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Portraits of the Most Sane
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Portraits of the Most Sane David Leonard Mamukelashvili Bard College Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Other History of Art, Architecture, and Archaeology Commons, Political History Commons, and the Social History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Mamukelashvili, David Leonard, "Portraits of the Most Sane" (2017). Senior Projects Spring 2017. 173. https://digitalcommons.bard.edu/senproj_s2017/173 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. 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]. Portraits of the Most Sane Senior Project Submitted to the Division of the Arts of Bard College By David Mamukelashvili Annandale-on-Hudson, NY May 2017 Acknowledgments I do not know whether I’ll ever be able to demonstrate or show what these five people, I’m about to name, have meant to me over these four years at Bard. I think the only way to repay you is to always hold myself to the standards that you’ve held me to. -
KYK-OVER-AL Volume 2 Issues 8-10
KYK-OVER-AL Volume 2 Issues 8-10 June 1949 - April 1950 1 KYK-OVER-AL, VOLUME 2, ISSUES 8-10 June 1949-April 1950. First published 1949-1950 This Edition © The Caribbean Press 2013 Series Preface © Bharrat Jagdeo 2010 Introduction © Dr. Michael Niblett 2013 Cover design by Cristiano Coppola Cover image: © Cecil E. Barker All rights reserved No part of this publication may be reproduced or transmitted in any form without permission. Published by the Ministry of Culture, Youth and Sports, Guyana at the Caribbean Press. ISBN 978-1-907493-54-6 2 THE GUYANA CLASSICS LIBRARY Series Preface by the President of Guyana, H. E. Bharrat Jagdeo General Editors: David Dabydeen & Lynne Macedo Consulting Editor: Ian McDonald 3 4 SERIES PREFACE Modern Guyana came into being, in the Western imagination, through the travelogue of Sir Walter Raleigh, The Discoverie of Guiana (1595). Raleigh was as beguiled by Guiana’s landscape (“I never saw a more beautiful country...”) as he was by the prospect of plunder (“every stone we stooped to take up promised either gold or silver by his complexion”). Raleigh’s contemporaries, too, were doubly inspired, writing, as Thoreau says, of Guiana’s “majestic forests”, but also of its earth, “resplendent with gold.” By the eighteenth century, when the trade in Africans was in full swing, writers cared less for Guiana’s beauty than for its mineral wealth. Sugar was the poet’s muse, hence the epic work by James Grainger The Sugar Cane (1764), a poem which deals with subjects such as how best to manure the sugar cane plant, the most effective diet for the African slaves, worming techniques, etc. -
Eugène Delacroix the Artist Eugène Delacroix Born in Saint-Maurice-En-Chalencon, France 1798; Died in Paris, France 1863
Eugène Delacroix Horse Frightened by Lightning , 1824–1829 watercolor, white heightening, gum Arabic watercolor on paper, 94 x 126 in. Museum of Fine Arts, Budapest, Hungary Self-Portrait, c.1837 oil on canvas The Louvre, Paris The Artist Eugène Delacroix Born in Saint-Maurice-en-Chalencon, France 1798; died in Paris, France 1863 Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic School. Born in France in 1798, Delacroix was orphaned at the age of 16. In 1816 he began his formal art training, learning the neoclassical style of Jacques- Louis David. Delacroix’s first major painting, The Barque of Dante, was accepted into the Paris Salon in 1822, earning him national fame. He turned away from the neoclassical style, and became one of the best-known Romantic painters, favoring imaginative scenes from literature and historical events. Highly acclaimed works include Death of Sardanapalus and Liberty Leading the People , a painting inspired by France’s uprising against King Charles X in 1830. In 1832, Delacroix spent 6 months in North Africa, and created many paintings inspired by Arabic culture and the sun-drenched landscape. Delacroix continued to be very popular in his lifetime, exhibiting many works in the Paris salon, and receiving commissions to decorate important Parisian buildings. Delacroix died on August 13, 1863. Art Movement Romanticism The Romantic Movement was inspired in part by the ideas of Rousseau, who declared that “Man is born free, but is everywhere in chains!” Romanticism emerged from the desire for freedom – political freedom, freedom of thought, of feeling, of action, of worship, of speech, and of taste. -
Victorian Paintings Anne-Florence Gillard-Estrada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects. -
Second International Congress of Art History Students Proceedings !"#$%&&'"
SECOND INTERNATIONAL CONGRESS OF ART HISTORY STUDENTS PROCEEDINGS !"#$%&&'" !"#$%&'() Klub studenata povijesti umjetnosti Filozofskog fakulteta (Art History Students' Association of the Faculty of Humanities and Social Sciences) (*%+,)%-$ #,-)* Jelena Behaim, Kristina Brodarić, Lucija Bužančić, Ivan Ferenčak, Jelena Mićić, Irena Ravlić, Eva Žile )(.%(/()& Tanja Trška, Maja Zeman (*%+%01 -0* !),,2)(-*%01 Ivana Bodul, Kristina Đurić, Petra Fabijanić, Ana Kokolić, Tatjana Rakuljić, Jasna Subašić, Petra Šlosel, Martin Vajda, Ira Volarević *(&%10 + $-3,"+ Teo Drempetić Čonkić (oprema čonkić#) The Proceedings were published with the financial support from the Faculty of Humanities and Social Sciences in Zagreb. SECOND INTERNATIONAL CONGRESS OF ART HISTORY STUDENTS PROCEEDINGS !"#$%&'() Klub studenata povijesti umjetnosti Filozofskog fakulteta (Art History Students' Association of the Faculty of Humanities and Social Sciences) %&#* 978-953-56930-2-4 Zagreb, 2014 ƌ TABLE OF CONTENTS ! PREFACE " IS THERE STILL HOPE FOR THE SOUL OF RAYMOND DIOCRÈS? THE LEGEND OF THE THREE LIVING AND THREE DEAD IN THE TRÈS RICHES HEURES — )*+,- .,/.0-12 #" THE FORGOTTEN MACCHINA D’ALTARE IN THE CHURCH LADY OF THE ANGELS IN VELI LOŠINJ — 3*/+, 45*6),7 $% GETTING UNDER THE SURFACE " NEW INSIGHTS ON BRUEGEL’S THE ASS AT SCHOOL — 8*69/* +*906 &' THE FORMER HIGH ALTAR FROM THE MARIBOR CATHEDRAL — -*706:16* 5*-71; (% EVOCATION OF ANTIQUITY IN LATE NINETEENTH CENTURY ART: THE TOILETTE OF AN ATHENIAN WOMAN BY VLAHO BUKOVAC — *6* 8*3*/9<12 %& A TURKISH PAINTER IN VERSAILLES: JEAN#ÉTIENNE LIOTARD AND HIS PRESUMED PORTRAIT OF MARIE!ADÉLAÏDE OF FRANCE DRESSED IN TURKISH COSTUME — =,)*6* *6.07+,-12 ># IRONY AND IMITATION IN GERMAN ROMANTICISM: MONK BY THE SEA, C.$D. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 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. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Jean METZINGER (Nantes 1883 - Paris 1956)
Jean METZINGER (Nantes 1883 - Paris 1956) The Yellow Feather (La Plume Jaune) Pencil on paper. Signed and dated Metzinger 12 in pencil at the lower left. 315 x 231 mm. (12 3/8 x 9 1/8 in.) The present sheet is closely related to Jean Metzinger’s large painting The Yellow Feather, a seminal Cubist canvas of 1912, which is today in an American private collection. The painting was one of twelve works by Metzinger included in the Cubist exhibition at the Salon de La Section d’Or in 1912. One of the few paintings of this period to be dated by the artist, The Yellow Feather is regarded by scholars as a touchstone of Metzinger’s early Cubist period. Drawn with a precise yet sensitive handling of fine graphite on paper, the drawing repeats the multifaceted, fragmented planes of the face in the painting, along with the single staring eye, drawn as a simple curlicue. The Yellow Feather was one of several Cubist paintings depicting women in fashionable clothes, and with ostrich feathers in their hats, which were painted by Metzinger in 1912 and 1913. Provenance: alerie Hopkins-Thomas, Paris Private collection, Saint-Germain-en-Laye, until 2011. Literature: Jean-Paul Monery, Les chemins de cubisme, exhibition catalogue, Saint-Tropez, 1999, illustrated pp.134-135; Anisabelle Berès and Michel Arveiller, Au temps des Cubistes, 1910-1920, exhibition catalogue, Paris, 2006, pp.428-429, no.180. Artist description: Trained in the Académie des Beaux-Arts in Nantes, Jean Metzinger sent three paintings to the Salon des Indépendants in 1903 and, having sold them, soon thereafter settled in Paris. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Colonia Tournament Round #6
Colonia Tournament Round 6 First Period, 20 Tossups 1. This author of a campaign biography for Millard Fillmore wrote about Reverend Hooper's refusal to remove sinister headwear in "The Minister's Black Veil." This man included a story about Aylmer killing Georgianna while trying to remove the title blemish in his story collection Mosses from an Old Manse. For 10 points name this author of "The Birthmark" also known for novels like The House of the Seven Gables and The Scarlet Letter. ANSWER: Nathaniel Hawthorne 015-10-14-06101 2. Pahoehoe is produced by many of these geological features, which generally do not generate pyroclastic flows. A fissure in one of these geological features can create a curtain of fire. These features are usually formed through effusive eruptions and have very low-viscosity, fluid lava that can spread over long distances, making some of these features the largest mountains on earth. For 10 points, name these gentle-sloped volcanoes that include Mauna Loa and Kiluaea. ANSWER: shield volcanoes 036-10-14-06102 3. The outer surface of these structures are covered in a material that contains amelogenins (AM-uh-lo-JEN-ins) instead of collagens. Another part of these structures is covered by cementum (see-MEN-tum); that part is the root, whose central part is the pulp. The primary type of these structures are typically lost starting around age six. Enamel covers the upper surface of, for 10 points, what structures used to chew food? ANSWER: teeth 003-10-14-06103 4. This artist depicted disfigured and naked men trying to get into a boat that bears three people in his painting The Barque of Dante. -
Albert Gleizes Y Las Leyes De La Pintura: Un Retorno a La Edad Media
Albert Gleizes y las leyes de la pintura: un retorno a la Edad Media CARME BONELL Les Arts, parce qu'ils sont pratiques, ne sauraient etre exclusivement a la merci d'une fantaisie échevelée. II leur faut s'appuyer constamment sur des principes relativement exacts, c'est vrai, mais suffisants pour satisfaire la sensibilité et la raison,,. Albert Gleizes <<Lapeinture et ses lois. Ce qui devait sortir du Cubisme)>,es un artículo de Albert Gleizes publicado en La vie des Lettres et des Arts, en marzo de 1923'. Es un texto doblemente interesante si se tiene en cuenta, por una parte, el trabajo teórico de Gleizes, y, por otra, el movimiento de retorno al orden en el período de entreguerras. En cuanto a la primera cuestión, este texto se ha de valorar globalmente de acuerdo con la trayectoria biográfica y artística de Gleizes, y en relación también con otros textos suyos anteriores, especialmente el libro Du ~Cubismen,escrito en colaboración con Jean Metzinger2. En cuanto a la segunda l Este artículo fue nuevamente publicado como opúsculo en 1924, con numerosas varian- tes, y reeditado en 1961. Para todas las citas se utiliza la versión publicada en La Vie des Lettres et des Arts, París, 2eme série, n. 12, marzo de 1923, p. 26-74. (Todas las citas son traducción de la autora.) 2GLEIZES, A. y METZINGER, J. DU ~Cubismew,París, Eugene Figuiere, 1912. Reed. Sisteron, Présence, 1980 (todas las citas se refieren a esta edición y son traducción de la autora).Vers. cast.: Sobre el Cubismo, Murcia, C.O.A.A.T., 1986. -
A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements. -
Leighton's Iconic Painting Flaming June on View in New
LEIGHTON’S ICONIC PAINTING FLAMING JUNE ON VIEW IN NEW YORK CITY FOR THE FIRST TIME June 9 through September 6, 2015 Born in Scarborough, Yorkshire, in 1830, Frederic Leighton was one of the most renowned artists of the Victorian era. He was a painter and sculptor, as well as a formidable presence in the art establishment, serving as a longtime president of the Royal Academy, and he forged an unusual path between academic classicism and the avant-garde. The recipient of many honors during his lifetime, he is the only British artist to have been ennobled, becoming Lord Leighton, Baron of Stretton, in the year of his death. Nevertheless, he left almost no followers, and his impressive oeuvre was largely forgotten in the twentieth century. Leighton’s virtuoso technique, extensive preparatory Frederic Leighton (1830–1896), Flaming June, c.1895, oil on canvas, Museo de Arte de Ponce. The Luis A. Ferré Foundation, Inc. process, and intellectual subject matter were at odds with the generation of painters raised on Impressionism, with its emphasis on directness of execution. One of his last works, however, Flaming June, an idealized sleeping woman in a semi-transparent saffron gown, went on to enduring fame. From June 9 to September 6, Leighton’s masterpiece will hang at the Frick, on loan from the Museo de Arte de Ponce in Puerto Rico. The exhibition, which is accompanied by a publication and series of public programs, is organized by Susan Grace Galassi, Senior Curator, The Frick Collection. Leighton’s Flaming June is made possible by The Peter Jay Sharp Foundation and Mr.