DOCSLIB.ORG

1991-92 Season

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1991-92 Season 1991-92 Season i **«*„ INDIANA. ESSIONAL OPERA FOR INDIANA !M ~'e^ From A Blank Sheet Of Paper Cadillac Creates The New Seville Substance Takes Shape, Cadillac Style. Seville's independent Speed-Sensitive Suspension The objective was to create a luxury automobile that per­ continuously adapts to changing road conditions, for forms with the power, agility and road manners of a precise control and constant stability. So whether touring sedan. The result is you're stopping, starting, the 1992 Cadillac Seville, an cornering or accelerating, automobile with technologi­ you're instantly provided the cal components that work in correct level of firmness. harmony to bolster its per­ An advanced anti-lock formance capabilities. brake system helps protect Created from the inside out to appeal to the intellect as well as the senses Plower, of course, is you and your passengers essential. Seville's 4.9 liter V8 generates 200 from unexpected and sometimes horsepower, to make such necessary acts as passing and perilous driving situations. merging not only simple, but satisfying. An electronic Substance takes shape, Cadillac jj transmission makes gear changes Style, with the 1992 Seville. C A D I I L A C barely detectable. STYLE * Please call I-800-333-4CAD for product literature and the location of your nearest Cadillac dealer. YOUR CADILLAC DEALERS THE LUXURY LEADERS ^__r___r Buckle UpAmerica! ©1991 CM Corp All Rights Reserved The 1992 Seville. Substance Takes Shape, Cadillac Style. SEVILLE, table of § ontents Messages 3 Indianapolis Symphony Orchestra 5 The Cast 18 The Story 19 The Composer 20 Indianapolis Opera Chorus and Production Staff 22 Calendar of Upcoming Events 22 Director's Notes 24 Indianapolis Opera Ensemble 27 Education Activities 27 Artists' Profiles 29 Contributors' Benefits 35 Indianapolis Opera Corporate Contributors 37 Indianapolis Opera Individual Contributors 39 COVER "Woman in Black at the Opera," by Mary Cassatt With permission of Museum of Fine Arts, Boston, Massachusetts "This is one of the few loge pictures by Mary Cassatt [painted in 1880] which does not incorporate a mirror reflection. Here the occupant of the box is seen from the side with the other loges in the background. In this case a humorous interplay had been created: the woman in the foreground, intently viewing the theater through her opera glasses, is in turn being scrutinized by the man in the background box. The two figures are visually linked by the red velvet arm-rail, which curves through the compostion." Mary Cassatt, E. John Bullard BOARD OF DIRECTORS Bonnie Reilly, President Tory Callahan Jeffrey Maess Ann M. Stack Robert D. Knapp, Executive Vice Charles W. Culp Alice McKinney Mary M. Sutherland President Patricia D. Curran M. Kathleen McKinney James S. Telfer Michael Barth, Jr., Vice President Sue M. DeMars Susanah M. Mead Norma Winkler Clare Coxey, Vice President Andre Donikian Alan K. Mills Joan Wolf Arnold Hanish, Treasurer Rosalie Ferguson F. Timothy Nagler John W. Wynne Pat Garrett Rooney, Secretary Richard E. Ford Diana B. Nering Robert H. Zeigler Donald Galante Edith Owings Douglas P. Zipes Dorothy Alig Vaughn Hickman F. Bruce Peck, Jr. Sonny Swimley Margaret Bannister Betty Ann Holmes Lortaine Price (Guild Representative) Sarah C. Barney Thomas W. Kincannon James E. Rogers, Jr. Walter S. Blackburn Kyle E. Lanham Marlyne Sexton ADMINISTRATION Acting Artistic Director Administrative Assistant Advertising Sales James Caraher Director of Public Relations Marina Hardin Nancy Burris General Director Donna Noblitt Program Editor Ticket Service Durand L Pope Director of Education Patricia Harvey Clowes Memorial Hall Director of Development and Patricia Harvey Playbill Manager Marketing Controller John C. Pickett John C. Pickett Carole Schott INDIANAPOLIS OPERA GUILD OFFICERS Sonny Swimley, President Nancy Baetzhold, Second Vice Ruth Beyer, Third Vice President Alice Ross, Corresponding Secretary Sue McTurnan, First Vice President President Juanita Harris, Recording Secretary Barbara Hayford, Treasurer 1991-1992 Season Expand Your Horizons With the Gold Card. The Gold Club gives you more benefits than ever before! Developed exclusively for people age 55 plus, the Gold Card stretches your spending power. You receive discounts on everything from prescriptions to travel services. For only $19.95 a year (or $29.95 per couple), the Gold Club offers: • 10% off Average Wholesale Price of prescription drugs (plus $2.00 dispensing fee) • Over-the-counter drug discounts • More than 600 pharmacies ready to serve you— including 3 major pharmacy chains and more than 100 local independent pharmacies. • Vision and hearing care discounts • Car rental discounts • Key Horizons magazine • Personalized stationery • Senior services directory, Seminars and more Become a Gold Club member, and you'll experience new horizons, too! Senior Benefits 1-800-752-8614 Key Horizons Club is administered by Acordia Senior Benefits for people 55 plus. Membership in the Club does not replace or alter your Medicare supplement insurance benefits. ess ages Dear Friends of Indianapolis Opera, Welcome to the drama, the tragedy and the romance that is opera. The Board of Directors and the staff of the Indianapolis Opera are pleased to provide you with the opportunity to experience the queen of the arts in our city. This season's repertory is a very popular one which has resulted in the sale of an unprecedented number of season tickets. As you join us, you will take an imaginary journey in time and space from Charleston's Catfish Row to Japan, proceeding to the moors of Scotland and finally ending in eighteenth-century Italy. Gershwin, Puccini, Donizetti and Mozart, along with the Indianapolis Opeta, will do their best to entertain you. We hope you enjoy the excursion. This year, as we develop a strategic plan for the Opera and undertake the search for a new artistic director, we are continally evaluating our productions and our organization with the intention of improving the quality of both wherever possible. There are exciting times ahead fot the Indianapolis Opera. Your continued attendance and financial support will enable you to patticipate in that future. Yours very truly, Bonnie Reilly President, Board of Directors Indianapolis Opera's 1991-92 season is one of the most popular in recent years, and at the same time, one of the most diverse. George and Ira Gershwin's PORGY AND BESS opens the season. Everyone is familiar with hit tunes like "Summertime," "I Got Plenty O' Nuttin'" and "It Ain't Necessarily So," but most listeners will be truly amazed at the grandeur and the complexity of this great American opera. Next, for our Italian opera lovers in the audience, we offer Puccini's MADAMA BUTTERFLY and Donizetti's LUCIA DI LAMMERMOOR. BUTTERFLY is an exciting example of the dramatic "veiismo" or realistic school of Italian opera. LUCIA, by contrast, featutes the beautiful melodies and simple accompaniments that define the delightful "bel canto" school of Italian opera. And finally, in honor of the 200th anniversary of Mozart's death, we conclude our season with his comedy COSI FAN TUTTE, universally agreed to contain some of his most beautiful music. Sevetal familiar artists will be returning throughout the season for various title roles. Among them are Arthut Woodley (last season's Leporello in DON GIOVANNI) as Porgy, Nova Thomas, an Indianapolis Opera favorite, as Buttetfly, and Lisa Saffer, our recent Queen of the Night (THE MAGIC FLUTE), as Lucia. Also singing in the LUCIA cast will be tenor Michael Rees Davis, who sang Tonio in our DAUGHTER OF THE REGIMENT in 1989 with Miss Saffer. With this mixture of great operas and guest artists, we promise you a 91-92 season not to be missed! Please join us! James Caraher Acting Artistic Director 1991-1992 Season We salute all the musicians, actors and dancers who have more artistic talent in one toe than we have in our entire bodies. BANKEONE Equal Opportunity Under. ©1991 BANC ONE CORPORATION Whatever it takes. BANK ONE INDlANAPQUS, NA Memtwi FDIC INDIANAPOLIS SYMPHONY ORCHESTRA RAYMOND LEPPARD, Music Director Alfred Savia, Associate Conductor Erich Kunzel, Pops Music Director First Violins Celli Contrabassoon Hidetaro Suzuki, Arkady Orlovsky, Charles Rader Concertmaster Principal Philip Palermo, Perry Scott, Horns Associate Concertmaster Associate Principal Robert Danforth, Principal Christal Phelps Steele, Robert Sansone, Richard Graef, Assistant Assistant Concertmaster Assistant Principal Principal Dean Franke Sarah Boyer Peter Kline Assistant Concertmaster Ingrid Fischer-Bellman Gerald Montgomery Barbara Fisher Agresti Geoffrey S. Lapin Jill Boaz Gino Agresti Mark Maryanovsky Trumpets David Collins Anne Duthie McCafferty Marvin C. Perry II, Judith Cox Katherine Vaccaro Natali Principal William Earnhart Jiro Yamaguchi Paul Hilgeman Carol Frohlich Contrabasses Robert Day Vladimir Krakovich Stewart Arfman, Principal Dinah Montgomery Robert Goodlett II, Trombones Raye Pankratz Assistant Principal James Beckel, Principal Blake Schlabach Yefim Pastukh Henry W. Boerner III John Bart Marc Silberger Leonard Bennett Gary Sliauzis Crantford Bass Trombone Gregory Dugan John Bart Second Violins Peter A. Hansen Konstantin Umansky, Michael Hartt Tuba Principal Leigh Mesh Daniel Corrigan, Principal David Bartolowits, Flutes Timpani Associate Principal Karen Moratz, Principal Mary Anne Berens, Timothy Adams, Jr. Philip G. Sample Principal Assistant Principal Rebecca J. Price, Sharon Bauerlein The Thomas N. Akins Anne Day Assistant Principal
Load more

Recommended publications
  • TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
    TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein.
    [Show full text]
  • Painting Blindness and Obstructing Vision Rembrandt and the Senses
    University of Bergen Department of Linguistic, Literary, and Aesthetic Studies KUN 350 Master’s Thesis in Art History Spring, 2014 Painting Blindness and Obstructing Vision Rembrandt and the Senses Samantha L. Smith 0 Sammendrag/ Norwegian Abstract Denne avhandlingen tar for seg tre malerier av den nederlandske kunstneren Rembrandt van Rijn (1606-1669), og analyserer dem med fokus på tre beslektede temaene blindhet, syn og berøring. Dette temavalget er basert på Rembrandts frekvente bruk av blindhet som motiv. Den teoretiske diskusjonen i avhandlingen er inspirert av Svetlana Alpers analyse i et kapittel fra hennes bok om Rembrandt «The Master's Touch» og av den franske filosofen Jacques Derridas bok «Memoirs of the Blind». Jeg bruker Derridas begrep parergon og ruin for å utforske hvordan vår opplevelse av maleriet blir berørt både av det vi ser og det vi ikke ser, av både det synlige og det usette. Verkene analyseres både i et historisk og et nåtidig lys, ved å utforske hva maleriene kommuniserte til seere da de ble malt, og hva de kommuniserer til moderne seere. I avhandlingen drøfter jeg ulike implikasjoner av konseptet blindhet, i tillegg til å diskutere framstillingen av sansene syn og berøring. På denne måten vil avhandlingen også rette søkelyset mot betydningen av berøring i vår opplevelse av maleri, en tilnærming knyttet til det som er blitt kalt 'the sensory turn'. 1 Acknowledgements Firstly, I would like to express my gratitude to my tutor Jørgen Bakke for his, critical eye, confidence in my project and the clarifying conversations. Thank you to the members of ‘Vitensbilder’ research group.
    [Show full text]
  • Researchonline@ND
    The University of Notre Dame Australia ResearchOnline@ND Theses 2018 An exegetical study of the annunciation of Luke 1:26-38 through text and art Kellie Costello Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Religion Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The am terial in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Chapter IV: Exegesis of Luke 1:26-38 in Four Artworks. In historical criticism, the world in front of the text is an important dimension in the exegetical process. The world of the text refers to the role of the reader in the interpretive process. In this research, the world in front of the text refers to the worlds of the artists of the four artworks being examined. This research seeks to understand how the artists understand the theology in the Lukan account of the annunciation for their time, how their thinking is reflected in their artworks, and how their interpretation is influenced by their historical circumstances. The following sections describe the historical contexts of the early European Renaissance period of Flanders and Spain in the 15/16th century and 20th century contemporary Australia. Historical Context: 15th/16th Century Flanders and Spain The ignorance of Hebrew and Greek in Western Europe in the Middle Ages helped to establish Jerome’s tradition of the Western Church, and thereby nearly all interpretations and commentaries are based on the Latin text.
    [Show full text]
  • The Wilson Bulletin May Be Sent Only to Members Not in Arrears for Dues
    Ernst Mayr Library, MCZ DUES FOR 1929 ANNUAL DUES FOR 1929 NOW PAYABLE This is the Treasurer’s first notice to all members that dues for 1929 are now payable to the Treasurer, Mr. J. W. Stack, Michigan Agricultural College, East Lansing, Michigan. You are earnestly requested to remit at your earliest convenience, thus saving postage expense to the Club, and much time and effort to the Treasurer. A receipt will be returned only if requested. Life Members $100.00 Sustaining Members 5.00 Active Members 2.50 Associate Members 1.50 The Club values the continued support of every member, and every resignation is received with much regret. At the recent annual meeting at Ann Arbor a very considerable list of delinquent members was reported. Some of these members had been carried for a year or longer. The number in this delinquent list was so great that the Club considered it necessary to authorize and instruct the officers that the Wilson Bulletin may be sent only to members not in arrears for dues. Accordingly, this action will be put into effect with the mailing of the March Bulletin. However, those who find it inconvenient to remit by that time will be gladly allowed an extension of time if they will merely communicate with the Treasurer to such effect. The Wilson Bulletin again extends the season’s greetings to its readers. The past year has been a reasonably prosperous one and we trust that our membership feels a degree of satisfaction with our numerical growth, at least. In spite of a considerable loss by resig- nation and non-payment of dues our total membership is greater than ever before.
    [Show full text]
  • I N T E R N a T I O N a L a R T S a N D C U L T U
    free SINTERNATIONALFAQ ARTS AND CULTURE ISSUE.10 ONLY WEST COAST VENUE JUL 14 – OCT 14 Man Ray and Lee Miller’s brief, mercurial love affair resulted in some of the most powerful works of each artist’s career, helping shape the course of modern art. See the first exhibition to focus on the pair’s artistic relationship, with approximately 115 photographs, paintings, drawings, and writings exploring the creative interaction between these two giants of European Surrealism. Organized by the Peabody Essex Museum, Salem, MA. Media Sponsors Man Ray (1890–1976), Larmes (Glass Tears), 1933. Gelatin silver print. Private collection. © 2012 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris. Life. Death. The cosmos. ASIAN ART MUSEUM What’s it all about? Provocative new art— PHANTOMS OF ASIA along with objects from FINAL WEEKS THROUGH SEP 16 the museum’s own ENDS SEPT 2 collection—explores Rare canonical black-and-white vintage prints meet luscious, eye-popping www.asianart.org/phantoms spirits and spirituality color work by a range of exciting artists, emerging to iconic, as the Traina in Asia. See Phantoms at our MATCHA events on 7/26 and 8/23, 5–9 pm. Enjoy cash bars, docent collection embraces the documentary impulse in photography and the tours, music by DJ-in-residence Vin Sol, performances, creative experiments, and more. medium’s full-blooded absorption into the world of contemporary art. Just $10. Can’t make it? Check out Phantoms any Thursday night after 5:00 pm for just $5. This exhibition was organized by the Asian Art Museum, San Francisco in collaboration with the Mori Art Museum, Tokyo.
    [Show full text]
  • IMA Photography Archives, 1968-2011 (PHO001)
    IMA/PHO001 IMA Photography Archives, 1968-2011, n.d.| Indianapolis Museum of Art Archives By Rebecca Denne and Samantha Norling Collection Overview Title: IMA Photography Archives, 1968-2011, n.d. Collection ID: IMA/PHO001 Primary Creator: Indianapolis Museum of Art Extent: 96 linear feet Arrangement: This collection has been divided into seven series and twelve subseries: Series I: Collections Subseries a: Accessions Subseries b: Loans Subseries c: Clowes Subseries d: Eiteljorg Subseries e: Various and Unidentified Subseries f: Conservation [RESTRICTED] Series II: Installations Subseries a: Exhibitions Subseries b: Galleries Series III: Buildings and Grounds Subseries a: Main Building Subseries b: Grounds and Gardens Subseries c: Oldfields, Newfields, 1330 House, and Garden Terrace Subseries d: Westerley Series IV: Events Series V: People Series VI: Photography Binders Series VII: Licensed Images and Exhibition/Publication Photography Date Acquired: July 24, 2015 and various Language: English IMA Archives PHO001 IMA Photography Archives, 1968-2011, n.d. 1 Scope and Contents of the Materials The IMA Photography Archives were transferred to the IMA Archives from various departments of the Indianapolis Museum of Art, including some transfers before the IMA Archives were officially established. The largest transfer came from the Photography Department on July 24, 2015. Other contributing departments include the Director’s Office, Registration, Stout Reference Library, Audience Engagement, and Public Affairs/Marketing. Some Affiliate Groups of the IMA have also contributed photographic content to this collection. The collection has been divided into seven series as described below. Series I: Collections, 1970-2001, n.d. contains official photography of most, but not all, IMA accessions, loans, Clowes collection of European painting and sculpture, Eiteljorg collection of African art, Antiquities, Asian, American, Contemporary, Decorative, Design, European, Fashion, and Textile art collections, unidentified artworks, and conservation imagery.
    [Show full text]
  • Cultural Worlds of the Jesuits in Colonial Latin America Edited by Linda A
    Cultural Worlds of the Jesuits in Colonial Latin America edited by Linda A. Newson INSTITUTE OF LATIN AMERICAN STUDIES Cultural Worlds of the Jesuits in Colonial Latin America edited by Linda A. Newson University of London Press Institute of Latin American Studies, School of Advanced Study, University of London, 2020 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license. More information regarding CC licenses is available at https:// creativecommons.org/licenses/. This book is also available online at http://humanities-digital-library.org. ISBN: 978-1-908857-62-0 (paperback edition) 978-1-908857-74-3 (.epub edition) 978-1-908857-73-6 (.mobi edition) 978-1-908857-75-0 (PDF edition) DOI: 10.14296/520.9781908857750 (PDF edition) Institute of Latin American Studies School of Advanced Study University of London Senate House London WC1E 7HU Telephone: 020 7862 8844 Email: [email protected] Web: http://ilas.sas.ac.uk Cover image: Mappa Geographica exhibens Provincias, Oppida, Sacella &c quae Mensibus Novembri ac Decembri anni 1751 et ... anni 1752 peragravit ad Indorum Chilensium terras... Hieronymus Strübel, 1777. Courtesy of John Carter Brown Library. Contents List of figures v Notes on contributors vii Introduction 1 Linda A. Newson I. Jesuit art, architecture and material culture 9 1. The Jesuits and Chinese style in the arts of colonial Brazil (1719–79) 11 Gauvin Alexander Bailey 2. Two ‘ways of proceeding’: damage limitation in the Mission to the Chiquitos 41 Kate Ford 3.
    [Show full text]
  • The Artforum Index: Volume I, Number 1, Through Volume VII, Number 4 June 1962 Through December 1968
    The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 1 The Artforum Index: Volume I, number 1, through volume VII, number 4 June 1962 through December 1968 The original edition of 1000 copies appeared 1 July 1970 as Artforum, 1962-1968: a cumulative index to the first six years, by Laurence McGilvery, La Jolla, California. This revised, free, on-line version is published 1 November 2009. CONTENTS INTRODUCTION ACKNOWLEDGMENTS NOTES to the first sixty-five issues INDEX A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y, Z © by Laurence McGilvery 1970, 2002, 2009 All rights reserved for printed, electronic, digital, or any other media The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 2 INTRODUCTION BACKGROUND. The first, expanded, on-line version of The Artforum Index was prepared during the spring of 2002 and appeared almost exactly thirty-two years after its initial publication as Artforum, 1962-1968: a cumulative index to the first six volumes. It includes volume VII, numbers 1-4, September-December 1968. Coverage of Artforum by Art Index began with volume VII, number 5, January 1969. This further-revised, digital version, prepared during the fall of 2009, also is free. Nearly all abbreviations have been spelled out, and the speed of today’s computers allows a much simpler, faster interface for the reader. For the first on-line version, the TextBridge Pro 9.0 character-recognition program was used to scan the original printing master.
    [Show full text]
  • The Art of Romare Bearden: a Resource for Teachers
    Cover 9.9.1 ss 11/6/03 5:52 PM Page 1 The Art of Romare Bearden ArtThe Romare of Division of Education National Gallery of Art, Washington The Art of Romare Bearden Mailing address: A Resource for Teachers 2000B South Club Drive Landover, MD 20785 A Resource for Teachers for Teachers A Resource of Art, Washington Gallery National Cover 9.9.1 ss 11/6/03 5:52 PM Page 2 The Art of Romare Bearden is organized by the National Gallery of Art, Washington. The exhibition is made possible with generous support from AT&T. The exhibition is sponsored in part by Chevy Chase Bank. The exhibition is presented at the following museums: National Gallery of Art, Washington, September 14, 2003 – January 4, 2004 San Francisco Museum of Modern Art, February 7 – May 16, 2004 Dallas Museum of Art, June 20 – September 12, 2004 Whitney Museum of American Art, New York, October 14, 2004 – January 9, 2005 High Museum of Art, Atlanta, January 29 – April 24, 2005 Written and produced by staff of the National Gallery of Art, Washington. Writers: Carla Brenner, Heidi Hinish, and Barbara Moore, division of education. Photography research, acquisition, and permissions: Ira Bartfield and Sara Sanders-Buell, publications department, and Leo Kasun and Lesley Keiner, division of education. Online production: Stephanie Burnett and Rachel Richards, division of education. Thanks for contributions supporting publication of this packet to: Lynn Russell, chair, division of education; Chris Vogel, production manager, publications department; Donna Mann, senior publications manager, education division; Phyllis Hecht, web manager; and staff of the exhibition programs and photography departments.
    [Show full text]
  • Manuel De La Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 Manuel de la Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica Lauran Bonilla-Merchav Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/172 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANUEL DE LA CRUZ GONZÁLEZ: TRANSNATIONALISM AND THE DEVELOPMENT OF MODERN ART IN COSTA RICA by LAURAN BONILLA-MERCHAV A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 LAURAN BONILLA-MERCHAV All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ____________________ ________________________________________ Date Professor Anna Indych-López Chair of Examining Committee ____________________ ________________________________________ Date Professor Claire Bishop Executive Officer ____________________________ Professor Romy Golan ____________________________ Professor Eloise Quiñones Keber ____________________________ Professor Edward Sullivan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT MANUEL DE LA CRUZ GONZÁLEZ: TRANSNATIONALISM AND THE DEVELOPMENT OF MODERN ART IN COSTA RICA Advisor: Professor Anna Indych-López While scholars are increasingly scrutinizing twentieth-century Latin American art and inserting it into the canon of modern art history, studies of the region usually leap from Mexico to South America, skipping Guatemala, El Salvador, Honduras, Belize, Nicaragua, Costa Rica, and Panama.
    [Show full text]
  • Rembrandt's Etched Sketches and Seventeenth-Century
    REMBRANDT’S ETCHED SKETCHES AND SEVENTEENTH-CENTURY PRINT CULTURE by AMY REED FREDERICK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2014 For Caroline and Lucy iii TABLE OF CONTENTS List of figures v Acknowledgements xii Abstract xvi Introduction 1 Chapter One: Historiography of the Etched Sketches 12 Chapter Two: Taxonomy of the Etched Sketches 47 Chapter Three: The Editions, Audiences and Degrees of Finish of the Etched Sketches 76 Chapter Four: Subjects of the Etched Sketches 99 Chapter Five: Rotation and Reception of the Etched Sketches 133 Conclusion 155 Appendix A: Formal Descriptions of the Etched Sketches 163 Appendix B: Images 176 Bibliography 270 iv LIST OF FIGURES Figure 1 Rembrandt, Sheet of Studies with Head of Rembrandt and Beggar Couple, c. 1631, etching, The British Museum, London, F,6.127 Figure 2 Rembrandt, Sheet of Studies of Men’s Heads, c. 1630, etching, The Albertina, Vienna Figure 3 Rembrandt, Three Studies of Old Men’s Heads, c. 1630, etching, The British Museum, London, 1848, 0911.193 Figure 4 Rembrandt, Studies of the Head of Saskia and Other Women, 1636, etching, The British Museum, London, F,6.129 Figure 5 Rembrandt, Three Heads of Women, One Lightly Etched, c. 1637, etching, The British Museum, London, F,6.130 Figure 6 Rembrandt, Three Heads of Women, One Asleep, 1637, etching, The British Museum, London, 1843,0607.228 Figure 7 Rembrandt, Sheet of Studies with a Woman Lying Ill in Bed, c.
    [Show full text]
  • Florida State University Museum of Fine Arts
    Cuban Art in the 20 Cuban Art in the th Century: Cultural Identity and the International Avant Garde International Avant Identity and the Century: Cultural CULTURAL IDENTITY AND THE INTERNATIONAL AVANT GARDE Florida State University Museum of Fine Arts of Fine Florida State UniversityMuseum Florida State University Museum of Fine Arts Florida State University College of Fine Arts 530 West Call Street Tallahassee FL 32306 www.MoFA.fsu.edu FLORIDA STATE UNIVERSITY MUSEUM OF FINE ARTS ISBN 978-1-889282-32-9 CULTURAL IDENTITY AND THE INTERNATIONAL AVANT GARDE CURATOR SEGUNDO J. FERNANDEZ ESSAYS BY JUAN A. MARTÍNEZ, PAUL NIELL & SEGUNDO J. FERNANDEZ FEBRUARY 12-MARCH 27, 2016 MUSEUM OF FINE ARTS COLLEGE OF FINE ARTS / FLORIDA STATE UNIVERSITY TABLE OF CONTENTS PROJECT SUPPORT & ORGANIZATION The exhibition Cuban Art in the Twentieth Century: Cultural Identity and the International Avant Garde was organized by the Florida State University Museum of Fine Arts in concert with Guest Curator Segundo J. Fernandez and Cernuda Arte of Coral Gables, Florida. Project Staff: Allys Palladino-Craig, Editor and Grant Writer; Jean D. Young, Registrar and Book Designer; Teri R. Abstein, Curator of Education; Wayne T. Vonada, Jr., Chief Preparator and Elizabeth McLendon, Archivist and Special Projects Coordinator. This program is sponsored in part by: the City of Tallahassee, Leon County and the Council on Culture & Arts; and Opening Nights. DESIGNER n [cover top row, left to right] R.C. Bears, Viandsas (Staples), 1879, oil on canvas, 14½ x 12 inches. Private Collection. Photo credit: Jon Nalon; Jean D. Young José A. Bencomo Mena, La Ceiba (The Ceiba Tree), 1949, oil on board, 15¾ x 12 inches.
    [Show full text]