ABBAYE Livres
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Against the Amnesiacs: the Art Criticism of Jean Bazaine, 1934-1944
114 French History and Civilization Against the Amnesiacs: The Art Criticism of Jean Bazaine, 1934-1944 Natalie Adamson In his treatise on the practice of painting published in 1948, Notes sur la peinture d’aujourd’hui, Jean Bazaine argued that the purpose of painting is not simply to capture the simulacral surface appearances of an object, but to give a viable form and authentic meaning to a life that is experienced as a symbiotic engagement with the exterior world and with interior, or spiritual, imperatives. To this end, Bazaine opened his argument with a condemnation of “what is commonly known as naturalism in painting:” It is this refusal or this impossibility of a permeable universe: an art without abstractions, that is to say deprived of profound contact with the universal, a flesh that is no longer armed with signs that surpass it. The decadence of an art, like that of man, always consists of this passage from the object-pretext, crossroads of forces, to the object as an end in itself, to a closed economy, to the object that has become so dumb that it devours its own feet, to the object-catoblepas.1 Bazaine’s Notes articulated the premises of a “third way” route for painting that could transcend the stylistic and ideological conflict between abstraction and realism and maintain the essential connection between representation and nature; and in doing so, revivify the French national tradition. The appeal of his arguments to many artists during the 1950s stemmed from his advocacy of a practice of painting founded in the subjective engagement of the person with the world, retaining pictorial Natalie Adamson is a lecturer in the School of Art History, University of St Andrews. -
Architecture's Ephemeral Practices
____________________ A PATAPHYSICAL READING OF THE MAISON DE VERRE ______183 A “PATAPHYSICAL” READING OF THE MAISON DE VERRE Mary Vaughan Johnson Virginia Tech The Maison de Verre (1928-32) is a glass-block the general…(It) is the science of imaginary house designed and built by Pierre Chareau solutions...”3 According to Roger Shattuck, in (1883-1950) in collaboration with the Dutch his introduction to Jarry’s Exploits & Opinions architect Bernard Bijvoët and craftsman Louis of Dr. Faustroll, Pataphysician, “(i)f Dalbet for the Dalsace family at 31, rue St. mathematics is the dream of science, ubiquity Guillaume in Paris, France. A ‘pataphysical the dream of mortality, and poetry the dream reading of the Maison de Verre, undoubtedly of speech, ‘pataphysics fuses them into the one of the most powerful modern icons common sense of Dr. Faustroll, who lives all representing modernism’s alliance with dreams as one.” In the chapter dedicated to technology, is intended as an alternative C.V. Boys, Jarry, for instance, with empirical history that will yield new meanings of precision, describes Dr. Faustroll’s bed as modernity. Modernity in architecture is all too being 12 meters long, shaped like an often associated with the constitution of an elongated sieve that is in fact not a bed, but a epoch, a style developed around the turn of boat designed to float on water according to the 20th century in Europe albeit intimately tied Boys’ principles of physics.4 The image of a to its original meaning related to an attitude boat that is also a bed, at the same time, towards the passage of time.1 To be truly brings to mind the poem by Robert Louis modern is to be in the present. -
XX Siècle Bibliothèque Surréaliste De M. V
PARIS XXe siècle Bibliothèque surréaliste de M. V. TABLEAUX - DESSINS - ESTAMPES OBJETS D’ART - VERRRERIE - CÉRAMIQUE MOBILIER de collections particulières VENTE AUX ENCHÈRES PUBLIQUES LUNDI 2 DÉCEMBRE 2019 À 14H Drouot, salle 4 9, rue Drouot 75009 PARIS EXPOSITIONS PUBLIQUES Samedi 30 novembre de 11h à 18h Lundi 2 décembre, de 11h à 12h Téléphone pendant les expositions et la vente + 33 (0)1 48 00 20 04 LUCIEN - PARIS SARL MAISON DE VENTES AUX ENCHÈRES 17, rue du Port - 94130 NOGENT SUR MARNE 5, rue des Lions Saint-Paul - 75004 PARIS T. + 33 (0)1 48 72 07 33 - F. + 33 (0)1 48 72 64 71 [email protected] www.lucienparis.com Agrément 2002-194 'IVXM½GEXMSR-73 Participez, enchérissez en direct www.drouotlive.com Abonnez-vous à notre newsletter www.lucienparis.com Expertises / Ventes aux enchères Christophe LUCIEN + 33 (0)1 48 72 07 33 Bérangère JANIK + 33 (0)1 48 72 36 15 Adrien SIMON + 33 (0)1 48 72 36 11 Jorick BRILLANT + 33 (0)1 48 72 36 13 Service Juridique Sandrine CHANLIAU + 33 (0)1 48 72 36 14 Experts Comptabilité Caroline ROUSSEAU Sylvie COLLIGNON + 33 (0)1 48 72 36 16 45, rue Sainte-Anne 75001 PARIS + 33 (0)1 42 96 12 17 Transports Cyril HUBERTS a décrit les numéros 112 et 201. Franck BAZIN Amélie MARCILHAC Christophe LAGADEC 8, rue Bonaparte Ahmed BOULANOUAR 75006 PARIS Thierry RIGAL + 33 (0)1 43 26 47 36 Stéphane BOUDJADJA a décrit le numéro 79. Agnès SEVESTRE-BARBÉ 8, rue Drouot 75009 PARIS + 33 (0)1 53 96 06 57 Réalisation a décrit les numéros 10 à 13, 22 ter, 44. -
Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm, © Themerson Estate, courtesy of l’étrangère. " It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Piétons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
Ubu Roi Short FINAL
media contact: erica lewis-finein brightbutterfly[at]hotmail.com CUTTING BALL THEATER CONTINUES 15TH SEASON WITH “UBU ROI” January 24-February 23, 2014 In a new translation by Rob Melrose SAN FRANCISCO (December 16, 2013) – Cutting Ball Theater continues its 15th season with Alfred Jarry’s UBU ROI in a new translation by Rob Melrose. Russian director Yury Urnov (Woolly Mammoth Theatre Company) helms this irreverent take on world leaders. Featuring David Sinaiko, Ponder Goddard, Marilet Martinez, Bill Boynton, Nathaniel Justiniano, and Andrew Quick, UBU ROI plays January 24 through February 23 (Press opening: January 30) at the Cutting Ball Theater in residence at EXIT on Taylor (277 Taylor Street) in San Francisco. For tickets ($10-50) and more information, the public may visit cuttingball.com or call 415-525-1205. When Alfred Jarry’s UBU ROI premiered in Paris on December 10, 1896, the audience broke into a riot at the utterance of its first word. Jarry’s parody of Shakespeare’s Macbeth defies theatrical tradition through its disregard for audience expectations, replacing Shakespeare’s tragic hero with a greedy, sadistic ogre who becomes the King of Poland by force and through the debasement of his people. Set in a modern luxury kitchen, this re-visioned UBU ROI features a wealthy American couple who play out their fantasies of wealth and power to excess as they take on the roles of Mother and Father Ubu. Cutting Ball’s version of UBU ROI may bring to mind the fall from grace of many a contemporary political leader corrupted by power, from Elliot Spitzer to Dominique Strauss-Kahn. -
Introduction
Notes Introduction 1. I am using the terms ‘space’ and ‘place’ in Michel de Certeau’s sense, in that ‘space is a practiced place’ (Certeau 1988: 117), and where, as Lefebvre puts it, ‘(Social) space is a (social) product’ (Lefebvre 1991: 26). Evelyn O’Malley has drawn my attention to the anthropocentric dangers of this theorisation, a problematic that I have not been able to deal with fully in this volume, although in Chapters 4 and 6 I begin to suggest a collaboration between human and non- human in the making of space. 2. I am extending the use of the term ‘ extra- daily’, which is more commonly associated with its use by theatre director Eugenio Barba to describe the per- former’s bodily behaviours, which are moved ‘away from daily techniques, creating a tension, a difference in potential, through which energy passes’ and ‘which appear to be based on the reality with which everyone is familiar, but which follow a logic which is not immediately recognisable’ (Barba and Savarese 1991: 18). 3. Architectural theorist Kenneth Frampton distinguishes between the ‘sceno- graphic’, which he considers ‘essentially representational’, and the ‘architec- tonic’ as the interpretation of the constructed form, in its relationship to place, referring ‘not only to the technical means of supporting the building, but also to the mythic reality of this structural achievement’ (Frampton 2007 [1987]: 375). He argues that postmodern architecture emphasises the scenographic over the architectonic and calls for new attention to the latter. However, in contemporary theatre production, this distinction does not always reflect the work of scenographers, so might prove reductive in this context. -
REFASHIONING the FIGURE the Sketchbooks of Archipenko C.1920
41 REFASHIONING THE FIGURE The Sketchbooks of Archipenko c.1920 Henry Moore Institute Essays on Sculpture MAREK BARTELIK 2 3 REFASHIONING THE FIGURE The Sketchbooks of Archipenko c.19201 MAREK BARTELIK Anyone who cannot come to terms with his life while he is alive needs one hand to ward off a little his despair over his fate…but with his other hand he can note down what he sees among the ruins, for he sees different (and more) things than the others: after all, he is dead in his own lifetime, he is the real survivor.2 Franz Kafka, Diaries, entry on 19 October 1921 The quest for paradigms in modern art has taken many diverse paths, although historians have underplayed this variety in their search for continuity of experience. Since artists in their studios produce paradigms which are then superseded, the non-linear and heterogeneous development of their work comes to define both the timeless and the changing aspects of their art. At the same time, artists’ experience outside of their workplace significantly affects the way art is made and disseminated. The fate of artworks is bound to the condition of displacement, or, sometimes misplacement, as artists move from place to place, pledging allegiance to the old tradition of the wandering artist. What happened to the drawings and watercolours from the three sketchbooks by the Ukrainian-born artist Alexander Archipenko presented by the Henry Moore Institute in Leeds is a poignant example of such a fate. Executed and presented in several exhibitions before the artist moved from Germany to the United States in the early 1920s, then purchased by a private collector in 1925, these works are now being shown to the public for the first time in this particular grouping. -
Mise En Page 1
BIBLIOTHÈQUE R. ET B. L. EDITIONSORIGINALES AUTOGRAPHESET MANUSCRITSDU XX E SIÈCLE MARDI 7 OCTOBRE 2014 - SOTHEBY’S PARIS BIBLIOTHÈQUE R. ET B. L. MARDI 7 OCTOBRE 2014 Experts de la vente DOMINIQUE COURVOISIER Expert de la Bibliothèque nationale de France Membre du Syndicat Français des Experts Professionnels en œuvres d’art 5, rue de Miromesnil 75008 Paris Tél./Fax. + 33 (0)1 42 68 11 29 [email protected] ANNE HEILBRONN SOTHEBY’S 76, rue du Faubourg Saint-Honoré 75008 Paris Tél. +33 (0)1 53 05 53 18 Fax. +33 (0)1 53 05 52 23 [email protected] Tous nos remerciements à Monsieur Jean-Paul Goujon pour l’aide précieuse apportée à la rédaction des notices des manuscrits et des autographes MARDI 7 OCTOBRE 2014 À 14H30 VENTE À PARIS BIBLIOTHÈQUE R. ET B. L. ÉDITIONS ORIGINALES AUTOGRAPHES ET MANUSCRITS DU XXE SIÈCLE Vente dirigée par Cyrille Cohen et Alexandre Giquello Agréments du Conseil des Ventes Volontaires de Meubles aux Enchères Publiques n° 2001-002 et n° 2002-389 EXPOSITION Vendredi 3 et samedi 4 octobre de 10h à 18h Lundi 6 octobre de 10h à 20h sothebys.com/bidnow 76, rue du Faubourg Saint-Honoré - 75008 Paris tél. 33 (0)1 53 05 53 05 www.sothebys.com SPÉCIALISTES RESPONSABLES DE LA VENTE Pour toute information complémentaire concernant les lots de cette vente, veuillez contacter les experts listés ci-dessous. RÉFÉRENCE DE LA VENTE ENCHÈRES TÉLÉPHONIQUES PF1453 “Médaillon” & ORDRES D’ACHAT +33 (0)1 53 05 53 48 Fax +33 (0)1 53 05 52 93/94 EXPERTS DE LA VENTE [email protected] Dominique Courvoisier Les demandes d’enchères +33 (0)1 42 68 11 29 téléphoniques doivent nous [email protected] parvenir 24 heures avant la vente. -
By William Shakespeare Measure for Measure Why Give
Measure for Measure by William Shakespeare Measure for Measure Why give Welcome to our 2015 season with Measure for Measure. you me this Our Russian company were last here with The Tempest and we are delighted to be back. We are particularly grateful to shame? Evgeny Pisarev and Anna Volk of the Pushkin Theatre in Moscow, without whom this production would not have been possible. Act III Scene I Thanks also to Toni Racklin, Leanne Cosby, and the entire team at the Barbican, London for their continued enthusiasm and support, and to Katy Snelling and Louise Chantal at the Oxford Playhouse. We’d also like to thank our other co-producers, Les Gémeaux/ Sceaux/Scène Nationale, in Paris, and Centro Dramático Nacional, in Madrid, as well as Arts Council England. We do hope you enjoy the show… Declan Donnellan and Nick Ormerod Petr Rykov & Company 1 2 3 Cheek by Jowl in Russia In 1986, Russian theatre director Lev Dodin of Valery Shadrin, commissioned Donnellan invited Donnellan and Ormerod to visit his and Ormerod to form their own company of company in Leningrad. Ten years later, they Russian actors in Moscow. This sister company 4 5 6 directed and designed The Winter’s Tale performs in Russia and internationally and its for the Maly Drama Theatre, which is still current repertoire includes Boris Godunov running in St. Petersburg. Throughout the by Pushkin, Twelfth Night and The Tempest 1990s the Russian Theatre Confederation by Shakespeare, and Three Sisters by Anton regularly invited Cheek by Jowl to Moscow Chekhov. Measure for Measure is Cheek as part of the Chekhov International Theatre by Jowl’s first co-production with Moscow’s Festival, and this relationship intensified in Pushkin Theatre. -
Prints from the Age of Rodin Wall Labels
Fairfield University DigitalCommons@Fairfield Prints from the Age of Rodin - Ephemera Prints from the Age of Rodin Fall 2019 Prints from the Age of Rodin Wall Labels Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/rodin-prints-ephemera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Angelo Jank (French, active 19th century) Woman with a Parrot from the portfolio L’Estampe Moderne, 1898 Color lithograph Gift of James Reed (2017.35.823) This lithograph was one of four that appeared in the volume of L’Estampe Moderne in the case below. Pierre Bonnard (French, 1867-1947) The Loge, 1898 Color lithograph Gift from the Dr. I. J. and Sarah Markens Art Collection (2018.34.26) Bonnard’s lithograph, which takes up the same subject of spectators at the opera as Lunois’ print above, appeared as the frontispiece to Mellerio’s book. Edward J. Steichen (American, 1879-1964) Portrait of Rodin with The Thinker and The Monument to Victor Hugo, 1902 Gelatin silver print Jundt Art Museum, Gonzaga University; Gift of Iris and B. -
Surrealist Poetry and the Cold War
“The beautiful white ruins / of America”: Surrealist Poetry and the Cold War Peter Roswell Henry Richmond, Virginia M.A., University of Virginia, 2007 M.F.A., University of Oregon, 1997 B.A., University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy English University of Virginia December, 2013 Abstract This dissertation focuses on the rise and fall of American Surrealist poetry, a mid- twentieth century aesthetic movement that has been largely dismissed by the major critics, anthology-builders and literary historians of contemporary American poetics (Shetley, von Hallberg, Ramazani). Indeed, the prevalent narrative is that American Surrealism was an awkward adolescent moment in contemporary American poetry, falling between the birth of contemporary poetics in the 1950s and its maturity in the canon-opening and postmodernist work that began to bloom in the 1980s. This dissertation attempts two goals. Firstly, it seeks to tell a fuller story of this movement: by examining the poetic successes of the Surrealists—and the intense threat they posed to their more canonical peers—I argue that this movement played a far more significant role in the development of postwar American poetics than it is afforded. Secondly, this dissertation interrogates the cultural, historical and literary phenomena that allowed American Surrealism to emerge in the 1950s and, just as quickly, to disappear. Ultimately, I argue that American Surrealism was a poetic response to the Cold War, and the study of American Surrealism offers unique insight into the relationship between literature and politics during the Cold War. -
Annotated Books Received
ANNOTATED BOOKS RECEIVED A SUPPLEMENT OF TRANSLATION REVIEW Volume 9, No. 1 June 2003 THE UNIVERSITY OF TEXAS AT DALLAS EDITOR Viveca Holder Smith ADVISORY EDITORS Rainer Schulte All correspondence and inquiries should be directed to Translation Review The University of Texas at Dallas Box 830688 - MC35 Richardson, TX 75083-0688 Telephone: (972) 883-2092 or 883-2093 Fax: (972) 883-6303, e-mail: [email protected] Annotated Books Received, published twice a year, is a Supplement of Translation Review, a joint publication of the American Literary Translators Association and The Center for Translation Studies at The University of Texas at Dallas. ISSN 0737-4836 Copyright © 2003 by Translation Review. The University of Texas at Dallas is an equal opportunity/affirmative action employer. ANNOTATED BOOKS RECEIVED TABLE OF CONTENTS Arabic Reference Bulgarian Translation Studies Chinese Index of Translators Classics Titles by Publisher Danish Directory of Publishers Dutch French German Hebrew Italian Japanese Korean Norwegian Polish Portuguese Russian Sanskrit Slovak Spanish Swedish Turkish Vietnamese Yiddish ARABIC Adonis (Ali Ahmad Sai’d). If Only the Sea Could Sleep: Love Poems. Translated by Kamal Boullata, Susan Einbinder, and Mirène Ghossein. København & Los Angeles: Green Integer, 2003. 150 pp. Paper: $11.95. ISBN 1-931243-29-8. Green Integer No. 77. For Adonis, poetry is a vision (‘ru’ya), a “leap outside of established concepts, a change in the order of things and in the way we look at them.” These poems are selected from Al’A’mal al Shi’riyya (Adonis’s complete works). Adonis’s work often centers on the process of poetic creation, and he has had, perhaps, more influence in terms of innovation and modernity than any other among contemporary Arab poets.