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Site/Non-Site Explores the Relationship Between the Two Genres Which the Master of Aix-En- Provence Cultivated with the Same Passion: Landscapes and Still Lifes
site / non-site CÉZANNE site / non-site Guillermo Solana Museo Thyssen-Bornemisza, Madrid February 4 – May 18, 2014 Fundación Colección Acknowledgements Thyssen-Bornemisza Board of Trustees President The Museo Thyssen-Bornemisza Hervé Irien José Ignacio Wert Ortega wishes to thank the following people Philipp Kaiser who have contributed decisively with Samuel Keller Vice-President their collaboration to making this Brian Kennedy Baroness Carmen Thyssen-Bornemisza exhibition a reality: Udo Kittelmann Board Members María Alonso Perrine Le Blan HRH the Infanta Doña Pilar de Irina Antonova Ellen Lee Borbón Richard Armstrong Arnold L. Lehman José María Lassalle Ruiz László Baán Christophe Leribault Fernando Benzo Sáinz Mr. and Mrs. Barron U. Kidd Marina Loshak Marta Fernández Currás Graham W. J. Beal Glenn D. Lowry HIRH Archduchess Francesca von Christoph Becker Akiko Mabuchi Habsburg-Lothringen Jean-Yves Marin Miguel Klingenberg Richard Benefield Fred Bidwell Marc Mayer Miguel Satrústegui Gil-Delgado Mary G. Morton Isidre Fainé Casas Daniel Birnbaum Nathalie Bondil Pia Müller-Tamm Rodrigo de Rato y Figaredo Isabella Nilsson María de Corral López-Dóriga Michael Brand Thomas P. Campbell Nils Ohlsen Artistic Director Michael Clarke Eriko Osaka Guillermo Solana Caroline Collier Nicholas Penny Marcus Dekiert Ann Philbin Managing Director Lionel Pissarro Evelio Acevedo Philipp Demandt Jean Edmonson Christine Poullain Secretary Bernard Fibicher Earl A. Powell III Carmen Castañón Jiménez Gerhard Finckh HSH Prince Albert II of Monaco Giancarlo Forestieri William Robinson Honorary Director Marsha Rojas Tomàs Llorens David Franklin Matthias Frehner Alejandra Rossetti Peter Frei Katy Rothkopf Isabel García-Comas Klaus Albrecht Schröder María García Yelo Dieter Schwarz Léonard Gianadda Sir Nicholas Serota Karin van Gilst Esperanza Sobrino Belén Giráldez Nancy Spector Claudine Godts Maija Tanninen-Mattila Ann Goldstein Baroness Thyssen-Bornemisza Michael Govan Charles L. -
1856 2 Jean Baptiste Du Tertre, “Indigoterie”
iLLusTRaTions Plates (Appear after page 204) 1 Anonymous, Johnny Heke (i.e., Hone Heke), 1856 2 Jean Baptiste Du Tertre, “Indigoterie” (detail), 1667 3 Anonymous, The Awakening of the Third Estate, 1789 4 José Campeche, El niño Juan Pantaleón de Avilés de Luna, 1808 5 William Blake, God Writing on the Tablets of the Covenant, 1805 6 James Sawkins, St. Jago [i.e., Santiago de] Cuba, 1859 7 Camille Pissarro, The Hermitage at Pontoise, 1867 8 Francisco Oller y Cestero, El Velorio [The Wake], 1895 9 Cover of Paris-Match 10 Bubbles scene from Rachida, 2002 11 Still of Ofelia from Pan’s Labyrinth, 2006 figures 1 Marie- Françoise Plissart from Droit de regards, 1985 2 2 Jean-Baptiste du Tertre, “Indigoterie,” Histoire générale des Antilles Habitées par les François, 1667 36 3 Plan of the Battle of Waterloo 37 4 John Bachmann, Panorama of the Seat of War: Bird’s Eye View of Virginia, Maryland, Delaware and the District of Columbia, 1861 38 Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/651991/9780822393726-ix.pdf by guest on 27 September 2021 5 “Multiplex set” from FM- 30–21 Aerial Photography: Military Applications, 1944 39 6 Unmanned Aerial Vehicle, Master Sergeant Steve Horton, U.S. Air Force 40 7 Anonymous, Toussaint L’Ouverture, ca. 1800 42 8 Dupuis, La Chute en masse, 1793 43 9 Timothy H. O’Sullivan, Untitled [Slaves, J. J. Smith’s Plantation near Beaufort, South Carolina], 1862 44 10 Emilio Longoni, May 1 or The Orator of the Strike, 1891 45 11 Ben H’midi and Ali la Pointe from The Battle of Algiers, 1966 46 12 An Inconvenient Truth, 2006 47 13 “Overseer,” detail from Du Tertre, “Indigoterie” 53 14 Anthony Van Dyck, Charles I at the Hunt, ca. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
2021-02-12 FY2021 Grant List by Region.Xlsx
New York State Council on the Arts ‐ FY2021 New Grant Awards Region Grantee Base County Program Category Project Title Grant Amount Western New African Cultural Center of Special Arts Erie General Support General $49,500 York Buffalo, Inc. Services Western New Experimental Project Residency: Alfred University Allegany Visual Arts Workspace $15,000 York Visual Arts Western New Alleyway Theatre, Inc. Erie Theatre General Support General Operating Support $8,000 York Western New Special Arts Instruction and Art Studio of WNY, Inc. Erie Jump Start $13,000 York Services Training Western New Arts Services Initiative of State & Local Erie General Support ASI General Operating Support $49,500 York Western NY, Inc. Partnership Western New Arts Services Initiative of State & Local Erie Regrants ASI SLP Decentralization $175,000 York Western NY, Inc. Partnership Western New Buffalo and Erie County Erie Museum General Support General Operating Support $20,000 York Historical Society Western New Buffalo Arts and Technology Community‐Based BCAT Youth Arts Summer Program Erie Arts Education $10,000 York Center Inc. Learning 2021 Western New BUFFALO INNER CITY BALLET Special Arts Erie General Support SAS $20,000 York CO Services Western New BUFFALO INTERNATIONAL Electronic Media & Film Festivals and Erie Buffalo International Film Festival $12,000 York FILM FESTIVAL, INC. Film Screenings Western New Buffalo Opera Unlimited Inc Erie Music Project Support 2021 Season $15,000 York Western New Buffalo Society of Natural Erie Museum General Support General Operating Support $20,000 York Sciences Western New Burchfield Penney Art Center Erie Museum General Support General Operating Support $35,000 York Western New Camerta di Sant'Antonio Chamber Camerata Buffalo, Inc. -
For Immediate Release Media
FOR IMMEDIATE RELEASE MEDIA CONTACTS: Kathleen Brady Stimpert, 512-475-6784, [email protected] Stacey Kaleh, 512-471-8433, [email protected] EXHIBITION SPOTLIGHTING PIONEERING PUERTO RICAN IMPRESSIONIST FRANCISCO OLLER TO PREMIERE AT THE BLANTON MUSEUM Works By Oller, Cézanne, Monet, Pissarro, and Other Masters Provide Window into Nineteenth-Century International Modernism Impressionism and the Caribbean: Francisco Oller and His Transatlantic World June 14 – September 6, 2015 AUSTIN, Texas – March 25, 2015 – The Blanton Museum of Art at The University of Texas at Austin presents Impressionism and the Caribbean: Francisco Oller and His Transatlantic World, an exhibition of approximately eighty paintings by Realist-Impressionist painter Francisco Oller (1833– 1917) and his contemporaries. Organized by the Brooklyn Museum and debuting at the Blanton, the exhibition reveals Oller’s important contributions to both the Paris avant-garde and the Puerto Rican school of painting. Providing historical, geographic, and cultural context for Oller’s work, the exhibition also features paintings by nineteenth-century masters Paul Cézanne, Winslow Homer, Claude Monet, Camille Pissarro, and others. The Blanton’s presentation also includes a small selection of works by contemporaneous Texas artists working on both sides of the Atlantic. One of the most distinguished transatlantic painters of his day, Oller helped transform painting in the Caribbean. Over the course of his career, he traveled between Europe and Puerto Rico, spending considerable time in Paris. With each trip home, Oller brought with him the latest concepts and elements of early European modernism⎯including tenets of Realism and Impressionism⎯and combined them with the artistic styles and traditions of San Juan, revolutionizing the school of painting in Puerto Rico and throughout the Caribbean region. -
Expresiones Del Arte Puertorriqueño
Requisite for A Major Qualifying Proyect: MQP Expresiones del arte Puertorriqueño Written by ___________________ Marisol Erazo [email protected] ____________________ Submitted to: Professor Angel Rivera DEPARTMENT OF HUMANITIES AND ARTS WORCESTER POLYTECHNIC INSTITUTE WORCESTER, MA 01609-2280 February, 2008 Tabla de Contenido Tabla de contenido .............................................................................................................. 1 Abstracto ............................................................................ Error! Bookmark not defined. Introduction ......................................................................................................................... 3 Influencia expresada en el arte puertorriqueño 3 Teoría sobre la función del arte 4 Un poco de historia 6 Discusión 10 Los primeros siglos coloniales 10 Discusión de la historia en el arte y su proposito expresado a traves de los artistas. José Campeche- 11 o Su vida y su introducción de la historia en la pintura 12 Francisco Oller 18 Miguel Pou 26 Ramón Frade 30 Myrna Báez 36 Conclusión ........................................................................................................................ 42 ……………………………………………………………………………..44 Referencias……………………………………………………………………………….45 46 Lista de Figuras…………………………………………………………………………. 47 2 Abstracto Los artistas puertorriqueños han contribuido con su trabajo a la cultura desde los siglos dieciocho y diecinueve. Un periodo particularmente importante comienza en los años 1800 y -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Colombian Artists in Paris, 1865-1905
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad. -
Michel-Jean Cazabon Y Francisco Oller: Pintura Y Sociedad En El Caribe Decimonónico
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA TESIS DOCTORAL Michel-Jean Cazabon y Francisco Oller: pintura y sociedad en el Caribe decimonónico MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Tamara Nicole Díaz Calcaño Director Francisco Javier Pérez Segura Madrid © Tamara Nicole Díaz Calcaño, 2019 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE GEOGRAFÍA E HISTORIA Departamento de Historia del Arte Tesis Doctoral MICHEL-JEAN CAZABON Y FRANCISCO OLLER: PINTURA Y SOCIEDAD EN EL CARIBE DECIMONÓNICO MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Tamara N. Díaz Calcaño Bajo la dirección del doctor: Francisco Javier Pérez Segura Madrid, 2019 Tamara N. Díaz Calcaño MICHEL-JEAN CAZABON Y FRANCISCO OLLER: PINTURA Y SOCIEDAD EN EL CARIBE DECIMONÓNICO Tesis doctoral dirigida por: FRACISCO JAVIER PÉREZ SEGURA Profesor Titular de Historia del Arte Departamento de Historia del Arte Facultad de Geografía e Historia UNIVERSIDAD COMPLUTENSE DE MADRID 2019 A mi madre Agradecimientos Al enfrentarme a la labor de redactar esta sección, se hace más que evidente que no hay proyecto que se desarrolle y concluya en soledad. Por ello extiendo mi más grato y profundo agradecimiento a: La Prof. María del Pilar González Lamela de la UPR, quien sembró la primera semilla de esta investigación, al sugerirme estudiar la historia del arte de Puerto Rico allá en tiempos de licenciatura. Haydee E. Venegas y Osiris Delgado Mercado por recibirme en sus respectivos hogares para hablar de la pasión que definió tanto de sus carreras. Lorraine Johnson de la Galería Nacional de Trinidad y Tobago por la invaluable información que me hizo llegar. -
Francisco Oller and His Transatlantic World October 2, 2015–January 3, 2016 Puerto Rican Intellectuals and Leaders
Teaching Resource: Special Exhibition Impressionism and the Caribbean: Francisco Oller and His Transatlantic World October 2, 2015–January 3, 2016 Puerto Rican intellectuals and leaders. While there is no evidence that Oller participated directly in abolitionist movements, his work reflects an interest in black agency and the positive role of individuals of African heritage in shaping the future of Puerto Rico. Oller’s legacy encompasses not only his work as an artist but also his ardent efforts as an educator. During his lifetime he founded ten schools and art academies serving both elite and nonelite populations, including women and previously enslaved people.3 His artistic and pedagogical contribution was decisive in the formation of a Puerto Rican school of painting. As the late professor and curator Haydée Venegas noted, “Francisco Oller was the first painter to ponder deeply on the meaning of Puerto Rico.”4 ABOUT THE ARTIST The Puerto Rican painter Francisco Oller (1833–1917) is among the ABOUT THE EXHIBITION most renowned Caribbean artists of the nineteenth century.1 He is unique not only because of his direct involvement in the artistic Impressionism and the Caribbean: Francisco Oller and His movements emerging in Europe during his lifetime but also because Transatlantic World situates Oller within a broad artistic context, of his work’s socially engaged reading of Caribbean life. focusing on the exchange between Europe and the Caribbean from the eighteenth to the twentieth century. Through eighty-five Oller was born into a white upper-middle-class family of Spanish paintings, drawings, and prints, the exhibition celebrates Oller’s descent. -
Francisco Oller and Caribbean Art
Art at the crossroads: Francisco Oller and Caribbean art Review of: Edward J. Sullivan From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of Impressionism, New Haven and London: Yale University Press, 2014, 208 pp., 81 colour + 18 b/w ills, $60.00 hdbk, ISBN: 978-0-300-20320-2 Katherine Manthorne Francisco Oller (1833-1917) was a Puerto Rican visual artist whose career straddled a tumultuous period in the island’s history, during which it transitioned from a Spanish colonial outpost to a protectorate of its increasingly powerful neighbour, the United States. Far from being a provincial figure, he had several extended residences in Europe, studying first in Spain and then living and working in Paris. He counted European avant-garde artists from Gustave Courbet to Paul Cézanne among his acquaintances, and absorbed the lessons of their styles and content. Yet whether he was painting landscape, portraiture, history painting or still life, he was expressing some quintessential aspect of Puerto Rican culture. Until now the literature on this artist has been limited, given that major scholarly attention was directed toward him over thirty years ago: the monumental 1983 exhibition Franciso Oller: Un realista del Impresionismo for the Museo de Arte de Ponce, and Osiris Mercado Delgado monograph Franciso Oller y Cestero (1833-1917): Pintor de Puerto Rico.1 These projects were groundbreaking efforts, and laid the foundation for all future research. But as Delgado Mercado’s subtitle indicates, he was more concerned with positioning Oller as the leader of a national school of Puerto Rican art. -
Impressionism 1 Impressionism
Impressionism 1 Impressionism Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari. Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes, open composition, emphasis on the accurate Claude Monet, Impression, soleil levant depiction of light in its changing qualities (often accentuating the (Impression, Sunrise), 1872, oil on canvas, Musée effects of the passage of time), ordinary subject matter, the inclusion of Marmottan movement as a crucial element of human perception and experience, and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature. Impressionism also describes art created in this style, but outside of the late 19th century time period. Overview Radicals in their time, early Impressionists broke the rules of academic painting. They began by giving colours and shades freely brushed, primacy over line, drawing inspiration from the work of painters such as Eugène Delacroix. They also took the act of painting out of the studio and into the modern world. Previously, still lifes and portraits as well as landscapes had usually been painted indoors.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air.