DOCSLIB.ORG

Eleonora Caracciolo Di Torchiarolo 00 REPORT LAUREL HOLLOMAN in Senso Orario/ Clockwise Let Me Fall, 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eleonora Caracciolo Di Torchiarolo 00 REPORT LAUREL HOLLOMAN in Senso Orario/ Clockwise Let Me Fall, 2012 di/by Eleonora Caracciolo di Torchiarolo 00 REPORT LAUREL HOLLOMAN In senso orario/ clockwise Let Me Fall, 2012 Between Two Seas, 2012 Memory Loss, 2012 Red Rain, 2012 Nella Pagina a fianco / On the other page Gravity Always Wins, 2012 VENEZIA • PERSONALE Armoniosa energia DI LAUrel Il filo rosso che lega le opere mezzo della sua vita cambia Falling” in corso all’Ateneo nello stesso tempo cerca HolloMan e la vita di Laurel Holloman è decisamente rotta e passa da Veneto di Venezia fino al 29 l’accordo che risuona sicuro, la scelta di muoversi sempre un settore artistico proiettato, settembre, la Holloman si la bellezza che nasce, molto ALL’ATENEO nella direzione dell’unione, della per così dire, verso l’esterno propone di esplorare i temi del semplicemente, dal suscitare coesione e dell’armonia fra e l’esteriorità a uno diretto rinnovamento e della rinascita emozioni”. VENETO fattori difformi e lontani. all’intimità e alla spiritualità di spirituale attraverso la coesione È tutto qui e ora nelle grandi tele Prima di tutto un dato ciascuno. – eccoci di nuovo – tra natura, di Laurel Holloman: la luce e le / OVERVIEW PANORAMA biografico, che sempre dà Il suo fare arte prende immagini elementari e vita tenebre, il dolore e la gioia, la importanti indicazioni sul modo chiaramente le mosse umana, dove per “immagini materia e lo spirito, in cui, grazie di lavorare di un artista: la dall’espressionismo astratto, elementari” l’artista intende le alle monumentali dimensioni, Holloman è celebre negli Stati movimento che forse più di raffigurazioni di acqua, fuoco, l’osservatore viene risucchiato, Uniti per essere attrice di serie altri, coerenti e omogenei aria e terra, e a “vita umana” avvolto, abbracciato, in televisive di successo. Pur al loro interno, raccoglie attribuisce i significati di nascita, una unificazione totale tra avendo compiuto studi d’arte modi di operare molto sangue, carne, spirito e morte. dipinto, spazio circostante e ed essersi laureata in pittura e diversi tra loro: si pensi Lea Mattarella, nel suo testo osservatore, dove il sublime – il scultura, è solo dopo aver avuto all’action painting energica critico, scrive: “Nella ricerca qui, l’ora e l’altrove – può essere due bambine – la maternità è di Pollock, tecnicamente ed della Holloman sopravvive sperimentato in un’unica e davvero un fatto rivoluzionario esteticamente molto differente proprio il desiderio di unificare, armoniosa energia. – che decide di far diventare la dalle donne di Willem de armonizzare, creare contatti e pittura la sua vita. Kooning, dai rifulgenti blocchi non scontri tra ciò che, facendo LAUREL HOLLOMAN. FREE FALLING Ecco quindi già un primo di colore di Mark Rothko e dalle parte dello stesso universo, Ateneo Veneto, Venezia / Venice elemento di discontinuità vedute malinconiche di Venezia inevitabilmente si somiglia. Fino al 29 settembre che in lei trova aggregazione: di William Congdon. Tutti Questa pittrice non ha paura Until 29 September Organizzazione e Promozione: una donna sì giovane, ma espressionisti astratti. di raccontare il malessere, Organized and promoted by: non giovanissima, che nel Nella mostra intitolata “Free la malinconia saturnina, ma The Hart Foundation Harmonious Energy The guiding thread that runs finds aggregation: a woman Yet all of them are abstract part of the same universe, is through Laurel Holloman’s who is young, but not very expressionists. inevitably alike. This painter is works and life is the choice of young, radically changes In the exhibition entitled ‘Free not afraid of illustrating malaise always moving towards the path in the middle of her life Falling’, which will be showing and Saturnine melancholy, yet union, cohesion and harmony and switches from an art at the Ateneo Veneto in at the same time she searches of different and distant factors. sector that is projected – so to Venice until 29 September, for a chord with a confident It might be best to start from speak – towards the exterior Holloman explores the themes ring, for beauty quite simply some biographical information, and exteriority to one turned of spiritual renewal and rebirth sprung from the eliciting of since this always provides towards each person’s through the cohesion – once emotions.” important clues concerning intimacy and spirituality. again – between nature, basic Everything unfolds here and an artist’s work method: Laurel As an artist, she clearly set out images and human life, where now in Laurel Holloman’s large Holloman is famous in the from Abstract Expressionism, by “basic images” the artist canvases: light and darkness, United States as an actress a movement that – possibly understands representations pain and joy, matter and spirit. VENEZIA of popular television series. more than other internally of water, fire, air and earth, Thanks to the monumental While she had studied art and consistent and homogeneous while assigning “human life” the size of these works, viewers • LaureL earned a degree in painting ones – brings together very meanings of birth, blood, flesh, are sucked-in, enveloped and HolloMan and sculpture, only after having different ways of operating: spirit and death. embraced through the total had two daughters did she consider Pollock’s energetic In her critical essay, Lea unification of the paintings, solo decide to make her life revolve action painting, so technically Mattarella writes: “What the surround space, and around painting – becoming a and aesthetically different from survives in Holloman’s themselves, whereby the EXHIBITIon AT mother is a revolutionary event Willem de Kooning’s women, research is precisely the sublime – the here, the now The ATeneo indeed. Mark Rothko’s shining blocks desire to unify, harmonize and and the elsewhere – can be Here we already have a first of colour, or William Congdon’s establish contacts rather than experienced as a single and VENETO element of discontinuity which melancholy views of Venice. clashes between what, as harmonious energy..
Load more

Recommended publications
  • The Artist and the American Land
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
    [Show full text]
  • Winnovative HTML to PDF Converter for .NET
    ARCS homepage The Archival Spirit, February 2012 Newsletter of the Archivists of Religious Collections Section, Society of American Archivists Contents l Letter from the Chair: New ARCS Sparks! l From the Vice-Chair l Archives Workshop in Kenya l DePauw Celebrates 175th Anniversary l Lights, Cameras, Archives in Action: The Diocese of Olympia Archives Begins a Blog! l Christ Church Adds to its Online Database of Records l New Museum Exhibition Links American Artist’s Paintings and Young Pope’s Writings l Web Editor's Note From the Chair: New ARCS Sparks! By Terry Reilly Archivist, University of Calgary This is a creative moment in the world of the Archives of Religious Collections Section. The section has a lot of new energy. We are working ahead on several initiatives while continuing our important role of outreach to new religious archives and archivists. Do you know someone who is just starting out as a religious archivist or someone who is returning to the work after an absence or sabbatical? Encourage them to get in touch with ARCS. We want to incorporate as many new perspectives as we can. Are you associated with a regional religious archivists group? We will be excited to hear what is happening at your area meetings, exhibits or programming plans. Since our annual general meeting in Chicago we have held two steering committee conference calls. We know that regular communication is essential to effective planning. Also, based on your responses at the annual meeting, I have forwarded lists of your interests to members of the steering committee.
    [Show full text]
  • Exibart.Onpaper 18 Sped
    FREE Exibart.onpaper 18 Sped. in A.P. 45% art. 2. c. 20 A.P. in Sped. let. B - l. 662/96 Firenze Copia euro 0,0001 arte.architettura.design.musica.moda.filosofia.hitech.teatro.videoclip.editoria.cinema.gallerie.danza.trend.mercato.politica.vip.musei.gossip eventi d'arte in italia | anno terzo | novembre - dicembre 2004 www.exibart.com Un numero così non l'avete mai visto. Ad iniziare dalla cover, come sempre d'autore: questa volta -il tratto urban è inconfondibile- la firmano Botto e Bruno. All'interno quattro chiac- chiere con il fotografo più hot del momento, Terry Richardson. Lo abbiamo incontrato a Bologna, per la presentazione del suo libro. Diario per immagini tenero, scandaloso, sexy, impre- vedibile… ovviamente limited edition. Ve ne diamo un assaggio pepatissimo in una pagina di sole foto. Quelle che nessun'altra rivista (in Italia) ha osato pubblicare. Ricordiamo il filo- sofo Jacques Derida, recentemente scomparso. Senza retorica, due contributi: uno pro ed uno contro. Un'altra pagina la dedichiamo a Donald Judd, papà del Minimal, di cui ricorrono dieci anni dalla morte (anche qui ci sa tanto di essere stati gli unici a ricordarcelo). E a Cristopher Reeve, al mito di Superman e all'immortalità formato celluloide. E ancora. Nuovi spazi che aprono i battenti, overview dalla Biennale di Architettura ed un incontro a tu per tu con Miss Graffiti -al secolo Miss Van- giovane artista di Tolosa che ha firmato la nuova col- lezione della griffe Fornarina. E poi le mostre da non perdere in Italia e all'estero, un giovane designer da tener d'occhio, libri, teatro, parliamo pure di Brian Wilson deus ex machina dei beach Boys, che ha dato alla luce -meglio tardi che mai!- un progetto durato trent'anni.
    [Show full text]
  • The Market & the Muse
    The Market & The Muse: 18 19 IF AN ARTIST PAINTS IN MONASTIC SECLUSION, IS IT ART? BY CHRISTOPHER REARDON IF AN ARTIST PAINTS IN MONASTIC SECLUSION, IS IT ART? CHRISTOPHER REARDON THE MARKET & THE MUSE: Congdon, who was born the night the Titanic sank, believed that he, IF AN ARTIST PAINTS IN MONASTIC SECLUSION, IS IT ART? too, was destined to go to an early grave. Certainly in the 1950s he kept on a collision course. In a letter from Guatemala City in 1957, he told his cousin, the poet Isabella Gardner, a descendant of the Boston collector Isabella Stewart Gardner, of the hazardous nature of his creative process. “In order to have a pure birth,” he wrote, using a metaphor he often applied to his viscer- al style of action painting, “I must go through scenes little short of suicide and not a bit short of madness and destruction.” No model of stability herself, Gardner saw his paintings (and her own writing) as the flowering of an oth- erwise noxious ancestral weed she called, in a poem so titled, “The Panic Vine.” Ultimately, though, Congdon found a way to untangle himself both from the manic tendencies that were said to run through his family and from the self-annihilation that came to characterize the New York School. In August 1959, he went to Assisi, Italy, and converted to Roman Catholicism. n the outskirts of Milan, just By then, some of his spirited cityscapes of New York and Venice, often 20 seven miles from the dazzlingO fashion district where Gianni Versace and rendered in thick strokes of black and gold, had already entered the perma- 21 Miucci Prada launched their careers, a two-hundred-year-old manor house nent collections of the Metropolitan Museum of Art, the Museum of Modern stands among several acres of barley, corn, and soy.
    [Show full text]
  • History of Freemasonry in New Jersey
    History of Freemasonry in New Jersey Commemorating the Two Hundredth Anniversary Of the Organization of the Grand Lodge of THE MOST ANCIENT AND HONORABLE SOCIETY OF FREE AND ACCEPTED MASONS for the State of New Jersey 1787-1987 Written And Prepared By The History Committee R.W. Edward Y. Smith, Jr., Grand Historian, Covenant No. 161 R.W. Earl G. Gieser, Past Junior Grand Deacon, Wilkins-Eureka No. 39 W. George J. Goss, Solomon's No. 46 R.W. Frank Z. Kovach, Past Grand Chaplain, Keystone No. 153 R.W. R. Stanford Lanterman, Past District Deputy Grand Master, Cincinnati No. 3 First Edition Index Contents Chapter Title Page I Antecedents 1682-1786 ···························· 1 II The Foundation Of The Grand Lodge 1786-1790 . .. ...... .. .. .. .. .. .. .. .... .. ... 5 ITI The Formative Years 1791-1825 .............. 9 IV A Time Of Trouble 1826-1842 ................ 15 V A Renewal Of Purpose 1843-1866 ........... 19 VI The Years Of Stability 1867-1900 ........... 23 VII The Years Of Growth 1901-1930 . 29 VITI Depression And Resurgence 1931-1957 .... 35 IX The Present State Of Affairs 1958-1986 .. 39 Appendix Lodges Warranted In New Jersey Lodges Warranted Prior To 1786 . 46 Lodges Warranted 1787 To 1842 . 46 Lodges Warranted Following 1842 . 50 Appendix Famous New Jersey Freemasons . 67 Appendix Elective Officers Of The Grand Lodge Since Organization . 98 Lieut. Colonel David Brearley, Jr. circa 1776-1779 The Hon. David Brearley, Jr. circa 1786-1790 The First R. W Grand Master-1786-1790 Grand Lodge, F. & A. M. of New Jersey Whitehall Tavern, New Brunswick, N.J. circa 1786 l. #-~-~ .. ~- Whitehall Tavern, New Brunswick, N.J.
    [Show full text]
  • The Correspondence of Thomas Merton and Ad Reinhardt: an Introduction and Commentary
    Do I want a small painting? The Correspondence of Thomas Merton and Ad Reinhardt: An Introduction and Commentary Roger Lipsey Thomas Merton and Ad Reinhardt met as undergraduates at Co- lumbia University (respectively. Class of 1937 and 1935) and formed a lifelong friendship. Although from wholly different backgrounds, in some ways they were uncannily alike. With their friend, the poet and sage Robert Lax (Class of 1938), and a second friend, the multi-talented editor, writer, and photographer Edward Rice (Class of 1940), they were seekers of truth who never lost touch with one another, however great the geographical distance separating them. Close readers of Thomas Merton have known for years of the Merton-Reinhardt correspondence, published in part and cited where useful to other purposes in the large Merton literature. It has never appeared as a whole, and several brilliant letters have remained unpubhshed. Further, in the absence of context, certain published passages were enigmatic—one had to guess their mean- ing, and it was more sensible not to guess at all. The extant correspondence is just 20 letters, spanning the years 1956 to 1964. This is conceivably the entire correspondence, but that seems unlikely; there are evident gaps and it ends too soon. The first, Reinhardt to Merton, is a catch-up letter—Reinhardt tells Merton what he has been doing in recent years—but it also re- sponds to a request, relayed from Merton through Lax, for a cover design that would suit an instructional pamphlet or series of pam- phlets which Merton was preparing for the novices at the Abbey of Gethsemani.
    [Show full text]
  • It's a Roman Holiday for Artists
    ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 It’s a Roman Holiday for Artists: The American Artists of L’Obelisco After World War II IT’S A ROMAN HOLIDAY FOR ARTISTS: THE AMERICAN ARTISTS OF L’OBELISCO AFTER WORLD WAR II italianmodernart.org/journal/articles/its-a-roman-holiday-for-artists-the-american- Ilaria0 Schiaffini Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 ABSTRACT L’Obelisco was among the most international of galleries in Rome (1946–81). Its owners, Gaspero del Corso and Irene Brin, established particularly close relationships with the United States starting in 1946, when the gallery opened. They organized the first European exhibition of Robert Rauschenberg, in 1953, and shows of Eugène Berman, Roberto Matta, Saul Steinberg, Ben Shahn, and Alexander Calder, among many others. In 1957, they facilitated the first European retrospective dedicated to Arshile Gorky, with a catalogue that included a preface by Afro. This paper addresses the presence in Italy, from World War II through the 1950s, of artists from the U.S. including exiles who had fled there from elsewhere in Europe during the conflict. Artistic, commercial, and political factors intertwined and favored the concentration of American artists in Italy after the Liberation. Starting with their management of the small gallery La Margherita (1943–45), the del Corso couple were a reference point for all sorts of visitors from the U.S., including intelligence agents. Thanks to the complicity of one such agent, the journalist and antiquarian Peter Lindamood, and of the gallerist Alexander Iolas, the “Fantasts” section of the MoMA exhibition Twentieth-Century Italian Art took shape.
    [Show full text]
  • Contemporary American Painting and Sculpture
    jLLINGiS LIBRARY AT URBAI-JA-CHAf'iSPAlGN ARCHITECTURE RIOHER LWHARY AW;HITKTU«t UNIVERSITY OF ILUNOS MlnlnHim Fee lor NOnce: Return or renew all Ubrary Meterieltl The each Lost Book Is $50.00. The person charging this material is responsible for withdrawn its return to the library from which it was on or before the Latest Date stamped below. reasons for discipli- Theft, mutilation, and underlining ol books are University. nary action and may result in dismissal from the To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN OCT f f f\UGZ jy^ 33? University of Illinois 7f'-^S^C^i^^t^ SECOND ALLEGORY -ri:'HC&IK/Cx,^*,' CONTEMPORARY University of Illinois, Urbana Sunday, March 1, through Sunday, April 12, 1953 Galleries, Architecture Building College of Fine and Applied Arts THE LiSrARY OF THE RltAtfi 1,\mA.J AhChllLCTURE MAR ^ 1953 uiiiVERSiTY OF ;m;;;c!3 Copyright 1 953 by the University of Illinois Manufactured in the United States of America RICHER LIBRARY ARCHITECTURE umvERSin OF iuinois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE GEORGE D. STODDARD President of the University REXFORD NEWCOMB Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rac OPERATING COMMITTEE C. A. Dietemann A. S. Weller W. F. Doolittle L. M. Woodroofe J. D. Hogan C. V. Donovan, Chairman L. F. Bailey J. \V. Kennedy E. H. Betts J. H. G. Lynch A. A. Boatright M. B. Martin STAFF COMMITTEE MEMBERS C. E. Bradbury R. Perlman G. R. Bradshaw J. W. Raushenberger C. \V.
    [Show full text]
  • Contemporary American Painting and Sculpture
    ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARCHITECTURE MUSk^ UBWRY /W»CMITK1t«t mvimu OF aiwos NOTICE: Return or renew all Library Matarialtl The Minimum F*« tor each Loat Book it $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli* nary action and may result in dismissal from the University. To renew call Telephone Center, 333-6400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN L161—O-1096 IKilir^ >UIBRICiil^ I^Aievri^^' cnsify n^ liliiMttiK, llrSMiiRj tiHil \' $4.50 Catalogue and cover design: RAYMOND PERLMAN / W^'^H UtSifv,t- >*r..v,~— •... 3 f ^-^ ':' :iiNTi:A\roiriiitY iiAii<:irii:AN I'iiiKTiNrp A\n kciilp i iikb I!k>7 UNIVERSITY OF ILLINOIS MAR G 1967 LIBRARY University of Illinois Press, Urbana, Chicago, and London, 1967 IIINTILUIMHtAirY ilAllilltlCAK I'AINTIKi; AKII KCIILI* I llltK l!H»7 Introduction by Allen S. Weller ex/ubition nth College of Fine and Applied Arts, University of Illinois, Urbana «:«Nli:A\l>«ltilKY AAIKIMCAN PAINTINIp A\» StAlLVTUKK DAVID DODDS HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Director, Krannert Art Museum Ctiairmon, Festivol of Contemporory Arts JURY OF SELECTION Allen S. Weller, Choirman James D. Hogan James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Ctiristison, Associate Director Deborah A. Jones, Assistant Curator James O. Sowers, Preporotor Jane Powell, Secretary Frieda V. Frillmon, Secretary H. Dixon Bennett, Assistant K. E.
    [Show full text]
  • William Congdon: Action Painting and the Impossible Iconography of the Christian Mystery1
    WILLIAM CONGDON: ACTION PAINTING AND THE IMPOSSIBLE ICONOGRAPHY OF THE CHRISTIAN MYSTERY1 • Rodolfo Balzarotti • “Even if the artist starts from a physical object, the goal is to reach something ontologically different, which is the image. The operation of painting must bring to light—in the sense of revealing, but also of causing to be born—this image as a work.” 1. A meeting that failed? In September of 1965, William Congdon was in New York after having been away from the city for many years. His gallery, the Betty Parsons Gallery, was organizing a traveling exhibition of his recent works, for the most part on religious, biblical, and liturgical subjects, to be shown throughout the United Sates at schools and religious institutions, both Catholic and Protestant. Congdon had converted to Catholicism in August 1959 in Assisi, where he then set up his residence in 1960. In that same year he abandoned the usual subjects of his art—views of cities and landscapes, painted in a gestural and expressionistic style close to the temperament of the school of Action Painting, to which he had been close in the late 1A version of this paper was presented in Washington, D.C. in April 2009. Communio 36 (Winter 2009). © 2009 by Communio: International Catholic Review William Congdon: Action Painting 695 1940s—to paint biblical and gospel subjects connected with Catholic liturgy, to the great amazement and also perplexity of many in the New York art world. During Congdon’s stay in America in 1965, Bernard Reis, a famous lawyer in New York and a great collector who also handled the business affairs of some of the leading artists of that time, including Congdon and Mark Rothko, took the initiative of arranging a meeting between these two painters.
    [Show full text]
  • Exhibition History 1919-1998
    Exhibitions at The Phillips Collection, 1919-1998 [Excerpted from: Passantino, Erika D. and David W. Scott, eds. The Eye of Duncan Phillips: a collection in the making. Washington D.C.: The Phillips Collection, 1999.] This document includes names and dates of exhibitions created by and/or shown at The Phillips Collection. Most entries also include the number of works in each show and brief description of related published materials. 1919 DP.1919.1* "A Group of Paintings From the Collection of our Fellow Member Duncan Phillips. Century, New York. May 18-June 5. 30 works. Partially reconstructed chklst. 1920 DP.1920.1* "Exhibition of Selected Paintings from the Collections of Mrs. D. C. Phillips and Mr. Duncan Phillips of Washington." Corcoran, Washington, D.C. Mar. 3-31. 62 works. Cat. DP.1920.2* "A Loan Exhibition from the Duncan Phillips Collection." Knoedler, New York. Summer. 36 works. Chklst. PMAG.1920.3* "Selected Paintings from the Phillips Memorial Art Gallery." Century, New York. Nov. 20, 1920-Jan. 5, 1921. 43 works (enlarged to 45 by Dec. 20). Cat. 1921 Phillips organized no exhibitions in 1921, spending most of his time preparing for the opening of his gallery. He showed his collection by scheduled appointment only. 1922 PMAG.1922. [Opening Exhibition]. Main Gallery. Feb. 1-opening June 1, 1922. Partially reconstructed chklst. PMAG.1922.1* "Exhibition of Oil Paintings by American Artists Loaned by the Phillips Memorial Art Gallery, Washington, D.C." L.D.M. Sweat Memorial Art Museum, Portland, Maine. Feb. 4-15. 22 works. Cat. PMAG.1922.2 "Second Exhibition of the Phillips Memorial Art Gallery." Main Gallery.
    [Show full text]
  • Complete Dissertation
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin.
    [Show full text]