Rodin / Themuseum of Modern Art,Newyork

Total Page:16

File Type:pdf, Size:1020Kb

Rodin / Themuseum of Modern Art,Newyork RODIN / THEMUSEUM OF MODERN ART,NEWYORK ~\ MoMAExh_0721_MasterChecklist CATALOGUE OF THE EXHIBITION April 30 throJlgll September 8,1963 The dates given for each work generally refer to the 3 The Walking Man, Enlarged version. Plaster 1900 tp3.'U",Z original version in plaster. When two dates arc given, (Goldschcider), I905 (Elsen); bronze 1907 (Elsen); the first designates the original plaster, and the second chis cast 1962, no. 6 of 12, S3%" high. "Georges the date of the fmc castingin bronze (which, however, Rudier IFondeur. Paris." (Grappe 3S). Musee may not be that of the cast exhibited). References are Rodin, Paris given to Georges Crappe's catalogue of the Musce 4 St. Johll lite Baptist Prcachillg (St. Jett/I-Baptiste ~1.SS Rodin (r944 edition) whenever the works are listed priJclwl/t). (IS7S-S0). Bronze (IS80), 7S%" high. in that catalogue (although not necessarily in the same "Alexis RudierjFondeur Paris." (Grappe 40). The medium or scale). Certain dates have been revised by Museum of Modern Art, New York. Mrs. Simon Mme Cecile Goldscheider, Curator of the Musco Guggenheim Fund Rodin, Paris and Albert E. Elsen, author of the mono- graph, Rodin, published by The Museum of Modem MONUMENTS An in conjunction with this exhibition. According to Mine Goldscheider, Rodin's accounts have not been 5 Thc Call to Arll1s (L'Appcl aux arlilcs) (La DeJellse). fJ>3.4~O preserved and it is generally not possible to determine (1878). Bronze, 44%" high. "Alexis RodierI ~ the date of the first casting. It is hoped, however, that Pondeur. Paris." (Grappe 42). The Rodin Museum, J~~'1 further study and research now in progress may yield Philadelphia (See note) more accurate dates. The Burghers oJCalais (ISS4-95) Where known, the founders' marks and cast numbers areMoMAExh_0721_MasterChecklist indicated. In dirneusious, height precedes 6 Tire Mighty HalJd (Grallde main crispce). IS84-86 (,'/.'1' \\00 width and depth. Dimensions of drawings give sheer (Elsen). Bronze, rSY/' high. "Alexis Rudier j N J"'i size unless sight measurement is indicated. For the Pondeur. Paris." Jules E. Mastbaum Collection, prints the plate size is given. loaned by Mrs. Jefferson Dickson All works from The Rodin Museum, Philadelphia 7 TIle BJlrghers oj Calais tl.es Bourgeois de Calais). ""."'\"11 (6FiJ1HiJ8 E) tke gifis ofth:c=t::it:8JuIcsE. Mastbaum) arc Plaster 1886-87; bronze 1895 (Elsen), 851//' high !"Ii 01'1\'1 lent by the courtesy of the Commissioners of Fair- incl. base 91%" x 70%" x GY2~ high irreg. "Alexis mount Park and the Philadelphia Museum of Art. Rudier." (Crappe 1(7): The Rodin Museum, Phila. 8 Study for one of the Burghers oJ Calais (Pierre de ,,3 ...q,32. Wiessant). by 1886 (Elsen). Bronze, 747/8" high. "Alexis Rudier jf'ondeur. Paris." The Collections SCULPTURE of The Minneapolis Institute of Arts 9 Heroic Head (pierre de Wiessant). by ISS9 (Elsen). ~ "3.4. t, The Walking Mtlll and St. JollII r/lc Baptist Bronze, 32Y4" high. "Alexis Rudicr jfondcur rJ'4o....\'\ 7 Paris." (Grappe I69). The Cleveland Museum of "3.--\'11 I Torso oj a Mall. (IS77-7S?). Bronze (lS93), 20 /8" high. Musec du Petit Palais, Paris Art, Mrs. R. Henry Norweb Collection 103.S'".2lh Tile Hlalkillg Mall (L'HolIIlJle qui marclle).(IS77-7S). Studies for the MOl/tIll/CIJt to Balzac (IS92-95) Bronze, 33%" high. "Alexis Rudier jFondeur. 4 Paris. " (Grappe 3S). Collection Edward Steichen, to Head. Terra cotta, 9% n high. The Metropolitan" 3. 5L West Redding, Conn. Museum of Art, Rogers Ftmd, 19I2 N"I (.>\.>11 fI I I Rudicr /FondcUI Paris." (Grappe 25S)· Musec II Head. Wax, 81/ n high. Collection Mme Marcel "s.~C\., 4 Rodin, Paris N'ic"'l Pollak, Paris 24 Despair. Marble, 12" high x 22Ys" wide x 16% "t."1S01 .3.4.0&12 Head. Plaster, 7%" high. Margit Chanin, Lrd., deep. City Art Museum of St. Louis New York 25 MOl/riling I (Premieres FllIlcrailles). (1900). Bronze,~I~ ~ 3.1-1. 81 3 Head. Bronze, 7% 1/ high. "Alexis Rudier jFondeur. 1 1 Paris." The Joseph H. Hirshhorn Collection 24 /4" high x 20%" wide x 14 /4" deep. Signed "A Rodin /No. 1." Oalerie Jean de Ruaz, Paris ~ 3. .<C\A\b14 Bust. Bronze, r81J2"high. "Alexis Rudier Pondeur. 26 The Muse (La Muse). after 1900 (Elsen). MarbleJ-3.S3.q H. Paris." The Joseph Hirshhorn Collection 1 19Y4" high x 231/ " wide x 17 /2" deep. Signed left 15 Nude Figure. Bronze, 161/8" high. "Georges 8 .:5.':t'-" side "A rna muse/A. Rodin." World House Gal- Rudier JFondeur, Paris." Collection Helen Frank- leries, New York cnthaler, New York . 27 TI,e Secret (Le Secret). (1910). Marble, 35" high.(,.3..o.~ I" 3.S3( 16 Nude Figure. Bronze (this cast 1957). 501j/' high. (Grappe 415). Musee Rodin, Paris "Georges Rudier fFolldeur. Paris." (Grappe 267)· Collection Mr. and Mrs. Alan Wurtzburger, THE GATES OF HELL courtesy The Baltimore Museum of Art AND ITS DERIVATIONS 29.S~' 17 MO/ll.III1wt to Balzac. (1897; tills cast 1954)· Bronze, 28 Maquccte for Tire Gates of Hell. (1880). Terra~ ..li"lZ N" III n high. "Rudier jFondeur Paris." (Grappe 289)· cotta, 391/2" high x 25# wide x 7%" deep (irreg.). The Museum of Modem Art, New York. Pre- sented in memory of Curt Valentin by his friends. (c.f. Grappe 53). Peridot Gallery, New York 29 Adam, or The Creation. of Mall (Le Premier 1IOII1IliC JUo3."MS' or La Creation de (,holllme). (1880). Bronze, 77//N'I(,'t'li SYMBOLIC SUBJECTS high. "Alexis Rudier/Fondeur Paris." (Grappe 47). MoMAExh_0721_MasterChecklist The Age of Bronze (L'Age d'airain). (r876). Bronze, The Rodin Museum, Philadelphia 70" high. (Alexis Rodier). (Grappe 36). The Rodin 30 Seated MaIL (Holl/me awoupi), study for The"3. ..."~ Museum, Philadelphia Thinker (Le Penseurs. (by 1880). Terra cotta, 9%#p.t"f ,"~.4"" 19 The Eartb (La 7ene). (1884). Bronze (this cast high. Musee Rodin, Paris I962), 181/4" high x 44%" long x IS" deep. 31 Study for The Thinker. (1880). Bronze, 14% "(r3l~al "Georges Rudier Fondeur Paris." (Grappe roy). high. "Alexis Rudier /Fondeur. Paris." (Grappe 55, Musee Rodin, Paris 56). Collection Mr. and Mrs. Samuel H. Maslen, 15. '3.A,.'S"S" 20 The Martyr. (La Martyre). 18S4 (Goldscheidcr). Minneapolis Bronze, 16%" high x 61%" long x 3S" deep. 32 The Three Sliodes (Les Trois olJlbres). (1880). En-~I.~ (Grappe 146). The Metropolitan Museum of Art. larged version, c. 1902 (Goldschei.der). Bronze, Gift of Watson B. Dickerman, 1913 741/4" high incl. base 71" x 30" x c.r" high "Alexis C."'S.~c..1.21 Thollght (La Pcusee) (Camille Claudel). (ISS6). Rudier." (Grappe 59). The City of San Francisco Marble, 291J2" high x 17" wide x IS" deep. 33 Caryatid (La Cariatide fombee portaHt sa pjerre).c.~.I()' (Grappe 16S). Musee Rodin, Paris before 1881). Bronze, 171/8"high. "Alexis Rudier / ,,3.. .,.".., 22 The Efemal Idol (L'Etemelle idole). (1889). Bronze, Fondeur Paris." (Grappe 63). Jules E. Mastbaum 3 Collection, loaned by Mrs. Jeffcrson Dickson 28 /4" high x 23%" wide x 14%" deep. "Alexis Rudier /Fondeur Paris." (Grappe 241). Galerie Jean 34 Tile Kiss (Le Baiser). 1880-82 (Elsen). Bronze,.,3:-1" de Ruaz, Paris 33%" high. "Alexis Rudier /Fondeur. Paris." ,,1. """].23 Large Head of Iris (Crosse tefe d'Iris). (189D-91). (Grappe 166). GalerieJean de Ruaz, Paris Bronze (this cast 1962), 231J4" high. "Georges 35 FI/git All/or. 1880-82 (Elsen). Bronze, 14%" high xr,3.5ct 19% n long. "Alexis Rudier fFondeur. Paris." 46 La Toilette de VelllJs. (before 1886). Bronze, 183A" ("3.4O,Q (Grappe 174). The California Palace of the Legion high. "Alexis RudierjFondeur. Paris." (Crappe of Honor-Spreckels Collection 159). Galerie jcan de Ruaz, Paris k"3.4f836 The Prodigal 5011 (L'EIIJaflt prodigl/e). 1880-82 47 A1Jariee and Lust (L'Avarice et la lllxurl.'). (before e 3. ~S7 t N~Q"'\'\ (Elsen). Bronze, 54" h.igh. "Georges Rudierj 1887). Plaster, 8%" high x 21" long x 17%" deep. N1CoIJI'l Fondeur. Paris." (Grappe 210). Allen Memorial (Grappe 175). Private collection, Paris Art Museum, Oberlin College, Oberlin, Ohio c."'3A9\ 37 Eve. (r881). Bronze. 66" high. "Alexis Rudier". BATHERS AND DANCERS 1\l,\c•.d1 (Grappe 65). TIle Rodin Museum, Philadelphia D (,~.~~1l38 Head of Sorrow (The de fa dOlllellr). (1882). Bronze 48 The Juggler (Le JOllgleur). (1892-95). Bronze'3.53 (remodeled 1905), 9%" high. "Alexis Rudier I (c. 1909), II1j4" high. "Georges Rudier Fondeur, Fondeur Paris," (Grappe 76). Yale University Art Paris." (Grappe 389). Collection Mr. and Mrs. 6 3 ...<1 01 I Gallery, New Haven. Gift of Mrs. Patrick Dinehart Erwin D. Swann, New York / Ic.3.~I~39 Torso oj AdCle (Torso a'AJClr). (1882). Bronze, 49 Bather I (Baigllellse). (c. 1900). Terra cotta, 18%" 6%" high x 16%" long x 7%" deep. "A. Rudier, high. Collection Corntesse de Billy, Paris 1 Fondeur, Paris." (Grappe 77). Collection Mr. and 50 Bather II. (c. 1900). Terra cotta, 18 /4" high. Col_"3Ao5" Mrs. Bruce B. Dayton, Minneapolis Iection Comtesse de Billy, Paris 51 Bather III. (c. 1900). Terra cotta, 17%" high. Col-" 3.~bb &3.Slo 40 Mall with Broken Nosc-small version (Lc Petit lecrion Comresse de Billy, Paris Homme all IICZ CtlSsc). (1882). Bronze, 5" high. 52 Bather IV. (c. 1900). Terra cotta, 193//' high. Col-t.3.40'l .~"Alexis'Rudier jFolldcur Paris." (Grappe 78). The lecrion Comtesse de Billy, Paris California Palace of the Legion of Honor- 53 Femme all crabe. Bronze, 8%/1 high. "Rudier j (,3.0'\01\'1 Spreckels Collection Pondeur Paris." The Joseph H. Hirshhorn Col- Crouc!lillgMoMAExh_0721_MasterChecklist Woman (Fell/me accrollpie).
Recommended publications
  • Ovid's Wand: the Brush of History and the Mirror of Ekphrasis Presented In
    Ovid’s Wand: the brush of history and the mirror of ekphrasis Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reid Hardaway, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Ethan Knapp, Advisor Karen Winstead Sarah-Grace Heller Copyright by Reid Hardaway 2017 Abstract The recent work on the manuscript reception of Ovid’s canon and Ovidian commentaries in western Europe has affirmed the author’s significant literary influence in the late Mid- dle Ages. The production and reception of Ovidinia flourished, and Ovid’s poems in- creasingly became read as coherent compositions rather than dissected for bits of moral exempla. In particular, the Metamorphoses profoundly affects the literary landscape of late medieval France and England. Allusions to Ovid’s poem reemerge throughout the late Middle Ages at defining moments of poetic self-consciousness, most often through figures of ekphrasis, the use of poetry in order to portray other media of art. By examin- ing such moments from a selection of influential medieval poems, the mind of the late medieval poet reveals itself in perpetual contestation with the images and figures of an Ovidian lineage, but the contest entails the paradoxical construction of poetic identity, which forces the poet to impose the haunting shadow of literary history onto the mirror of his or her craft. ii Acknowledgements The following work would not have been possible without the considerate and insightful assistance of my advisor, Ethan Knapp, as well as the other members of the dissertation committee, Karen Winstead and Sarah-Grace Heller.
    [Show full text]
  • Great Cloud of Witnesses.Indd
    A Great Cloud of Witnesses i ii A Great Cloud of Witnesses A Calendar of Commemorations iii Copyright © 2016 by The Domestic and Foreign Missionary Society of The Protestant Episcopal Church in the United States of America Portions of this book may be reproduced by a congregation for its own use. Commercial or large-scale reproduction for sale of any portion of this book or of the book as a whole, without the written permission of Church Publishing Incorporated, is prohibited. Cover design and typesetting by Linda Brooks ISBN-13: 978-0-89869-962-3 (binder) ISBN-13: 978-0-89869-966-1 (pbk.) ISBN-13: 978-0-89869-963-0 (ebook) Church Publishing, Incorporated. 19 East 34th Street New York, New York 10016 www.churchpublishing.org iv Contents Introduction vii On Commemorations and the Book of Common Prayer viii On the Making of Saints x How to Use These Materials xiii Commemorations Calendar of Commemorations Commemorations Appendix a1 Commons of Saints and Propers for Various Occasions a5 Commons of Saints a7 Various Occasions from the Book of Common Prayer a37 New Propers for Various Occasions a63 Guidelines for Continuing Alteration of the Calendar a71 Criteria for Additions to A Great Cloud of Witnesses a73 Procedures for Local Calendars and Memorials a75 Procedures for Churchwide Recognition a76 Procedures to Remove Commemorations a77 v vi Introduction This volume, A Great Cloud of Witnesses, is a further step in the development of liturgical commemorations within the life of The Episcopal Church. These developments fall under three categories. First, this volume presents a wide array of possible commemorations for individuals and congregations to observe.
    [Show full text]
  • SMALL CRIMES DIAS News from PLANET MARS ALL of a SUDDEN
    2016 IN CannES NEW ANNOUNCEMENTS UPCOMING ALSO AVAILABLE CONTACT IN CANNES NEW Slack BAY SMALL CRIMES CALL ME BY YOUR NAME NEWS FROM NEW OFFICE by Bruno Dumont by E.L. Katz by Luca Guadagnino planet mars th Official Selection – In Competition In Pre Production In Pre Production by Dominik Moll 84 RUE D’ANTIBES, 4 FLOOR 06400 CANNES - FRANCE THE SALESMAN DIAS NEW MR. STEIN GOES ONLINE ALL OF A SUDDEN EMILIE GEORGES (May 10th - 22nd) by Asghar Farhadi by Jonathan English by Stephane Robelin by Asli Özge Official Selection – In Competition In Pre Production In Pre Production [email protected] / +33 6 62 08 83 43 TANJA MEISSNER (May 11th - 22nd) GIRL ASLEEP THE MIDWIFE [email protected] / +33 6 22 92 48 31 by Martin Provost by Rosemary Myers AN ArtsCOPE FILM NICHolas Kaiser (May 10th - 22nd) In Production [email protected] / +33 6 43 44 48 99 BERLIN SYNDROME MatHIEU DelaUNAY (May 10th - 22nd) by Cate Shortland [email protected] / + 33 6 87 88 45 26 In Post Production Sata CissokHO (May 10th - 22nd) [email protected] / +33 6 17 70 35 82 THE DARKNESS design: www.clade.fr / Graphic non contractual Credits by Daniel Castro Zimbrón Naima ABED (May 12th - 20th) OFFICE IN PARIS MEMENTO FILMS INTERNATIONAL In Post Production [email protected] / +44 7731 611 461 9 Cité Paradis – 75010 Paris – France Tel: +33 1 53 34 90 20 | Fax: +33 1 42 47 11 24 [email protected] [email protected] Proudly sponsored by www.memento-films.com | Follow us on Facebook NEW OFFICE IN CANNES 84 RUE D’ANTIBES, 4th FLOOR
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Greek Sculpture and the Four Elements Art
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level.
    [Show full text]
  • The Rodin Exhibition
    The Rodin Exhibition Tata Theatre, March 19-April21, 1983 Pilloo R. Pochkhanawala [The Rodin Exhibition in New Delhi and Bombay offered Indian art lovers a unique opportunity to ·view the works of a great master. It was made poss1ble because of the keen interest of the French Government, specially Pres1dent Mitterand himself, . in strengthening relations between France and India. The Exhibition was presented in Delhi from November 7982 to January 1983. In Bombay, the Rodin Exhibition was inaugurated at the Tata Theatre on the 19th of March by Mr. H. K. L. Bhagat, Union Minister of State for Information and Broadcasting. Mr. J. J. Bhabha, Vice-Chairman of the National Centre for the Performing Arts, speaking on the occasion, said that this "magnificent exhibition bridged the gap between classica( and modern art". Among those present at the inauguration were M. Michel Posselle, Consul-General for France, M. Gerard Delaforge of the BANOUE INDOSUEZ, which so generously underwrote the exhibition costs, and Mr. J. R. D. Tata, Chairman of the National Centre for the Performing Arts, whose enthusiasm for the project helped to bring the exhibition here. 9 When the exhibition closed on the 21st of April, more than 50,000 visitors, from all walks of life, had seen the 99 pieces of sculpture so tastefully displayed inside and around the Tata Theatre by M. Guy de Ia Chevalerie, P~es.s and Information Officer of the Consulate of France (in Bombay) and Arttsttc Adviser to the Exhibition. The catalogue, amply illustrated with notes, information on each of the items, commentaries on Rodin's themes and extracts of his views, served as a useful aid to the visitor.
    [Show full text]
  • Es Un Proyecto De
    ES UN PROYECTO DE: festivalcinesevilla.eu Es un proyecto de: Alcalde de Sevilla Presidente del ICAS Juan Ignacio Zoido Álvarez Teniente Alcalde Delegada de Cultura, Educación, Deportes y Juventud Vicepresidenta del ICAS María del Mar Sánchez Estrella Directora General de Cultura María Eugenia Candil Cano Director del Festival de Cine Europeo de Sevilla José Luis Cienfuegos PROGRAMA DE MANO Edición y textos: Elena Duque Documentación: Antonio Abad Textos música: Tali Carreto Diseño e impresión: Avante de Publicidad (www.avantedepublicidad.com) Maquetación: Páginas del Sur UNA PUBLICACIÓN DEL ICAS Instituto de la Cultura y de las Artes de Sevillla Depósito Legal: SE 2038-2013 PRESENTACIÓN SECCIÓN OFICIAL 5 Las obras clave del 2013, el mejor cine europeo reconocido internacionalmente. LAS NUEVAS OLAS (FICCIÓN+NO FICCIÓN) 15 Los nuevos valores y las miradas singulares del cine europeo contemporáneo más refrescante. RESISTENCIAS 29 Cine español estimulante y combativo, producciones independientes que plantan cara a la crisis con ímpetu creativo. SELECCIÓN EFA 35 Las películas prenominadas a los premios de la European Film Academy, MARÍA DEL MAR SÁNCHEZ ESTRELLA sello de calidad indiscutible. TENIENTE ALCALDE DELEGADA DE CULTURA, EDUCACIÓN, DEPORTES Y JUVENTUD VICEPRESIDENta DEL ICAS SPECIAL SCREENING 43 Proyecciones especiales que acercan a Sevilla películas imperdibles. Hablar de Sevilla en otoño es hacerlo de cine europeo. De audacia SEFF PARA TODA LA FAMILIA 47 creativa, de tradición y de futuro, de apuesta por el talento y de Cine para pequeños y mayores, una selección de lo mejor del cine familiar europeo. comunión entre los sevillanos y sus espacios culturales. Y es así SEFF JOVEN 51 porque el Festival de Cine Europeo ha conseguido lo que el Ayun- El ritmo, el ardor y la fuerza de los años del frescor.
    [Show full text]
  • Lo Sguardo (Dis)Umano Di Bruno Dumont
    Lo sguardo (dis)umano di Bruno Dumont Alberto Scandola «La cinematografia – ha dichiarato Bruno Dumont – è disumana. […] È la materia delle nostre vite, è la vita stessa, presente e rappresentata»1. Sin dagli esordi (L’età inquieta, 1997), Bruno Dumont ha posto al centro della sua attenzione l’umano e soprattutto le sue derive verso l’animale, il selvaggio, il bestiale. Liberi di non significare altro che loro stessi e il loro opaco Dasein, i corpi di questo cinema abitano luoghi dove – penso a L’humanité (1999) – il visibile altro non è che il riflesso dell’invisibile e l’immagine sembra lottare contro il suono. Conflitti come quello tra i volumi e i rumori (l’ansimare dettagliato di un corpo ripreso in campo lunghissimo, per esempio), frequenti soprattutto nella prima fase della produzione, sono finalizzati a evidenziare la testura di un dispositivo a cui l’autore da sempre affida una precisa funziona catartica: Bisogna sviluppare il sistema immunitario dello spettatore, biso- gna mettergli il male. Costui svilupperà naturalmente gli anticorpi. È lo spettatore che deve svegliarsi, non il film. Per me un film non è molto importante. Ciò che è importante è cominciare; poi tocca allo spettatore terminare2. Per poter «terminare», però, bisogna innanzitutto riuscire a guardare. Guardare immagini che, nel disperato tentativo di catturare le vita, offrono 1 B. Dumont in Ph. Tancelin, S. Ors, V. Jouve, Bruno Dumont, Éditions Dis Voir, Paris 2001, p. 12. Nostra traduzione. 2 B. Dumont in A. Scandola, Un’estetica della rivelazione. Conversazione con Bruno Du- mont, in Schermi D’Amore dieci+1, a cura di P.
    [Show full text]
  • BRENTANO STRING QUARTET Mark Steinberg, Violin Serena Canin, Violin Misha Amory, Viola Nina Lee, Cello With
    Wednesday, February 18, 2015 at 7:30PM Richardson Auditorium in Alexander Hall BRENTANO STRING QUARTET Mark Steinberg, Violin Serena Canin, Violin Misha Amory, Viola Nina Lee, Cello with JOYCE DIDONATO, Mezzo-soprano MARC-ANTOINE CHARPENTIER (1643-1704) Suite for Strings in D Minor, H. 545 Prélude 1 Prélude 2 Sarabande Gigue angloise Gigue francoise Passecaille CLAUDE DEBUSSY (1862-1918) String Quartet in G Minor, Op. 10 Animé et très décidé Assez vif et bien rythmé Andantino doucement espressif Très modéré —INTERMISSION— JAKE HEGGIE (b. 1961) Camille Claudel: Into the Fire, texts by Gene Scheer (2011) Prelude: Awakening Rodin La Valse Shakuntala La petite châtelaine The Gossips L’age mûr Epilogue: Jessie Lipscomb visits Camille Claudel, Montdevergues Asylum, 1929 The Brentano String Quartet appears by arrangement with David Rowe Artists. ABOUT THE ARTISTS PRINCETON UNIVERSITY CONCERTS 2014-15 SEASON ABOUT THE BRENTANO QUARTET ince its inception in 1992, the Brentano String Quartet has appeared throughout Sthe world to popular and critical acclaim. For 14 years, the Brentano Quartet was Princeton’s first and only Quartet-in-Residence. In July 2014 we bid them a bittersweet goodbye as they succeeded the Tokyo String Quartet as Artists-in-Residence at Yale University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. In recent seasons, the Quartet has traveled widely, appearing all over the United States and Canada, in Europe, Japan and Australia. It has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York City; the Library of Congress in Washington, DC; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House.
    [Show full text]
  • Cgcinéma Presents
    CGCINÉMA PRESENTS A FILM BY OLIVIERASSAYAS PHOTO © CAROLE BÉTHUEL CGCINÉMA PRESENTS JULIETTEBINOCHE KRISTENSTEWART CHLOË GRACEMORETZ A FILM BY OLIVIERASSAYAS 123 MIN – COLOr – 2.35 – DOLBY SRD 5.1 – 2014 PHOTO © CAROLE BÉTHUEL At the peak of her international career, Maria Enders (Juliette Binoche) is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant (Kristen Stewart) to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal (Chloë Grace Moretz) is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. SYNOPSIS 3 DIRECTOr’snote PHOTO © CAROLE BÉTHUEL © CAROLE PHOTO DIRECTOr’snote This film, which deals with the past, our relationship to our own past, long time. and to what forms us, has a long history. One that Juliette Binoche Writing is a path, and this one is found at dizzying heights, of time and I implicitly share. suspended between origin and becoming. It is no surprise that it We first met at the beginning of both our careers. Alongside André inspired in me images of mountainscapes and steep trails. There Téchiné, I had written Rendez-vous, a story filled with ghosts where, at needed to be Spring light, the transparency of air, and the fogs of age twenty, she had the lead role.
    [Show full text]
  • Kress Fellowship Provenance Research
    Kress Fellowship Provenance Research 1995.70 2002.73 Alexander Archipenko Alexander Archipenko Ukrainian, active in France and the U.S.A., 1887-1964 Ukrainian, active in France and the U.S.A., 1887-1964 Standing Woman Combing Her Hair Geometric Statuette Also called: Statuette, Standing also called: Statuette, Woman; Barth 55 Woman; Schmoll-Heilmann 30 a (original plaster); ed. 6/8F (undescribed ed. of 4); Barth 63 1914 (model, casting date unknown) (original plaster); ed. 1/4; ed. 1/4 Cast bronze 1915 (model, edition date unknown) Without base: 27 1/4 x 9 x 6 in. (69.2 x Polished cast bronze 22.9 x 15.2 cm) 14 1/2 x 2 1/2 in. (36.8 x 6.4 cm) With base: 29-1/8 x 9 x 6 in. (74 x 22.9 Diameter of marble base: 2-1/8 x 3-3/4 x 15.2 cm) in. (5.4 x 9.5 cm) Gift of Paul and Susan Freehling in Gift of the Joel and Carole Bernstein memory of Mrs. Edna Freehling Family Collection 1974.226 1977.99 Hans (Jean) Arp Louis-Ernest Barrias French, born in Germany, 1886-1966 French, 1841-1905 Concrete Sculpture: Mirr Joan of Arc as a Prisoner 1/5 after 1892 1936 Cast bronze Cast bronze Height: 13 3/4 in. (34.9 cm) Overall: 7 3/8 x 5 x 6 3/4 in. (18.7 x Gift of Mrs. William Drews 12.7 x 17.2 cm) The Joel Starrels, Jr. Memorial Collection 1984.6 1987.15 Louis-Ernest Barrias Louis-Ernest Barrias French, 1841-1905 French, 1841-1905 Nature Unveiling Herself to Science Nature Unveiling Herself to Science after 1899 after 1899 Cast bronze with partial dore Cast bronze with partial gilt patination patination Height: 16 3/4 in.
    [Show full text]
  • Tangents 1 Publishing Notes Letter from the Editors
    summer 2006 the journal of the master of liberal arts program at stanford university in this issue... Essays by Jennifer Swanton Brown, Jennifer Burton, John Devine, Nancy Krajewski, Denise Osborne, Loren Szper, and Bryon Williams Fiction by Andy Grose Poems by Jennifer Swanton Brown, Tamara Tinker, and Mason Tobak summer 2006 the journal of the master of liberal arts program at stanford university volume 5 in this issue... 4 The Silk Horse Andy Grose 10 A Flood of Misborrowing: Sin and Deluge in Atrahasis and Genesis Bryon Williams 17 Three Poems of Love-Gone-Bad Mason Tobak 20 William James Observes San Francisco’s Reliance John Devine 27 The Burghers of Calais: A Personal Viewing Experience Jennifer Burton 31 Dionysus at Sea Tamara Tinker 32 Marriage in The Odyssey: An Intimate Conversation Jennifer Swanton Brown 34 A Deadly Agent of Change: The 1832 Parisian Cholera Epidemic and the French Public Health Movement Loren Szper 39 On the Path to the Pond Jennifer Swanton Brown 40 Kierkegaard in Wyoming: Reflections on Faith and Freedom in the High Mountains Nancy Krajewski 44 Do Laws Govern the Evolution of Technology? Denise Osborne 48 Contributors tangents 1 Publishing Notes letter from the editors This is a publication featuring the w ork of students and We are proud to present this issue of Tangents, the journal of the Stanfor d Master alumni of the Master of Liberal Arts Program at of Liberal Arts Program. For the fifth edition we ha ve chosen a diverse gr oup of Stanford University. works by students and alumni, including: Editor Oscar Firschein A story about two brothers and a powerful horse Assistant Editor Three quite varied poems Lindi Press Reviewers To celebrate the centenary, William James’s observations about the Oscar Firschein San Francisco earthquake Mary MacKinnen Lindi Press Some thoughts about marriage in The Odyssey Faculty Advisor A discussion of the 1832 Parisian Cholera epidemic Dr.
    [Show full text]