy, and after World War II in West Germany. Afterwards, the circumstances of his appointment as the director of the Neue Na- tionalgalerie, built by the renowned architect Mies van der Rohe in West Berlin from 1965 until 1968, will be discussed. Finally, Haftmann’s curatorial concept concerning temporary exhibitions and artworks purchase policy, in addition to his statement about the mission of a national modern art museum will be highlighted. The professional career of Werner Gustav Haftmann (1912–1999) must be analysed in the light of the turbulent political and historical events that occurred in Germany during the 20th century. The art historian started a successful career in the 1930s during the repressive Nazi regime and consolidated it after World War II, in the time of West Germany’s recon- struction.
    [Show full text]