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Erich Heckel (Döbeln 1883 - Radolfzell 1970)
Erich Heckel (Döbeln 1883 - Radolfzell 1970) Selfportrait,1968 Artist description: Erich Heckel began studying architecture in 1904 at the Technical University in Dresden, but left the university again one year later. Heckel prepared the ground for Expressionism when he founded the artist group "Die Brücke" together with his friends Karl Schmidt-Rottluff, Fritz Bleyl and Ernst Ludwig Kirchner in 1905. The artist now concentrated on various printing techniques such as woodcut, lithograph and engraving. He produced landscapes in dazzling colours. In the autumn of 1911 Heckel moved to Berlin. He was acquainted with Max Pechstein, Emil Nolde and Otto Mueller who had joined the "Brücke" artists and now met Franz Marc, August Macke and Lyonel Feininger. In 1912 Erich Heckel painted the murals for the chapel of the "Sonderbund Exhibition" in Cologne together with Ernst Ludwig Kirchner. "Die Brücke" was dissolved in the following year and Gurlitt arranged Heckel's first one-man-exhibition in Berlin. Erich Heckel spent the years 1915 - 1918 in Flanders as a male nurse with the Red Cross and then returned to Berlin where he remained until the beginning of 1944. Heckel spent most summers on the Flensburger Förde while his many travels took him to the Alps, Southern France, Northern Spain and Northern Italy. 729 of his works were confiscated in German museums in 1937 and his studio in Berlin was destroyed in an air raid in Berlin shortly before the end of the war, destroying all his printing blocks and many of his works. Heckel subsequently moved to Hemmenhofen on Lake Constance. In 1949 he was appointed professor at the "Akademie der Bildenden Künste" in Karlsruhe, a post that he held until 1955. -
AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING in SHADES Saturday - Sunday: 12:00 - 18:00
A Q U A T I N T : P R I N T I N G I N S H A D E S GILDEN’S ARTS GALLERY 74 Heath Street Hampstead Village London NW3 1DN AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING IN SHADES Saturday - Sunday: 12:00 - 18:00 GILDENSARTS.COM [email protected] +44 (0)20 7435 3340 G I L D E N ’ S A R T S G A L L E R Y GILDEN’S ARTS GALLERY AQUATINT: PRINTING IN SHADES April – June 2015 Director: Ofer Gildor Text and Concept: Daniela Boi and Veronica Czeisler Gallery Assistant: Costanza Sciascia Design: Steve Hayes AQUATINT: PRINTING IN SHADES In its ongoing goal to research and promote works on paper and the art of printmaking, Gilden’s Arts Gallery is glad to present its new exhibition Aquatint: Printing in Shades. Aquatint was first invented in 1650 by the printmaker Jan van de Velde (1593-1641) in Amsterdam. The technique was soon forgotten until the 18th century, when a French artist, Jean Baptiste Le Prince (1734-1781), rediscovers a way of achieving tone on a copper plate without the hard labour involved in mezzotint. It was however not in France but in England where this technique spread and flourished. Paul Sandby (1731 - 1809) refined the technique and coined the term Aquatint to describe the medium’s capacity to create the effects of ink and colour washes. He and other British artists used Aquatint to capture the pictorial quality and tonal complexities of watercolour and painting. -
16 Forse Mai, O Forse in Paradiso MINICATALOGUE
¢ £ ¤ ¥ ¦ § ¥ ¨ ¥ © ¥ ¥ ¥ ¦ ¥ ¦ ¦ § ¥ ¤ ¦ §¥ ¨¥© £¥¤ £ ¨ ! "# # $#$# $$ % & ' ¨ %()* ¦ + $ , % ( - ( - % ( .. .. & / 0 , % ( - ( - % ( .. 1 222 + & 3 # # & # ! + & 22 2+ & 3 # # !+ FORSE MAI, O FORSE IN PARADISO NOT HERE, BUT CERTAINLY IN HEAVEN Giovanni Manfredini, the artists of „Brücke“ and their successors on the theme of „Religion“ Left: Giovanni Manfredini, Stabat Mater, silver plated 2014, diameter 33 cm. Signed. Obj. Id 79808. Right: Hermann Max Pechstein, Vater Unser, Portfolio with 12 Woodcuts 1921, Edition B: Exemplar 121 of 250, each print is signed, paper size 41 x 60 cm. Obj. Id: 80154 2nd September until 26th November 2016 ¢ ¨ ## ¦+ $ 24$# ¢ ¨ ## £¢ "!+#!+ 5$# 6 3$$$!+ $ ¢42# ¢ & 5$#+54 & 5$#5!++54 &74 & £!+6 £5$$#54 & £358 & 7358 & 99$$ & !+:#54 #54 ;4!+ 359## ¥!+#+# $654 7$!+54 $<# <# 5 4$#$!+ #554 6 5$#5$$#54 5 5$#$9954 $#4&/#4 (= & () , (% (1 >+ & 9$#4 (= & (- >+ ¢£¤¥¦§¥ ¨¥© ¥ ¥ ¥¦¥¦ ¦§¥¤ ¦§¥¨¥©£¥¤ £ ¨ ! "##$#$#$$ % & '¨ %()* ¦+$ ,%(-(-%( .. .. & /0 ,%(-(-%( .. .1 222+&3##&#!+ & 222+&3##!+ FORSE MAI, O FORSE IN PARADISO NOT HERE, BUT CERTAINLY IN HEAVEN Giovanni Manfredini, the artists of “Brücke” and their successors on the theme of “Religion” nd th 2 September until 26 November 2016 Besides allegorical and historical representations, paintings and sculptures devoted to religious themes also became firmly established very early on in the history of art. By the time of the ancient Greeks and Romans, at the latest, their gods and their deeds, histories -
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era. -
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Devotion Woodcut, 1912 Schmidt-Rotluff was one of the founding members ofDie Brücke (The Bridge) in Dresden in 1905, along with Erich Heckel, Ernst Ludwig Kirchner, and Fritz Bleyl, and joined by Emil Nolde and Max Pechstein. The group disbanded in 1913, largely due to their varying styles and independent moves to Berlin, but each remained true to their rejection of European academic painting and conventions in favor of exploring the vitality and directness of non-Western art forms, particularly West African masks and Oceanic art, as well as revitalization of the pre-Renaissance tradition of German woodcuts. Devoción Xilografía, 1912 Schmidt-Rottluff fue uno de los miembros fundadores de Die Brücke (El puente) en Dresde en 1905, junto con Erich Heckel, Ernst Ludwig Kirchner y Fritz Bleyl, grupo al que se unieron luego Emil Nolde y Max Pechstein. El grupo se disolvió en 1913, en gran parte debido a la evolución de sus estilos y a los traslados individuales de los artistas a Berlín, pero cada uno de ellos permaneció fiel al rechazo de la pintura y las convenciones academicistas europeas, en favor de la exploración de la vitalidad y la franqueza de formas artísticas no occidentales, especialmente las máscaras de África occidental y el arte de Oceanía, así como de la revitalización de la xilografía alemana de tradición prerrenacentista. Museum purchase through the Earle W. Grant Acquisition Fund, 1975.37 KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Head of a Woman Woodcut, 1909 “I know that I have no program, only the unaccountable longing to grasp what I see and feel, and to find the purest means of expressing it.” Studying Japanese techniques of woodcuts, as well as the techniques of Albrecht Dürer, Paul Gauguin, and Edvard Munch, Schmidt-Rottluff produced powerful images, evoking intense psychological states through the flattening of form and retention of traces of roughly hewn wood blocks. -
Max Beckmann Alexej Von Jawlensky Ernst Ludwig Kirchner Fernand Léger Emil Nolde Pablo Picasso Chaim Soutine
MMEAISSTTEERRWPIECREKSE V V MAX BECKMANN ALEXEJ VON JAWLENSKY ERNST LUDWIG KIRCHNER FERNAND LÉGER EMIL NOLDE PABLO PICASSO CHAIM SOUTINE GALERIE THOMAS MASTERPIECES V MASTERPIECES V GALERIE THOMAS CONTENTS MAX BECKMANN KLEINE DREHTÜR AUF GELB UND ROSA 1946 SMALL REVOLVING DOOR ON YELLOW AND ROSE 6 STILLEBEN MIT WEINGLÄSERN UND KATZE 1929 STILL LIFE WITH WINE GLASSES AND CAT 16 ALEXEJ VON JAWLENSKY STILLEBEN MIT OBSTSCHALE 1907 STILL LIFE WITH BOWL OF FRUIT 26 ERNST LUDWIG KIRCHNER LUNGERNDE MÄDCHEN 1911 GIRLS LOLLING ABOUT 36 MÄNNERBILDNIS LEON SCHAMES 1922 PORTRAIT OF LEON SCHAMES 48 FERNAND LÉGER LA FERMIÈRE 1953 THE FARMER 58 EMIL NOLDE BLUMENGARTEN G (BLAUE GIEßKANNE) 1915 FLOWER GARDEN G (BLUE WATERING CAN) 68 KINDER SOMMERFREUDE 1924 CHILDREN’S SUMMER JOY 76 PABLO PICASSO TROIS FEMMES À LA FONTAINE 1921 THREE WOMEN AT THE FOUNTAIN 86 CHAIM SOUTINE LANDSCHAFT IN CAGNES ca . 1923-24 LANDSCAPE IN CAGNES 98 KLEINE DREHTÜR AUF GELB UND ROSA 1946 SMALL REVOLVING DOOR ON YELLOW AND ROSE MAX BECKMANN oil on canvas Provenance 1946 Studio of the Artist 60 x 40,5 cm Hanns and Brigitte Swarzenski, New York 5 23 /8 x 16 in. Private collection, USA (by descent in the family) signed and dated lower right Private collection, Germany (since 2006) Göpel 71 2 Exhibited Busch Reisinger Museum, Cambridge/Mass. 1961. 20 th Century Germanic Art from Private Collections in Greater Boston. N. p., n. no. (title: Leaving the restaurant ) Kunsthalle, Mannheim; Hypo Kunsthalle, Munich 2 01 4 - 2 01 4. Otto Dix und Max Beckmann, Mythos Welt. No. 86, ill. p. 156. -
Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. -
The Study of the Relationship Between Arnold Schoenberg and Wassily
THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world. -
Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16 Author(S): Sherwin Simmons Reviewed Work(S): Source: the Art Bulletin, Vol
Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16 Author(s): Sherwin Simmons Reviewed work(s): Source: The Art Bulletin, Vol. 82, No. 1 (Mar., 2000), pp. 117-148 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3051367 . Accessed: 01/10/2012 16:52 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16 SherwinSimmons An article entitled "Culture in the Display Window," which formulation of Berlin as a whore and representations of surveyed the elegant artistry of Berlin's display windows, fashion contributed to Kirchner's interpretation of the street- appeared in Der Kritiker,a Berlin cultural journal, during the walkers.8 My study extends such claims by examining the summer of 1913. Its author stated that these windows were an impact of specific elements within the discourse about luxury important factor in Germany's recent economic boom and and immorality on Kirchner's work and considering why such the concomitant rise of its culture on the world stage, serving issues would have concerned an avant-garde artist. -
The Journey of Ernst Ludwig Kirchner's Self-Portrait As a Soldier
Oberlin Digital Commons at Oberlin Honors Papers Student Work 2016 Icon of Heroic “Degeneracy”: The Journey of Ernst Ludwig Kirchner’s Self-Portrait as a Soldier Meghan E. Mette Oberlin College Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the History Commons Repository Citation Mette, Meghan E., "Icon of Heroic “Degeneracy”: The Journey of Ernst Ludwig Kirchner’s Self-Portrait as a Soldier" (2016). Honors Papers. 237. https://digitalcommons.oberlin.edu/honors/237 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. Icon of Heroic “Degeneracy” The Journey of Ernst Ludwig Kirchner’s Self-Portrait as a Soldier Meghan E. Mette Candidate for Senior Honors in History Oberlin College Thesis Advisor: Professor Leonard Smith Spring, 2016 To Dad, who sparked my interest in art and the stories it can tell… Mette ii Table of Contents I. Preface…………………………………………………………………………… vi II. Introduction……………………………………………………………………....1 III. Chapter 1: Self-Portrait as a Soldier in Wilhelmine and Weimar Germany…. …………………………………………………………………………………….9 IV. Chapter 2: Self-Portrait as a Soldier under Nazi Denunciation……………....17 V. Chapter 3: From Degeneration to Idolization; The Painting’s Journey to America…………………………………………………………………………..27 VI. Chapter 4: Self-Portrait as a Soldier’s Success in the United States and Beyond…………………………………………………………………………...35 VII. Conclusion……………………………………………………………………….50 VIII. Bibliography……………………………………………………………………..54 Mette iii Acknowledgements I would first like to acknowledge my thesis advisor, Professor Leonard Smith, who has guided me through this process from the start and taught me to think about my research in new and profound ways. -
Anastasia Siopsi* AURAL and VISUAL MANIFESTATIONS of the SCREAM in ART, BEGINNING with EDVARD MUNCH's DER SCHREI DER NATUR 1
Siopsi, A., Aural and Visual Manifestations of the Scream in Art... VIEWS Article received on August 27th 2017 Article accepted on November 13th 2017 UDC: 78.036.7 75.036.7 Anastasia Siopsi* Ionian University, Corfu Music Department, School of Music and Audiovisual Arts AURAL AND VISUAL MANIFESTATIONS OF THE SCREAM IN ART, BEGINNING WITH EDVARD MUNCH’S DER SCHREI DER NATUR 1 Abstract: In Munch’s painting entitled Der Schrei der Natur (1893), a figure, while walk- ing on a bridge, feels the cry of nature, a sound that is sensed internally rather than heard with the ears. The Scream is thought to be the ultimate embodiment of fear, angst and alienation. It is also thought to symbolize humanity’s existential panic expressed by ugly, even hideous, sounds of living beings undergoing both physical and emotional suffering in the modern age. * Author contact information: [email protected] 1 This article was initially written in Greek, under the same title, as a paper to be presented at the 3rd conference of the Greek Musicological Society, 25–27 November 2016, Athens. The annuals will be published as an e-book on the website of the Greek Musicological Society (http://musicology.mus.auth.gr/) . 237 New Sound 50, II/2017 As a motive, the so-called Ur-schrei is manifested mainly, but not only, in expressionist literature, painting and music, in order to articulate the most intense human emotions. In this article, I will present and analyze aural and visual manifestations of the Scream in music and painting. Key words: scream, primal scream (Ur-schrei), expressionism, atonal music, idea of man’s alienation from nature.