A Discussion with Theodoros Stamos 45 Turkish Coffee in Greece by Elias Petropoulos 53 Documents: the O.S.S
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Art in America
MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, selfassured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs. -
Metropolitan Useum Of
Hiss Sullivan THE ^ ETROPOLITAN NEWS AT WILL USEUM OF ART FOR Eakibitlon oyone to public M RELEASE Friday, March 24, 1950 FIFTHAYE.at82STREET • NEW YORK PRESS VIEW; Tuesday, March 21, 1950 from 2 to 4:30 p.m. PAINTINGS BY 52 YOUNG AMERICAN ARTISTS TO GO ON VIEW AT THE METROPOLITAN MUSEUM; WORKS CHOSEN FROM 131 CANVASES SUBMITTED TO LIFE MAGAZINE BY ARTISTS UNDER 36 The Metropolitan Museum of Art has selected for exhibition 52 paintings by American artists under 36 from a group of 131 canvases assembled from throughout the nation by LIFE magazine. This special five-week exhibition of work considered their best by a group of the country's most promising young painters begins Friday, March 24th. Robert Beverly Hale, Associate Curator of Painting and Sculpture in the Mu seum's American Art Department, made the selection for the Metropolitan. He says he feels the display will help to indicate "where the future strength of painting lies in America." Several of the artists represented have already gained recognition. Among them are Walter Stuempfig, Hedda Sterne, William Kienbusch, Reuben Tarn, Mitchell Jamieson, Edward Melcarth and Theodoros Stamos. Others, including 25-year-old Hubert Raczka and 25-year-old Siegfried* Reinhardt, are just beginning to be known. When LIFE magazine recently asked the heads of schools, museums and leading college art departments to suggest the names of American painters under the ,age of 36 whose work they considered exceptionally promising, a total of 450 names were sent in. These artists were asked by LIFE to send in photographs of their best work On the evidence of more than 1,000 photographs, 131 artists were asked to send a painting. -
Greece During the Second World War
GREECE DURING THE SECOND WORLD WAR It is indeed an unusual experience for an ancient historian to lecture on a theme of contemporary history. The experience is doubtless valuable for the ancient historian. Its value for contemporary historY may be most charitably regarded as indeterminate. Historians present will, I am sure, agree that the profession is beset with obstacles, frustrations and difficulties. But there is one difficulty which the ancient historian can assume he will not encounter; that is, to have his assertions challenged by eyewitnesses to the actual events. In this room there are indeed such eyewitnesses. Among them are Professor William H. McNeill, who wrote the first good and responsible book on Greece during the Second War,1 and Professor D.George Kousoulas, whose really admi rable historY of the Greek Communist partY is of a significance far exceeding the specifically Greek context.2 To both these scholars this lecture is greatly indebted. Those familiar with this period of Greek historY are aware of its fantastic complexity. This complexity explains the over-simplified and dogma tic character of what follows. The First World War was ignited by an incident in the Balkans. The Second World War was not. Throughout the difficult and increasingly dangerous years from 1918 to 1939 the Balkan nations, both victors and vanquished, faced extraordinary difficulties — the acquisition of new territories or the loss of old, the problems of minorities and exchanges of population, industri al and technological backwardness, the legacy of centuries of Ottoman rule, with the resulting economic difficulties which in turn produced increasing social unrest. -
The Landscape in American Art
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2003 Town and Country: The Landscape in American Art Sharon L. Gustafson Statewide Exhibition Coordinator, Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Gustafson, Sharon L., "Town and Country: The Landscape in American Art" (2003). Sheldon Museum of Art Catalogues and Publications. 77. https://digitalcommons.unl.edu/sheldonpubs/77 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. TOWN & COUNTRY: The Landscape in American Art Sixteenth Annual Statewide Exhibition Sheldon Memorial Art Gallery and Sculpture Garden University of Nebraska-Lincoln 2002-2003 TOWN & COUNTRY: The Landscape in American Art he subject of Town and Country: Lands~ape as a backdrop but fills Tin American Art seems an appropnate the painting with the topic particularly in Nebraska where the land color and shapes of plays an integral part in defining our identity. spring. Mary's form The geography provides us physical suste mimics nature's shapes nance as well as aesthetic nourishment. There and the veil she wears is a closeness to the land that is perhaps even melds into the nearby more evident in the plains then anywhere else rock formations, so on earth. -
Vol. 9, No. 2, Autumn 1974
Prtce 25 pence ~-~--- ~- -- -~--~~---- PAPERBACKS .. 28 Charlotte St 'I Mon, Tues, Wed, Thurs , 9 a, m.-6 p.m. London W1 I >~~~ Fri 9 a.m.-7.30 p.m. I!;;ii;.... Sat 9 a.m.-5 p.m. BOOKS PERIODICAlS NEWSPAPERS ,Come in and browse aroundl No obligation to buyl ] GOODGE ST _----'_ +TUBE We I.k forward TOTTENHAM CT RD to seeing vou! A JOURNAL OF INTERNATIONAL MARXISM VOLUME9 NUMBER2 AUTUMN 1974 EDITORS: TOM KEMP, CLIFF SLAUGHTER 51 Editorial Individuals and social relations: 53 Cyril Smith some observations on Marx's Grlllldrisse History of the Greek Civil War (part iii) 61 Greek Section of the Ie of the FI Book review: Strikes in FrWlQ; 85 Tom Kemp Manifesto of the International Committee 88 International Committee 7.7.74 Greece and Cyprus: a new stage of World Crisis 92 International Committee 6.9.74 PUBLISHED BY THE INTERNATIONAL COMMITTEE OF THE FOURTH INTERNATIONAL 186A CLAPHAM HIGH STREET, LONDON, SW4 1UG. In tmlay's conditions of capitalist crisis, only the International Committee of the Fourth International stands on a record of fighting for revolutionary leadership in the working class. To carry forward this struggle now, when every revisionist tendency is striving to turn the working class back into the arms of the bureaucracy, an understanding of its history is essential. Founded in 1938 in conditions of crushing defeat for the working class, persecuted by the ruling class and the Stalinists, the F~urth International has survived only by the most ruthless struggle against liquidationism in its own ranks. These ff!ur volumes bring together the major documents of the struggle for Marxism, from 1951 onwards. -
Dodecanese Campaign from Wikipedia, the Free Encyclopedia
Create account Log in Article Talk Read Edit View history Dodecanese Campaign From Wikipedia, the free encyclopedia The Dodecanese Campaign of World War II was an attempt by Allied forces, mostly Navigation Dodecanese Campaign British, to capture the Italian-held Dodecanese islands in the Aegean Sea following the Part of the Mediterranean and Middle East theatre of Main page surrender of Italy in September 1943, and use them as bases against the German- World War II Contents controlled Balkans. The Allied effort failed, with the whole of the Dodecanese falling to Featured content the Germans within two months, and the Allies suffering heavy losses in men and Current events ships.[3] The operations in the Dodecanese, lasting from 8 September to 22 November Random article 1943, resulted in one of the last major German victories in the war.[4] Donate to Wikipedia Contents 1 Background Interaction 2 Initial Allied and German moves — The Fall of Rhodes Help 3 Battle of Kos About Wikipedia 4 Battle of Leros Community portal 5 Naval operations Recent changes 6 Aftermath Map of the Dodecanese Islands (in dark blue) Contact Wikipedia 7 In popular culture Date September 8 – November 22, 1943 8 References Location Dodecanese Islands, Aegean Sea Toolbox 9 Sources 10 External links Result German victory What links here Territorial German occupation of the Dodecanese Related changes changes Background [edit] Upload file Belligerents Special pages Further information: Military history of Greece during World War United Kingdom Germany Permanent link II and Mediterranean and Middle East theatre of World War II Kingdom of Italy Republican State of Page information South Africa Italy The Dodecanese island group lies in the south-eastern Aegean Sea, and had been Data item Greece under Italian occupation since the Italo-Turkish War. -
Abstract Expressionism: a Concern with the Unknown Within.” in Robert Hobbs and Gail Levin
“Early Abstract Expressionism: A Concern with the Unknown Within.” In Robert Hobbs and Gail Levin. Abstract Expressionism: The Formative Years. New York: Whitney Museum of American Art, 1978; pp. 8-26. Text © Robert Hobbs Early Abstract Expressionism: A Concern with the Unknown Within by Robert Carleton Hobbs Breakthrough! The term "breakthrough" is often used to assess a major accomplishment of an artist, the works in which he first achieves an undeniable advance. But what does a breakthrough really signify? What does an artist leave when he begins a new style? Is he really leaving, so to speak, one room, closing and sealing the door to it when he enters another? Or is he remodeling, expanding, or merely redecorating the room in which he exists? A major intent of this essay is to look closely at the rooms occupied by the Abstract Expressionists during their formative years, the enclosures pejoratively designated Surrealist-Cubist, in order to understand exactly what sort of quarters they inhabited before their acclaimed breakthrough. Moreover, the essay will examine these spaces, the ideas expressed in them and the artistic and literary sources supporting them. It will imply ways the later style is incorporated in the earlier one, for the development of the New York painters in the late 1940s was from the complex to the simple, from an admittedly conftated ambiguity typifying their work in the late thirties and greater part of the forties to the more condensed forms that remained the distinctive characteristic of their later style. The early paintings explain the later ones: they provide the key to interpreting the significant content that preoccupied the Abstract Expressionists. -
The Greek Civil War in the Czech Press Konstantinos Tsivos
The Greek Civil War in the Czech Press Konstantinos Tsivos | Neograeca Bohemica | 15 | 2015 | 65–87 | Abstract The Greek Civil War was the fi rst open confrontation in Europe between the Eastern block and the West aft er the Second World War. This confrontation did not only develop on the battlefront, but also on the propaganda front, inside Greece and abroad. Czechoslovakia was actively involved in the Greek Civil War, mainly by sending military equipment to Greece and by providing asylum to approximately 4,000 child refugees. The Greek Civil War was prominent in the Czechoslovakian press throughout its duration (1946–1949). This article, based on material from the Prague National Archives, analyses the events of the Civil War as presented by Czech newspapers. In addition, this presentation refl ects on the confrontation between the political forces that formed the National Front government of Czechoslovakia, before and aft er February 1948. There is also special reference to the activities of the propaganda machine that the Greek Communist Party had established in Prague at this time. Keywords Greek Civil War, Czechoslovak Press, Cold War, February 1948, polarization, propaganda 67 | Th e Greek Civil War in the Czech Press In March 1945 the Czechoslovak National Front government was formed. All the Czech and Slovak anti-fascist parties were equally represented in it, each by three ministers. The Communist Party, which had the leading role in form- ing the government liberation program, took control of three ministries that played a crucial part in the orientation of the country: these were the minis- tries of Interior, Agriculture and Information. -
Incompatible Allies: Greek Communism and Macedonian Nationalism in the Civil War in Greece, 1943-1949
Incompatible Allies: Greek Communism and Macedonian Nationalism in the Civil War in Greece, 1943-1949 Andrew Rossos, University of Toronto Such is the Slav Macedonian distrust of the Greek that even the KKE [Communist Party of Greece] is suspect.... KKE may be communist, but in the eyes of the Slav Macedonian it is primarily Greek. The development this summer of KKM [Communist Party of Macedonia] must offer a prospect of far greater appeal to the Slav-Macedonians in Greece than KKE can provide.[ 1] The Macedonians of Aegean or Greek Macedonia made a significant, indeed a critical contribution to the communist side during the Civil War in Greece. They were mobilized for the struggle by their own movement, the National Liberation Front (Naroden Osloboditelen Front, or NOF), which was or sought the role of an autonomous ally and partner, even if a junior one, of the Communist Party of Greece, Kommounistiko Komma tis Elladas (KKE). The two looked like natural allies. They shared a common ideology, Marxism-Leninism, since the NOF was also a communist organization; they both rejected the status quo and wanted to replace it with a communist people's democracy, and, by the late autumn of 1946, they seemed to agree that this aim could probably be attained only through force of arms. In reality, however, the KKE and NOF were divided by deep-seated mutual distrust and animosity. For the former, the struggle was exclusively ideological and its aim was the seizure of power in Greece. For the latter-without in the least questioning its ideological commitment-it was primarily a national struggle, a battle for the national liberation of the Macedonians in Aegean Macedonia.[ 2] These two perceptions of the struggle were not altogether contradictory, but the divergence in priorities exacerbated the already-existing mutual suspicions. -
A Finding Aid to the Theodoros Stamos Papers, Circa 1922-2008, in the Archives of American Art
A Finding Aid to the Theodoros Stamos papers, circa 1922-2008, in the Archives of American Art Cynthia S. Brenwall October 3, 2012 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1922-2006..................................................... 5 Series 2: Financial Records, 1979-circa 1990's....................................................... 6 Series 3: Correspondence, circa 1940s-1997.......................................................... 7 Series 4: Business and Legal Records, 1974-2008................................................ -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
La Grecia Senza I Leonida, Occupata Dai Serse, Governata Dagli Efialte
La Grecia senza i Leonida, occupata dai Serse, governata dagli Efialte (come tutti i Paesi membri della UE) Alcune note su questo lavoro La Grecia è una terra antica come il suo popolo. In quella terra è nata, ed è giunta fino a noi, la capacità di osservare la natura, le sue leggi, l’umanità, i suoi limiti, la sua grandezza nel saperli superare. La famiglia di mia madre aveva origini greche. Mio padre aveva un impegnativo nome greco, Temistocle. Come potevo, dunque, i primi tempi, senza accorgermene, non portarmi dentro la Grecia antica? Questo è il concreto motivo che mi ha spinto a scrivere un micro-saggio su quello che stava accadendo in Grecia. Attanagliata dal debito, incapace di liberarsene. Una storia di aggressioni e di invasivi controlli dall’esterno. Nel raccogliere i dati (che vedrete corposi) mi sono reso conto che stavo scrivendo un libro. Mi sono detto: la Grecia merita questa fatica, una fatica donata alla sua terra antica. Nel cercare di comprendere da dove venissero tutti quegli impedimenti alla sua autonomia; perché, soprattutto dal secondo dopo guerra, la Grecia stava subendo l’affronto della privazione della sua 1 _ P A sovranità, della sovranità del suo popolo, costringendola ad aderire ad organismi internazionali imprigionanti. La Nato, la UE, l’Eurozona. Ponendomi questi interrogativi, è nato questo lavoro di ricerca documentale, che qualcuno potrebbe anche chiamare: libro. Questo lavoro è diviso in quattro parti. – La prima, Quando la sovranità in Grecia era sacra, si basa e si radica nella Grecia Antica. – La seconda, Le radici velenose dell’Unione Europea cerca le motivazioni della costruzione dell’Europa unita, mostrandone i lati oscuri.