DOCSLIB.ORG

Fresh to the Market Works Lead Christie's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fresh to the Market Works Lead Christie's PRESS RELEASE | N E W Y O R K | 22 APRIL 2013 FOR IMMEDIATE RELEASE FRESH TO THE MARKET WORKS LEAD CHRISTIE’S IMPRESSIONIST & MODERN ART WORKS ON PAPER AND DAY SALES Henri Manguin, Etude inversée, Nu sous les arbres, Villa Demière, oil on canvas, Estimate: $400,000-600,000 New York - Christie’s will present its Impressionist & Modern Art Works on Paper Sale and Day Sale on May 9 in New York. The sales are comprised of paintings, drawings, sculptures and works on paper from the leading Impressionist and Modern masters such as Alberto Giacometti, Paul Klee, Joan Miró, Henry Moore, Pablo Picasso, Egon Schiele and many more. Fresh to the market works from distinguished collections are offered throughout the two sales including highlights from the collections of Andy Williams, Mona Ackerman and an Important Private European Collection. Both sales will offer bidders the perfect opportunity to enter the market, or further strengthen their own collections. ORKS ON PAPER Executed in 1970, Femme is a large-scale and fully worked W composition executed when Joan Miró (1893-1983) was utilizing the joint influences of Abstract Expressionist American art and Japanese calligraphy in his own uniquely poetic, instinctive and gestural style of painting (pictured right; estimate: $400,000-600,000). Femme demonstrates how under these influences, Miró’s forms became more expansive while the poetic nature and integrity of Miró's pictorial vocabulary remained essentially the same. This bold work depicts the iconic figure of a woman rendered using smooth flowing calligraphic lines while the palette, reduced to the essentials of red, yellow, green and blue, augmented by black and white, reflects the reductive color vocabulary Miró had used since the 1940s. A late work by Paul Klee (1879-1940), Spielendes Kind, was created in 1938, during the final years of the artist’s life when he produced an enormous body of work despite being bedridden and contending with a terminal illness (pictured left; estimate: $250,000-350,000). Spielendes Kind displays the succinct graphic elements that constitute the signature formal vocabulary of Klee's late style. The composition of rudimentary graphic elements demonstrate the extent to which his work had moved towards an increasingly abstract, universalized and minimalist means of expression. The child's playful pose balanced on a mauve- colored ball is composed from the most basic signs devised for the human figure. Works from the collection of noted philanthropist Dr. Mona Ackermann include an engaging portrait of Impressionist scholar John Rewald by Alberto Giacometti (1901-1966) from 1960 (estimate: $300,000- 500,000) and a charming 1918 image by Egon Schiele (1890-1918), of Anton Peschka, Jr., the artist’s 4-year old nephew (estimate: $300,000-500,000). To learn more about the Ackerman collection and these works, click here to read the dedicated press release. Seven works from the Collection of Andy Williams, the beloved king of crooners, will be offered on May 9 throughout both sales. Featured in the Works on Paper Sale are Le Bain (estimate: $180,000-250,000) and Nu Couché (estimate: $200,000-300,000), both created by Pablo Picasso (1881-1973) in 1968. To read the dedicated press release about the Collection of Andy Williams, click here. AY SALE Highlighting the Day Sale is Etude inversée, Nu sous les arbres, Villa Demière, which was painted in the summer of 1905 by Henri Manguin (1874-1949), who was a founder and early exponent of the D Fauve movement along with Henri Matisse, André Derain, Maurice de Vlaminck, Albert Marquet and Charles Camoin (pictured page 1; estimate: $400,000-600,000). Following his move to Saint-Tropez in 1905, Manguin became fascinated with the color and intense light along the southern coast of France and began to experiment with brilliant colored canvases. Five of his works were exhibited that year at the Paris Salon d’Automne. Etude inversée depicts the artist’s beloved wife, Jeanne, reclining under a tree at their home, which overlooked the port of Saint-Tropez. The intimate painting exquisitely captures the artist’s complete devotion to the Fauvist style as well as his personal preference for clear delineated contours, evident both in the subtle curve of Jeanne’s figure and the twisting tree branches behind her. Painted in 1888, Emile Bernard’s (1868-1941) Cueilleuses de pommes à Pont-Aven epitomizes the artist’s work from the period (pictured left; estimate: $300,000-500,000). Despite being just twenty years old, he and his classmate had developed the radical new pictorial style of Cloisonism, which was derived from both Japanese woodblock print-making and the medieval technique of firing colored glass in a metal framework that outlined the design. Vincent Van Gogh, who had known Bernard and was impressed with the new style, recommended that he meet with Paul Gauguin. Though skeptical at first, Gauguin became enthusiastic about these new artistic developments and goals, and the two men actively shared ideas. Cueilleuses de pommes à Pont-Aven was one of the works that Bernard executed following his discussions with Gauguin earlier that year and is remarkably similar in style to Gauguin’s works of the same period, most notably the famed La vision après le sermon. Cueilleuses de pommes à Pont-Aven is offered from an Important Private European Collection, which also includes Soutine’s Le petit pâtissier, the lead painting of the Impressionist and Modern Evening Sale on 8 May. Pasiphaë (pictured right; estimate: $220,000-280,000) was executed in 1937 by Andre Masson (1896-1987) and is viewed by many as the artist’s equivalent to Pablo Picasso’s Guernica. The work combines elements from mythology and Masson’s personal life to serve as a social commentary on current events. As a veteran of World War I, Masson was particularly sensitive to the 1936 siege of Toledo, which lasted several months and became one of the main focuses of the Spanish Civil War. The work couples the symbolism of Greek mythology with Spanish national identity in order to voice the artist’s anguish over the turmoil. Pasiphaë is the central figure in the scene, representing life, while the bull, which is inextricably linked to Spanish identity, is a potent symbol of violence and death. The result is one of the most powerful figurative works in Masson’s oeuvre. Among the modern sculpture highlights in the sale is a quintessential work by Jean (Hans) Arp (1886-1966) entitled Evocation d'une forme humaine lunaire spectrale (pictured left; estimate: $300,000-500,000). Formed of cast cement, the sculpture was conceived in 1950, roughly twenty years after the artist had disengaged from the surrealist movement and had devoted himself to variations of the human form in sculpture in the round. As the title suggests, the current example is evocative of a human torso, as well as a mysterious lunar landscape, with the undulations creating an interesting play of light and shadow. Also among the modern sculptures in the Day Sale is a bronze, Head, by Henry Moore (1898-1986) offered from the Andy Williams collection (pictured right, estimate: $400,000-600,000). The biomorphic head was conceived in 1984 and comprises both smooth and rough surfaces. The strong profile and hole for the eye are centered above the shoulders and give the whole a firm geometry. PRESS CONTACT: Sara Fox | +1 212 636 2680 | [email protected] Please click here to view the eCatalogue About Christie’s Christie’s, the world's leading art business, had global auction and private sales in 2012 that totaled £3.92 billion/$6.27 billion. Christie’s is a name and place that speaks of extraordinary art, unparalleled service and expertise, as well as international glamour. Founded in 1766 by James Christie, Christie's has since conducted the greatest and most celebrated auctions through the centuries providing a popular showcase for the unique and the beautiful. Christie’s offers over 450 auctions annually in over 80 categories, including all areas of fine and decorative arts, jewellery, photographs, collectibles, wine, and more. Prices range from $200 to over $100 million. Christie's also has a long and successful history conducting private sales for its clients in all categories, with emphasis on Post-War and Contemporary, Impressionist and Modern, Old Masters and Jewellery. Private sales totaled £631.3 million/$1 billion in 2012, an increase of 26% on the same period last year. Christie’s has a global presence with 53 offices in 32 countries and 10 salerooms around the world including in London, New York, Paris, Geneva, Milan, Amsterdam, Dubai, Zürich, and Hong Kong. More recently, Christie’s has led in growth markets such as Russia, China, India and the Middle East, with successful sales, exhibitions and initiatives in Moscow, Baku, Beijing, Mumbai, Delhi, Jeddah, Abu Dhabi, Doha and Dubai. *Estimates do not include buyer’s premium. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application of buyer’s or seller’s credits. # # # Images available on request Visit Christie’s Website at www.christies.com Complete catalogue available online at www.christies.com or via the Christie’s iPhone app FOLLOW CHRISTIE’S ON: .
Load more

Recommended publications
  • Namoda 2020 Itsnicethat Ang
    Functioning like a story, the work of Cassi Namoda is filled with narra- tive. And now with what is set to be her first UK exhibition held at Pippy Houldsworth Gallery in London, Cassi – who grew up between Mozam- bique, Haiti and the United States – has released a new set of artworks that explore her multicultural upbringing. The artist refers to this new show, titled Little is Enough For Those in Love, as a “survey of life”, and one that should be “held at the highest cur- rency” – that currency, of course, being love. “I think I wanted to expand on that truth, and I felt that the best way to create this cathartic release was to create a spiritual body of work,” she tells It’s Nice That. Cassi spent the most of September last year in East Hampton (where the artist lives and works) in order to create the earlier part of the show. At this time, she was particularly inspired by Helen Frankenthaler, an American abstract expressionist painter whom broadened her ideals of what can be achieved in terms of the “application of paint, landscape and abstraction”. As for the work she produced, Cassi adds: “There was a cohesive tissue that connected all the works – the palette – because every morning I would take walks in nature and that came through in the pinks, soft yellows and bright blues, which sometimes contrast with the meaning of the picture.” An example of this allegory in context can be seen within the 3 month old lung patient painting – one that Cassi refers to as having an “ethere- al beauty” before the audience takes note of what’s actually taking place within the image.
    [Show full text]
  • Irina Pushkareva 06.24.15 Early 20Th Century Figure Paintings Early 20Th
    Irina Pushkareva 06.24.15 Early 20th Century Figure Paintings Early 20th century was the time when artists experimented with representing objects, nature, and most importantly, the human form, in more abstract and self-expressionist style. The artists who are famous for experimenting with human forms and shapes were Henry Matisse, Pablo Picasso, and Egon Schiele. Matisse used very abstract way to paint people. He depicted them in simple shapes with dark outline representing a basic human form. Pablo Picasso saw people as geometric forms in his Cubist paintings. He used rectangular shapes to convey his models' forms on a canvas. Picasso, as a very emotional person, often was affected by the political events or his lovers, which was reflected in what colors he used in his paintings. On the other hand, Egon Schiele's palette was limited to the light, soft colors, and the use of rough black contour around the figures. Schiele's goal was to show the mortality of human's body, and its fragility. Henry Matisse was a law clerk in France, who accidentally found that he had a passion for painting. His paintings are bright , soft, and pretty abstract, compared to the artists of 19th and earlier periods. Matisse is known to be the founder of the art movement called Fauvism, where the pure colors and bright light are the main subjects. He was one of the artists of earlier 20th century, who was focused on the human's figure a lot in his paintings and collages. Henry Matisse represented the body in simple, abstract shape, that captures every curve of the figure.
    [Show full text]
  • Impressionist & Modern
    Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts.
    [Show full text]
  • The Silverman Collection
    Richard Nagy Ltd. Richard Nagy Ltd. The Silverman Collection Preface by Richard Nagy Interview by Roger Bevan Essays by Robert Brown and Christian Witt-Dörring with Yves Macaux Richard Nagy Ltd Old Bond Street London Preface From our first meeting in New York it was clear; Benedict Silverman and I had a rapport. We preferred the same artists and we shared a lust for art and life in a remar kable meeting of minds. We were more in sync than we both knew at the time. I met Benedict in , at his then apartment on East th Street, the year most markets were stagnant if not contracting – stock, real estate and art, all were moribund – and just after he and his wife Jayne had bought the former William Randolph Hearst apartment on Riverside Drive. Benedict was negotiating for the air rights and selling art to fund the cash shortfall. A mutual friend introduced us to each other, hoping I would assist in the sale of a couple of Benedict’s Egon Schiele watercolours. The first, a quirky and difficult subject of , was sold promptly and very successfully – I think even to Benedict’s surprise. A second followed, a watercolour of a reclining woman naked – barring her green slippers – with splayed Richard Nagy Ltd. Richardlegs. It was also placed Nagy with alacrity in a celebrated Ltd. Hollywood collection. While both works were of high quality, I understood why Benedict could part with them. They were not the work of an artist that shouted: ‘This is me – this is what I can do.’ And I understood in the brief time we had spent together that Benedict wanted only art that had that special quality.
    [Show full text]
  • Exceptional Works by Impressionist, Modern, German, Austrian & Surrealist Masters Lead Christie's February Sales
    For Immediate Release 8 January 2006 Contact: Rhiannon Broomfield +44 (0) 207 389 2117 [email protected] EXCEPTIONAL WORKS BY IMPRESSIONIST, MODERN, GERMAN, AUSTRIAN & SURREALIST MASTERS LEAD CHRISTIE’S FEBRUARY SALES Amedeo Modigliani (1884-1920) Egon Schiele (1890-1918) René Magritte (1898-1967), La fillette au beret, 1918 Prozession, 1911 La prêtre marié, 1961 Estimate: £3,000,000-4,000,000 Estimate: £5,000,000-7,000,000 Estimate: £2,000,000-3,000,000 Impressionist & Modern Art Evening Sale Christie’s King Street Tuesday, 6 February 2007 at 6pm London – Following Christie’s record-breaking Impressionist & Modern Art sale in New York in November 2006, the world’s leading art business will present the largest ever London Evening Sale of Impressionist & Modern Art on 6 February 2007. Incorporating a section dedicated to The Art of the Surreal, the sale features 130 exceptional and highly- coveted works from the seminal masters of Impressionism, Modern, Surrealist, German & Austrian Art and is estimated in the region of £75 million. “In 2006, Christie’s led the Impressionist & Modern Art market with record sales in New York and London,” said Jussi Pylkkänen and Olivier Camu, Co-Heads of Impressionist & Modern Art, Christie’s London. “We begin 2007 with the largest Evening Sale of Impressionist & Modern Art ever staged at Christie’s in London which presents to the market one of the finest and most comprehensive overviews of this collecting field.” Leading the German & Austrian section is Egon Schiele’s (1890-1918) Prozession, 1911 (estimate: £5,000,000-7,000,000). This painting is one of a great series of quasi-religious paintings that Schiele produced at the height of a period of mystical revelation between 1910 and early 1912.
    [Show full text]
  • Leung, Female Body Emotional Experience During Vienna Secession
    The Female Body and Emotional Experience during the Vienna Secession Elizabeth Leung Introduction: Research Question: Conceptual Framework: Throughout art history, the interpretation of How does one define - The acknowledgement and the female body was a notion of divine “beautiful and subversion of canons and motifs beauty, existing in realms of allegories of representational art” in a of antiquity Venus, building a visual construct of the moment of social - The reworking of traditional beautiful sublime. At the turn of the 20th change? materials for abstraction and century, the Vienna Secession was an Thesis Statement: symbolic representation introduction to a new creative mode of During the Vienna - The building of an emotional depicting the emotional experiences of the Secession, the visual landscape through abstracted self and the interpretations of the other. As dissonance between the material composition the warping of symbolism and material conventional notions of - Visual distortion of concepts of signal the rapid shift towards modernism, a “beautiful” and “ugly” feminine “desirability and fluid environment for expression is further visualizations of beauty” with conventionally explored prompting the interpretation of femininity and the new masculine motifs, sickly color visual truth and identity to diverge from the forms of modernist schemes, and voyeuristic sexual conventional, as seen in the observation of abstraction bring forth a representation a survey of the Secessionist art in fluid environment to - Diversion from the nude as a comparison to the art of the past. examine aesthetics and “Venus” to the nude as visceral its relation to identity. window to emotional expression The Female Body and Emotional Experience during the Vienna Secession Elizabeth Leung Research Problems Encountered: Case Studies: Notice of the Vienna Secessionist coincidence against precursors to Minimalism(such as the design theories of Adolf Loos) that oppose ornamentation and historical allusion.
    [Show full text]
  • Les Pensees De Pascal, Matisse
    Les Pensees de Pascal, Henri Matisse, 1924, 2010.37, G371 Questions: 1. Look carefully and describe what you see. 2. How does Matisse’s love affair with color play out here? 3. Matisse sought to achieve simplicity and balance in his paintings. What could be aspects of simplicity and balance in this piece? 4. How does Matisse seem to play with the contrasts between interior and exterior spaces? What other contrasts come to mind? 5. Matisse famously said, “Art should be devoid of troubling or depressing matter...a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.” How could this painting be considered therapeutic? Explain. Main Points 1. Matisse regarded simplicity, balance, and serenity as the supreme achievement and message of French art. 2. Matisse’s art is important for its abstraction, spirituality, and subjectivity. 3. He recognized the importance of still-lifes in his own development. He copied paintings by Chardin and de Heem (1893) early on and reinterpreted de Heem in 1915. 4. He was searching for “what I believed to be exceptional in myself with means (colors) richer than in linear drawing, with which I brought forth what moved me in nature, through the empathy I created between the objects that surrounded me, around which I revolved and into which I succeeded in pouring my feelings of tenderness without risking to suffer from doing so as in life.” 5. Objects were not symbols or metaphors, literary references, not even important for their function. 6. Many of Matisse’s paintings include a window, allowing for depiction of both the interior of a room and the view of the exterior.
    [Show full text]
  • In Turn-Of-The-Century Paris, an Explosion of Brash New Art
    1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it.
    [Show full text]
  • Art History Thesis Egon Schiele, Max Beckmann, And
    ART HISTORY THESIS EGON SCHIELE, MAX BECKMANN, AND FRANCESCO CLEMENTE: SELF-PORTRAITS AND THE MALE IMAGE Craig Kintoki Conahan Department of Art In partial fulf illrnent of the requirements for the degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 1991 M.F.A. CANDIDATES CLEARANCE FOR ART HISTORY RESEARCH PAPER This paper must be completed and filed before the final examination of the candidate. This clearance sheet must be filled out and filed in the candidate's folder. I have completed and filed the original term paper fn art hf story fn the Art Department office and I have given a copy to the course instructor. Course Number semester Year Stu~1gnature·t,~ bate t The role of the self-portrait in art is overlooked as a significant element of social criticism. With feminism dominating contemporary social criticism, male self- ref lection seems insignificant. Art criticizing male dominance and/or female oppression crosses the gender gap and becomes significant socially, but it rarely addresses male dominance from the correct perspective. Men are after all at the root of the problem, so we should look at art made by men about men for any truths that might help to ease social concerns. What follows is a discussion about male images done by male artists. We will look at three artists from three time periods who have looked at and used themselves as vehicles of both self and social reflection : Egon Schiele, 1890-1918, Max Beckmann, 1884-1950, and Francesco Clemente, 1952- . Each of these artists has spoken critically of what it is like to be human, yet each has maintained the essential identity of the male experience.
    [Show full text]
  • THEME Destress
    in the STUDIO THEME deSTRESS On the audio tour, we encountered artists dealing with stress/world events How stressed are you because of current world events? In the STUDIO today, we are going to make & view art as therapy. Artist Gustav Klimt is believed to have died from complications of the Spanish Flu of 1918! His student, Egon Schiele, and his wife also died from the flu. “The Scream” artist, Edvard Munch made Self-Portrait With the Spanish Flu & Self-Portrait After the Spanish Flu, detailing his own experience contracting & surviving the illness. These paintings speak to feelings of trauma and despair that were widespread amid a pandemic that killed at least 50 million people. “Illness, insanity, and death…kept watch over my cradle,” the artist once said, “and accompanied me all my life.” That generation also lived through World War I, Communism, social issues of gender & income inequality, & more. Everyday life felt ridiculous. The art movements that came out of this period explored this hopelessness, tried to fight against it and showed the ways in which everyone was trying to cope. Bauhaus School which started in Germany, 1919, aimed to bridge art & design, training students to reject frivolous ornamentation in order to create art objects that were practical & useful in everyday life that historians believe were influenced by the flu pandemic of 1918. In contrast to the heavy, upholstered furniture that was popular at the time, minimalist pieces were made of hygienic wood & tubular steel, to facilitate cleaning. Now let’s get in the STUDIO to confront stress & curate some art therapy! in the STUDIO THEME deSTRESS grades 9-12 PART I MAKING ART as THERAPY Doodles say more about our personalities than we may realize, it has been claimed.
    [Show full text]
  • Birth of Modernism
    EN OPENING MARCH 16TH BIRTH OF (Details) Wien Museum, © Leopold Werke: Moriz Nähr ÖNB/Wien, Klimt, Weitere Gustav Pf 31931 D (2). MODERNISM PRESS RELEASE VIENNA 1900 BIRTH OF MODERNISM FROM 16TH MARCH 2019 The exhibition Vienna 1900. Birth of Modernism has been conceived as the Leopold Muse- um’s new permanent presentation. It affords insights into the enormous wealth and diver- sity of this era’s artistic and intellectual achievements with all their cultural, social, political and scientific implications. Based on the collection of the Leopold Museum compiled by Ru- dolf Leopold and complemented by select loans from more than 50 private and institutional collections, the exhibition conveys the atmosphere of the former metropolis Vienna in a unique manner and highlights the sense of departure characterized by contrasts prevalent at the turn of the century. The presentation spans three floors and features some 1,300 exhibits over more than 3,000 m2 of exhibition space, presenting a singular variety of media ranging from painting, graphic art, sculpture and photography, via glass, ceramics, metals, GUSTAV KLIMT textiles, leather and jewelry, all the way to items of furniture and entire furnishings of apart- Death and Life, 1910/11, reworked in 1915/16 ments. The exhibition, whose thematic emphases are complemented by a great number of Leopold Museum, Vienna archival materials, spans the period of around 1870 to 1930. Photo: Leopold Museum, Vienna/ Manfred Thumberger UPHEAVAL AND DEPARTURE IN VIBRANT FIN-DE-SIÈCLE VIENNA At the turn of the century, Vienna was the breeding ground for an unprecedentedly fruitful intellectual life in the areas of arts and sciences.
    [Show full text]
  • Modernism in Visual Arts and Music
    HUM 102 Cultural Encounters II Modernism in Visual Arts and Music Rana Gediz İren Boğaziçi University İstanbul Philharmonic Society Arts in Europe 1900-1945 Artists began to emphasise the extreme expressive properties of pictorial form to explore subjective emotions and inner psychological truths while composers of Classical Music turned to radical new ways of expressing melody, harmony and rhythm Sigmund Freud (1856-1839) • Austrian neurologist who is the founder of psychoanalysis. • The Interpretation of Dreams (1900). • Explorations of the role of sexuality and the subconscious. Friedrich Nietzsche (1844-1900) • German philosopher and cultural critic. His writings on truth, morality, aesthetics, cultural theory, nihilism, consciousness, and the meaning of existence have exerted an enormous influence on Western philosophy and intellectual history. • Metaphor of the “Bridge”: Mankind as a bridge between the animal and the superman/overman. Emil Nolde (1867-1956), Self Portrait, 1947 Modernism in Germany - Expressionism • Developed in pre-WW1 Years. • Characterised by simplified shapes, bright colours and gestural marks or brushstrokes. • The image of reality is distorted in order to make it expressive of the artist’s inner feelings or ideas. • Concerned with the contemporary psychological situation. Confession of moods of anxiety, frustration and resentment towards the modern world. Die Brücke (The Bridge) – Dresden 1905 Der Blaue Reiter (The Blue Rider) – Munich 1911 “We call all young people together and as young people who carry the
    [Show full text]