Impressionist and Modern Art Day and Works on Paper Sales at Christie’S New York This Fall
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PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
Documents (Pdf)
Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada. -
Comparison of Matisse and Picasso's Treatment of the Human Body
Depiction of the body Matisse vs. Karie Edwards Eric Jones Picasso Chenla Ou Pablo Picasso 1881-1973 Henri Matisse 1869-1954 Henri Matisse and Pablo Picasso were two of the twentieth century's greatest rivals and yet no two artists inspired each other more.-- www.matisse-picasso.org “Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.” – Henri Matisse “The different styles I have been using in my art must not be seen as an evolution, or as steps towards an unknown ideal of painting. Everything I have ever made was made for the present and with the hope that it would always remain in the present. I have never had time for the idea of searching. Whenever I wanted to express something, I did so without thinking of the past or the future. I have never made radically different experiments. Whenever I wanted to say something, I said it the way I believed I should. Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it.” -- Picasso “We must talk to each other as much as we can. When one of us dies, there will be some things the other will never be able to talk of with anyone else.” --Henri Matisse to Pablo Picasso Matisse Time Line 1869: Born in Cateau-Cambrésis, France -
CUSD Art Masterpiece
Art Masterpiece: Dora Maar, 1937 by Pablo Picasso ____________________________________________________________________________________ Keywords: Cubism, Portrait, Shape Grade: 4th – 6th Activity: Cubist Style Portrait Meet the Artist: • Picasso was born in Spain in 1881. His father was also an art teacher and encouraged Picasso to pursue art. Picasso was considered a master of drawing by age 12. • Picasso is known as a great artist but also for the drastic changes in his art style throughout his career. He started out with the uncanny ability to paint realistically. • At nineteen he moved to Paris, and unfortunately, had a run of bad luck. His best friend died, his painting weren’t selling and he was practically starving to death. This was the start of his “blue period”. Much of his art was painted entirely blue and many of his subjects were lonely and sad. His work was controversial: some loved it, others thought they were too strange. • Eventually, Picasso fell in love and soon a happier color appeared in his work. It was the start of his “rose period”, where everything he painted was with warm tones and of happier subjects. Many of his paintings from this time included circus scenes. • Picasso is most known for a style of art called Cubism. Cubism emphasized line, shape and color and would take the subject of a painting and breaks it down into cubes or geometric shapes. It was a modern art style that wasn’t realistic. • Cubism is a very important to art history. It blew peoples minds. For hundreds of years artist were trying their best to paint as realistically as possible and then Picasso came along and tried to make things look different. -
Guest Biographies Booklet
CREDITS Game Design by Mary Flanagan & Max Seidman • Illustration by Virginia Mori • Graphic Design by Spring Yu • Writing and Logistics by Danielle Taylor • Production & Web by Sukdith Punjasthitkul • Community Management by Rachel Billings • Additional Game Design by Emma Hobday • Playtesting by Momoka Schmidt & Joshua Po Special thanks to: Andrea Fisher and the Artists Rights Society The surrealists’ families and estates Hewson Chen Our Kickstarter backers Lola Álvarez Bravo LOW-la AL-vah-rez BRAH-vo An early innovator in photography in Mexico, Lola Álvarez Bravo began her career as a teacher. She learned photography as an assistant and had her first solo exhibition in 1944 at Mexico City’s Palace of Fine Arts. She described the camera as a way to show “the life I found before me.” Álvarez Bravo was engaged in the Mexican surrealist movement, documenting the lives of many fellow artists in her work. Jean Arp JON ARP (J as in mirage) Jean Arp (also known as Hans Arp), was a German-French sculp- tor, painter, and writer best known for his paper cut-outs and his abstract sculptures. Arp also created many collages. He worked, like other surrealists, with chance and intuition to create art instead of using reason and logic, later becoming a member of the “Abstraction-Création” art movement. 3 André Breton ahn-DRAY bruh-TAWN A founder of surrealism, avant-garde writer and artist André Breton originally trained to be a doctor, serving in the French army’s neuropsychiatric center during World War I. He used his interests in medicine and psychology to innovate in art and literature, with a particular interest in mental illness and the unconscious. -
Dreaming with Marc Chagall Grade Level Or Special Area: Visual Arts, Seventh Grade Written By: Sarah C
Dreaming with Marc Chagall Grade Level or Special Area: Visual Arts, Seventh Grade Written by: Sarah C. Sykes, Frontier Academy, Greeley, CO Length of Unit: Four lessons (approximately seven days; one day = 50 minutes) I. ABSTRACT In the seventh grade, students study early twentieth-century artists who dealt with expressionism and abstraction. Marc Chagall was an artist working during the same time frame as Pablo Picasso, Henri Matisse, and Marcel Duchamp. Many of these artists, along with others, influenced the art of Marc Chagall. While studying other important artists of the time period it is important to look at Marc Chagall’s contributions as an artist. After looking at Chagall’s life and his artwork, the students will create works of art that are similar to Chagall’s style. II. OVERVIEW A. Concept Objectives 1. Students will recognize and use the visual arts as a form of communication. (Colorado Model Content Standard 1) 2. Students will understand visual arts materials, tools, techniques, and processes. (Colorado Model Content Standard 3) 3. Students will recognize the characteristics, merits, and meaning of works of art. (Colorado Model Content Standard 5) B. Content from the Core Knowledge Sequence 1. Visual Arts: Expressionism and Abstraction: Examine representative artists and works, including Marc Chagall, I and the Village (p. 168) C. Skill Objectives 1. Students will learn to identify artwork created by Marc Chagall. 2. Students will compare Marc Chagall’s work with other artists of the same time. 3. Students will formulate responses to works of art from personal and critical points of view. 4. -
By Fernando Herrero-Matoses
ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body. -
Artist Among the Ruins. Art in Poland of the 1940S and Surrealist Subtexts
24 Artist Among the Ruins. Art in Poland of the 1940s and Surrealist Subtexts DOROTA JARECKA 372 Dorota Jarecka Dorota Jarecka is an art historian specialising in modern and contemporary art in Poland, as well as a critic and director of Galeria Studio in Warsaw. She is the author of Erna Rosenstein. Mogę powtarzać tylko nieświadomie / I Can Repeat Only Unconsciously (with Barbara Piwowarska, 2014), Anda Rottenberg. Już trudno. Rozmawia Dorota Jarecka (2013), and co-editor of Ewa Zarzycka. Lata świetności / Ewa Zarzycka. Heyday (2015), Natalia LL. Doing Gender (2013), and Krystiana Robb-Narbutt. Rysunki, przedmioty, pracownia / Krystiana Robb- Narbutt: Drawings, Objects, Studio (2012). Between 1995 and 2012 she published regularly as an art critic in the newspaper Gazeta Wyborcza. Te text that follows is a revised version of an essay frst published as ‘Artysta na ruinach: Sztuka polska lat 40 i surrealistyczne konotacje’ in Miejsce: studia nad sztuką i architekturą polską XX I XXI wieku, issue 2 (2016). Te essay ofers a new framework for understanding art in Poland in the immediate aftermath of the Second World War, focussing on developments in Kraków and Warsaw, which both showed a bias towards Surrealist forms and ideas. Surrealism appeared to provide a third way between aestheticism and the Socialist Realism that the newly-established Socialist state was soon to impose. Cultural ties with other countries in Europe had not yet been severed completely in the years 1945 to 1948, and the choice of Surrealism undoubtedly had political dimensions. Surrealists in France, Czechoslovakia, and Yugoslavia were considered traitors by the Communist Party as early as the 1930s and stigmatised as ideological enemies. -
Sonia Delaunay's Yellow Nude, 1908
© COPYRIGHT by Laura Ryan 2019 ALL RIGHTS RESERVED SUBVERTING ORIENTALISM AND PRIMITIVISM? SONIA DELAUNAY'S YELLOW NUDE, 1908 BY Laura Ryan ABSTRACT In this thesis, I demonstrate that Yellow Nude includes a number of pointed references to historic stereotypes and contemporaneous tropes that embroil the artist’s identity in the primitivist ideologies she apparently appropriates. I first identify the background design within the painting as that of a turn of the century ikat textile, with Central Asian, Jewish, and Russian production histories that mimic the biographic transnationality of Delaunay herself. Delaunay therefore invites viewers to conflate the figure in the painting with the woman who made it, capitalizing on the perceived “exoticism” of her “primitive” cultural upbringing. From this perspective, the featured figure’s mask-like face, disjunctive body, and gender ambiguity further implicate, interrogate, and perhaps undermine international fascination with the “primitive.” I argue that in Yellow Nude Sonia Delaunay both recreated the popular type of the exotic foreign woman and subtly undercut the ideologies behind the genre through specific references likely legible to those who shared her background. ii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii LIST OF ILLUSTRATIONS ......................................................................................................... iv INTRODUCTION: THE VANGUARD NUDE, -
Paris Photo Booth D22
Paris Photo Booth D22 PARIS PHOTO Grand Palais, Paris | November 9-12, 2017 Booth D22 Bruce Siverstein Gallery Stand D22 Featured artists: Bill Brandt, Manuel Alvarez Bravo, Constantin Brâncusi, Harry Callahan, Henri Cartier Bresson, F. Holland Day, František Drtikol, Elliot Erwitt, Eric Fischl, Mishka Henner, André Kertész, Dora Maar, Rene Magritte, Paul Outerbridge, Irving Penn, Man Ray, Cindy Sherman, Aaron Siskind, Rosalind Fox Solomon, Frederick Sommer, Edward Steichen, Marjan Teeuwen, Penelope Umbrico, Ryan Weideman, Brett Weston, Edward Weston, Michael Wolf and Francesca Woodman Stand Highlights: Often hailed as one of the most important photographers of the 20th century, André Kertész is positioned firmly within art history for his timeless, poetic images of modern urban life.After moving to Paris in 1925, he became a defining member of the modern art movement, culminating in a solo exhibition atAu Sacre du Printemps in 1927. Included in this landmark gallery show were his most prized, early works, Chez Mondrian, 1926, Piet Mondrian, 1926, and Mondrian’s Studio, 1926, an image of the anterior of the painter’s studio in Paris. In honor of the 90th anniversary of this momentous exhibition, Bruce Silverstein is pleased to present Kertész’s modernist masterpiece, Chez Mondrian, 1926, the vintage exhibition print from this seminal show, at Paris Photo. Much has been written of Andre Kertész’s association with Piet Mondrian and how their encounters altered the photographer’s point of view. It is rarely mentioned, however, that their only common language was that of art – as Mondrian was from Holland and Kertész had recently emigrated from Hungary. -
CLIL Multikey Lesson Plan LESSON PLAN
CLIL MultiKey lesson plan LESSON PLAN Subject Art History Topic Pablo Picasso's styles Age of students 17/18 Language level B1 Time 2x45/60 minutes Contents aims After completing the lesson, the student will be able to: Recognize Picasso's paintings. List the elements of Cubist style. Define the term Bohemianism. Compare the styles Picasso used. Draw parallels between Picasso's Blue and Rose Period. Analyze Guernica and draw connections to historical events. Write the critical review of the painting. Language aims After completing the lesson, the student will be able to: Use new voacabulary in expressing his/her opinion about paintings. Describe attitudes toward Picasso's styles. Pre-requisites Students have learned about Spanish Civil War in History Students know the main features of art movements of the late 19th century: Symbolism, Impressionism (in particular Paul Cézanne). They have understood the importance of the crisis of the naturalistic approach to reality representation. Students know about the birth of Avanguarde movements in the early 20th Century Materials Paper images/images of paintings from the Internet handouts A computer connected to the Internet and a projector (optional) Procedure steps 1 Make copies of the handouts for each learner in the class and prepare a stack of sticky notes to handout in class. 2 If necessary, simplify the language of the text (Deller & Price, 2008) depending on the level of the class. CLIL MultiKey lesson plan Lesson Procedure 1. Introduction activity (10 Minutes) Purpose: To activate prior knowledge Description: teacher shows pupils the painting Bathers (Attachment 3) by Pablo Picasso and ask them to try to guess who painted it. -
FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco
UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”.