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Mon Levinson (1926-2014)
MON LEVINSON (1926-2014) Segmented Squares, 1966 Light Play X, 1968 Born and raised in New York City, Mon Levinson studied economics at the University of Pennsylvania (BA in 1948) before pursuing art in New York. Levinson underwent psychotherapy with Dada leader Richard Huelsenbeck in the late Fifties, which opened him to becoming an artist. Through Huelsenbeck, Levinson became acquainted with European artists like Jean Arp and Jean Tinguely and began to develop his own artistic approach. By 1960 Levinson was working in paper producing reliefs of intricate shadow compositions and light reflections called Knife Drawings . Around the same time Levinson started working in plastic, using both opaque white and clear vinyl sheets, layered in wooden boxes. These constructions called Space Reliefs were included in the group exhibition New Forms – New Media at Martha Jackson Gallery in 1960. Both the Knife Drawings and the Space Reliefs were shown in his first solo exhibition at the Kornblee Gallery in 1961. Levinson experimented further with transparency and patterns using thin lines on layers of Plexiglas that appeared to move as a view - er shifted his position. Levinson had discovered the moiré effect and could adjust the “speed” of the piece through the distance between the Plexiglas sheets. In these 1960s constructions, Levinson merged painting and sculpture to manipulate the perception of the viewer. In his works with Plexiglas and moiré patterns, Levinson was recognized as one of the progenitors of Op Art. He was included in the Museum of Modern Art’s 1965 exhibition The Responsive Eye . Mon Levinson traveled to Caracas in March of 1968 to open an exhibition at the Venezuelan-American Center of Op art from the Marlboro Art Collection owned by Philip Morris International. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Out of Hours Art
Out of Hours Art Living tHe dreAm The Scottish Colourists Series: JD Fergusson 7 December 2013 – 15 June 2014 Scottish National Gallery Of Modern Art (Modern Two) 73 Belford Road, Edinburgh EH4 3DS In Midnight in Paris, Woody Allen transports his leading character back to the Paris of La Belle Epoque, the glorious period at the start of the 20th century when the French capital was the centre of artistic freedom. Just over a century ago, a young Scottish medical student similarly transported himself to live in that fantastic, creative melting pot. John Duncan Fergusson spent 2 years at Edinburgh University before giving up his medical studies to become a painter, initially visiting France in summers when he stayed as long as he could afford, but in 1905 he moved permanently, abandoning family and convention, to live the rest of his J. d. Fergusson (1874–1961). Summer 1914, 1934. Oil on canvas 88 x 113.5 cm. the Fergusson gallery, Perth life, a self-taught painter, ‘trying for truth, & Kinross Council — presented by the Jd Fergusson Art Foundation 1991. for reality, through light’. He was often very poor, but he never wonder S.J. (Peploe, Fergusson’s fellow is perhaps still more famous than her borrowed money; he lived on porridge Scottish Colourist) said these were some partner. for lunch, and onion and potato soup for of the greatest nights of his life. They Fergusson returned to Paris after the dinner, with an occasional night out when were the greatest nights in anyone’s life Great War, but in 1939, they both relocated he met his friends at a cheap restaurant — Scheherezade, Petruschka, Sacre du to Glasgow for their final move. -
A Lasting Impression
1 A Lasting Impression An Introduction to Pennsylvania Impressionism James A. Michener Art Museum’s Traveling Trunk James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 2 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Table of Contents Lessons Lesson 1: First Impressions pages 3-4 Lesson 2: Improvisational Theater pages 5-6 Lesson 3: Journals and Boxes page 7 Lesson 4: Contemporary Connections pages 8-9 Lesson 5: The Arts and Media pages 10 Lesson 6: Painting Impressions page 11 Lesson 7: Michener Museum Impressions pages 12-13 Lesson 8: Women in the Arts pages 14-15 Lesson 9: Impressionism and the Environment page 16 Lesson 10: Your Last Impression page 17 Appendix 1: Vocabulary pages 18-24 Appendix 2: Standards pages 25-40 Appendix 3: Biographies and Visuals pages 41-102 Appendix 4: Bibliography pages 103-104 James A. Michener Art Museum • 138 South Pine Street • Doylestown, PA 18901 MichenerArtMuseum.org • 215-340-9800 3 A Lasting Impression James A. Michener Art Museum’s Traveling Trunk Lesson 1: First Impressions Social Studies, Studio Art, Language Arts, Art History Connections Objectives: Students will be introduced to the themes and materials in the James A. Michener Art Museum Culture Kit, A Lasting Impression. Students will demonstrate an understanding of the vocabulary presented in the Lasting Impressions Culture Kit Students will become familiar with the distinctive style in Pennsylvania Impressionist paintings, through the works of Lathrop, Redfield, and Sotter Students will use original documentation to learn about the history of Pennsylvania Impressionism Students will understand the importance of Bucks County heritage as it relates to Pennsylvania, American, and French Impressionism Lesson Ideas Explore the Culture Kit Display the contents of the Culture Kit in your classroom or school library. -
READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue. -
(1864-1961) • Fergusson Was Born Outside Edinburgh in March 1874, from a Middle-Class Family • He
John Duncan Fergusson (1864-1961) • Fergusson was born outside Edinburgh in March 1874, from a middle-class family • He spent two years at the School of Art • However, a formal artistic training did not appeal to him and he was frustrated by the conservative and old-fashioned teaching • Throughout his career he was highly anti-establishment • Responded by establishing his own studio and teaching himself to paint • He ended up studying in Paris at the Academies Colarossi in 1895 • Here he was exposed to Parisian Avant Garde café culture – where ideas of artists, writers, poets etc were exchanged in the vibrant city • This would have involved spending time and sharing ideas with artists such as Picasso and Matisse • He was able to visit exhibitions and was exposed to the work of the Impressionists • Paris had a huge impact on him, and he continued to return every summer for ten years • The Fauve exhibition at the Salon Automne in 1905 had a big impact on his work • By 1907 he moved to Paris permanently and exhibited his own work at the Salon des Indipendents and the Salon D’Automne • During this time his work evolved, with bold and vibrant colours becoming key • In 1910 his work underwent a shift again where he produced a large number of female nude paintings • Colour, line and form became hugely significant in his work and he showed clear influences by Matisse • After 1912 he mostly focused on landscape painting • His work shows that he was influenced by Cézanne • While being inspired by others he used what he saw to create his own style -
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 -
9781474455152 Introduction.Pdf
MODERNISM AND STILL LIFE 6249_Tobin.indd i 10/02/20 11:02 AM Edinburgh Critical Studies in Modernist Culture Series Editors: Tim Armstrong and Rebecca Beasley Available Modernism and Magic: Experiments with Spiritualism, Theosophy and the Occult Leigh Wilson Sonic Modernity: Representing Sound in Literature, Culture and the Arts Sam Halliday Modernism and the Frankfurt School Tyrus Miller Lesbian Modernism: Censorship, Sexuality and Genre Fiction Elizabeth English Modern Print Artefacts: Textual Materiality and Literary Value in British Print Culture, 1890–1930s Patrick Collier Cheap Modernism: Expanding Markets, Publishers’ Series and the Avant-Garde Lise Jaillant Portable Modernisms: The Art of Travelling Light Emily Ridge Hieroglyphic Modernisms: Writing and New Media in the Twentieth Century Jesse Schotter Modernism, Fiction and Mathematics Nina Engelhardt Modernist Life Histories: Biological Theory and the Experimental Bildungsroman Daniel Aureliano Newman Modernism, Space and the City: Outsiders and Affect in Paris, Vienna, Berlin, and London Andrew Thacker Modernism Edited: Marianne Moore and the Dial Magazine Victoria Bazin Modernism and Time Machines Charles Tung Primordial Modernism: Animals, Ideas, transition (1927–1938) Cathryn Setz Modernism and Still Life: Artists, Writers, Dancers Claudia Tobin Forthcoming Slow Modernism Laura Salisbury Modernism and the Idea of Everyday Life Leena Kore-Schröder Novel Sensations: Modernist Fiction and the Problem of Qualia Jon Day Hotel Modernity: Literary Encounters with Corporate Space Robbie Moore The Modernist Exoskeleton: Insects, War and Literary Form Rachel Murray Modernism and Religion: Poetry and the Rise of Mysticism Jamie Callison Abstraction in Modernism and Modernity: Human and Inhuman Jeff Wallace www.edinburghuniversitypress.com/series/ecsmc 6249_Tobin.indd ii 10/02/20 11:02 AM MODERNISM AND STILL LIFE Artists, Writers, Dancers Claudia Tobin 6249_Tobin.indd iii 10/02/20 11:02 AM Edinburgh University Press is one of the leading university presses in the UK. -
Prints & Multiples (635)
Contemporary & Post-War Art | Prints & Multiples (635) Wed, 7th Apr 2021, Live Online Viewing Times: In-person viewing unavailable. Enjoy a virtual tour, click below Take a Tour Lot 25 Estimate: £600 - £900 + Fees § PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) GODDESS, 1971 Signed and dated '71 upper left, pastel 65cm x 50cm (25.5in x 19.75in), unframed "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all- encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. -
READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue. -
Christie's to Offer Finest Private Collection of Scottish Colourists Seen on the Market Since 1979
For Immediate Release 22 January 2007 Contact: Matthew Paton 020 7389 2965 [email protected] CHRISTIE’S TO OFFER FINEST PRIVATE COLLECTION OF SCOTTISH COLOURISTS SEEN ON THE MARKET SINCE 1979 Scottish Art including the Hunter Blair Colourist Collection Friday 25 May 2007, King Street London - Christie’s will offer the finest private collection of Scottish colourists to come to the market in over twenty five years at a sale of Scottish Art on 25 May 2007 in London. This will be the first ever auction dedicated to Scottish Art to be held in London and builds on the success of The Scottish Sale held in Edinburgh in October 2006 which realised £3.7 million, the highest ever total for the category at Christie’s, and whose Colourist section realised £1.9 million, the highest total for a group of colourists anywhere since Christie’s Scottish sale in 1989. The annual sale of The Scottish Sale at the Assembly Rooms, Edinburgh will take place on 25 October 2007. The Colourists were a group of four Scottish artists who traveled frequently to France during the early years of the 20th century where they were heavily influenced by French Post-Impressionist movements. Samuel John Peploe, R.S.A. (1871-1935), Francis Campbell Boileau Cadell (1883–1937), George Leslie Hunter (1879- 1931) and John Duncan Fergusson (1874-1961) are recognized as having introduced ‘modern’ painting to Scotland, and played a substantial role in the development of the British art scene in the first half of the 20th century. The present collection was assembled by the late Sir James Hunter Blair, Bt. -
THE SCOTTISH SALE Wednesday 25 April 2018 Edinburgh the SCOTTISH SALE | Edinburgh Wednesday 25 April 2018 24750
THE SCOTTISH SALE Wednesday 25 April 2018 Edinburgh THE SCOTTISH SALE | Edinburgh | Wednesday 25 April 2018 | Edinburgh Wednesday 24750 THE SCOTTISH SALE Wednesday 25 April 2018 at 1pm 22 Queen Street, Edinburgh BONHAMS ENQUIRies Silver Sale NUmbeR 22 Queen Street Pictures Fiona Hamilton 24750 Edinburgh EH2 1JX Chris Brickley +44 (0) 131 240 2631 +44 (0) 131 225 2266 +44 (0) 131 240 2297 [email protected] CatalogUE +44 (0) 131 220 2547 fax [email protected] £10 www.bonhams.com/edinburgh Gordon Mcfarlan CUstomeR seRvices Colleen Bowen +44 (0) 141 223 8866 Monday to Friday 8.30 to 18.00 VIEWING +44 (0) 131 240 2292 [email protected] +44 (0) 20 7447 7447 Edinburgh [email protected] Friday 20 April 10am-4pm Arms & Armour Please see back of catalogue Sunday 22 April 1pm-4pm Iain Byatt-Smith Kenneth Naples for important notice to Monday 23 April 10am-4pm +44 (0) 131 240 0913 +44 (0) 131 240 0912 bidders Tuesday 24 April 10am-4pm [email protected] [email protected] Wednesday 25 April 10am-1pm IllUSTRations May Matthews Ceramics & Glass BIDS Front cover: Lot 15 (detail) +44 0131 240 2632 Katherine Wright +44 (0) 20 7447 7448 Back cover: Lot 22 (detail) [email protected] +44 (0) 131 240 0911 +44 (0) 20 7447 7401 fax [email protected] Inside front cover: Lots 226-247 To bid via the internet please Inside back cover: Lot 281 (detail) London visit bonhams.com Chris Dawson Books, Maps & Manuscripts Georgia Williams IMPORTANT INFORMATION TelePhone BIDDing +44 (0) 20 7468 8296 The United States [email protected] +44 (0) 131 240 2296 Bidding by telephone will only be [email protected] Government has banned the accepted on lots with a low import of ivory into the USA.