Jeudi 16 Et Vendredi 17 Mai 2013 Paris Drouot
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement. -
Univerzitet Umetnosti U Begoradu Ţensko Telo U
Univerzitet umetnosti u Begoradu Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija Ţensko telo u nadrealističkoj fotografiji i filmu Autor: Lidija Cvetić F6/10 Mentor: dr.Milanka Todić, redovni profesor Beograd, decembar 2015. 1 Sadržaj: Apstrakt / Abstract/ 7 1. Uvod : O nadrealističke poetike ka teoriji tela/ 6 2. Žensko telo i poetika nadrealizma/ 16 2.1.Estetika znatiželje/ 16 2.1.1. Ikonografija znatiţelje/ 20 2.1.2. Topografija ţenske zavodljivosti/ 22 2.1.3. Znatiţeljni pogled/ 26 2.1.4. Dekonstrukcija pogleda/ 32 2.2.Mit i metamorfoze/ 38 2.2.1. Prostori magijskog u prostoru modernosti/ 38 2.2.2. Breton – Meluzine/ 41 2.2.3. Bataj – Lavirint/ 56 2.2.4. Nadrealisički koncept Informé/ 60 3. Fetišizacija i dekonstrukcija ženskog tela u praksama narealizma/ 69 3.1. Fetišizacija tela/ 69 3.1.1. Poreklo fetiša/ 70 3.1.2. Zamagljeni identitet/ 74 3.1.3. Ţensko telo – zabranjeno telo/ 78 3.2.Dekonstrukcija tela/ 82 3,2,1, Destrukcija – dekonstrukcija/ 82 3.2.2. Konvulzivni identitet/ 87 3.2.3. Histerično telo/ 89 4. Reprezentacijske prakse u vizuelnoj umetnosti nadrealizma/ 97 4.1.Telo kao objekt/ 97 4.1.1. Početak telesnih subverzija/ 101 4.1.2. Ţenski akt – izlaganje i fragmentacija/ 106 2 4.2.Telo kao dijalektički prostor označavanja/ 114 4.2.1. Ţensko telo kao sistem označavanja/ 114 4.2.2. Disbalans u reprezentaciji „polnosti”/ 117 4.2.3. Feministički jezik filma/ 125 4.1.4. Dijalektika tela/ 128 5. Performativnost i subverzije tela/ 134 5.1.Otpor identiteta-performativnost tela/ 134 5.1.1. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
LIMBOUR, Georges (1900-1970)
LIMBOUR, Georges (1900-1970) Sources d’archives identifiées Source et outils de recherche : - Françoise NICOL, Georges Limbour. L’aventure critique, Rennes, Presses universitaires de Rennes, 2014. - AGORHA (Accès Global et Organisé aux Ressources en Histoire de l’Art, INHA), en ligne. - CCfr (Catalogue Collectif de France), en ligne. Editée par Julien Bobot, 2015. Pour citer cet article : Françoise NICOL, « LIMBOUR, Georges (1900-1970). Sources d’archives identifiées », éditée par Julien Bobot, in Marie Gispert, Catherine Méneux (ed.), Bibliographies de critiques d’art francophones, mis en ligne en janvier 2017. URL : http://critiquesdart.univ-paris1.fr/georges- limbour AUSTIN (Texas), Harry Ransom Center Fonds Carlton Lake • 1 lettre de Georges Limbour à Jean Cassou, n.d. Fonds Carlton Lake, container 154.9 • 1 lettre de Georges Limbour à Roland Tual, n.d. Fonds Carlton Lake, container 286.9 LE HAVRE, Bibliothèque municipale Armand Salacrou Fonds Georges Limbour. Œuvres • Elocoquente : manuscrit original. 118 f. MS • La Chasse au mérou : manuscrit autographe et notes préparatoires. 142 f. MS inv. 1509 [numérisation sur le site « Lire au Havre ». URL : http://ged.lireauhavre.fr/?wicket:interface=:11] • Mélanges de Georges Limbour sur Dubuffet, 1949. Manuscrits autographes. [Comprend : « Complot de Minuit », « Les espagnols de Venise », « Mélanges Kahnweiler », « La nuit close », ainsi qu'une photocopie d'article.] MS inv. 1510 • Dossiers « Action 1945 ». Manuscrits autographes. [Ensemble des articles écrits par Georges Limbour pour la revue Action.] MS inv. 1511 • Dossier « Action 1946 ». Manuscrits autographes. [Ensemble des articles écrits par Georges Limbour pour la revue Action.] MS inv. 1512 • Dossier « Action 1947 ». Manuscrits autographes. [Ensemble des articles écrits par Georges Limbour pour la revue Action.] MS inv. -
Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Plastic Dynamism in Pastel Modernism: Joseph Stella's
PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION by MEREDITH LEIGH MASSAR Bachelor of Arts, 2007 Baylor University Waco, Texas Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2010 ! ""! PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION Thesis approved: ___________________________________________________________________________ Dr. Mark Thistlethwaite, Major Professor ___________________________________________________________________________ Dr. Frances Colpitt ___________________________________________________________________________ Rebecca Lawton, Curator, Amon Carter Museum ___________________________________________________________________________ H. Joseph Butler, Graduate Studies Representative For the College of Fine Arts ! """! Copyright © 2009 by Meredith Massar. All rights reserved ! "#! ACKNOWLEDGMENTS I am grateful to all those who have assisted me throughout my graduate studies at Texas Christian University. Thank you to my professors at both TCU and Baylor who have imparted knowledge and guidance with great enthusiasm to me and demonstrated the academic excellence that I hope to emulate in my future career. In particular I would like to recognize Dr. Mark Thistlethwaite for his invaluable help and direction with this thesis and the entire graduate school experience. Many thanks also to Dr. Frances Colpitt and Rebecca Lawton for their wisdom, suggestions, and service on my thesis committee. Thank you to Chris for the constant patience, understanding, and peace given throughout this entire process. To Adrianna, Sarah, Coleen, and Martha, you all have truly made this experience a joy for me. I consider myself lucky to have gone through this with all of you. Thank you to my brothers, Matt and Patrick, for providing me with an unending supply of laughter and support. -
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. -
Archives of American Art Journal, Vol. 49 Nos. 1-2: the Anniversary Issue
From the director This year marks the fiftieth anniversary of theArchives of American Art Journal. What started as a modest pamphlet for announcing new acquisitions and other Archives’ activities soon blossomed into one of the signature publications for the dissemination of new research in the field of American art history. During its history, the Archives has published the work of most of the leading thinkers in the field. The list of contributors is far too long to include, but choose a name and most likely their bibliography will include an essay for the Journal. To celebrate this occasion, we mined the Journal’s archive and reprinted some of the finest and most representative work to have appeared in these pages in the past five decades. Additionally, we invited several leading scholars to prepare short testimonies to the value of the Journal and to the crucial role that the Archives has played in advancing not only their own work, but its larger mission to foster a wider appreciation and deeper understanding of American art and artists. I’m particularly grateful to Neil Harris, Patricia Hills, Gail Levin, Lucy Lippard, and H. Barbara Weinberg for their thoughtful tributes to the Journal. Additionally, I’d like to thank David McCarthy, Gerald Monroe, H. Barbara Weinberg, and Judith Zilczer for their essays. And I would like to make a very special acknowledgement to Garnett McCoy, who served as the Journal’s editor for thirty years. As our current editor Darcy Tell points out, the Journal’s vigor and intellectual rigor owe much to Garnett’s stewardship and keen Endpapers inspired by the Artists' Union logo. -
Dossier De Presse Expo CAPE Art Naïf
EXPOSITIONEXPOSITION D’ARTD’ART NAÏFNAÏF 11erer AVRILAVRIL -- 3131 MAIMAI 20142014 ESTEVILLEESTEVILLE « Le Génie des Modestes » Exposition de 50 chefs d’œuvre d’Art Naïf et populaire de la Collection Anatole Jakovsky de Blainville-Crevon au Centre abbé Pierre - Emmaüs Esteville - Normandie du 1er avril au 31 mai 2014 Centre d'étude et de documentation Anatole Jakovsky-Frère Moulin Pican route de Ry 76116 Blainville Crevon 02.35.80.49.15 [email protected] www.lasirene76.com Le lieu de mémoire de l’abbé Pierre propose de découvrir l’histoire et le message de l’abbé Pierre ainsi que les actions du Mouvement Emmaüs en France et dans le monde grâce à une scénographie moderne et sobre. Le Centre d’Esteville, situé à 30 km au nord de Rouen, est ouvert depuis le 22 janvier 2012. En plus de l’exposition permanente, il accueille une programmation culturelle riche et variée : conféren- ces, expositions, séminaires, animations, ateliers pédagogiques et concerts. En 2014, une exposition exceptionnelle d’œuvres d’Art naïf aura lieu au sein du Lieu de mémoire de l’abbé Pierre. Anatole Jakovsky est un critique d’art et un collectionneur pas- sionné d’Art naïf. Il a su reconnaître des talents et promouvoir des artistes tout au long de sa vie. La charmante bourgade de Blainville-Crevon, située à 20 km au nord de Rouen, a hérité d’une partie de sa très grande collection que les bénévoles de l’associa- tion La Sirène restaurent, cataloguent et mettent en valeur. 50 tableaux parmi les plus remarquables de la collection seront ex- posés du 1 er avril au 31 mai 2014 au Centre abbé Pierre - Emmaüs d’Esteville : Lucien Vieillard, Jean-François Crépin, Henry Dieck- mann, Isabelle de Jesus, Jules Lefranc, Gertrude O’Brady, Germain Vandersteen, Ivan Rabuzin, Bernard Vercruyce… Il s’agit d’un véri- table voyage dans l’univers de l’art naïf, art brut, art populaire, art non-conventionnel.. -
Nuit-Des-Musees-2019.Pdf
PROGRAMMATION Les de « LA CLASSE, L’ŒUVRE ! » LIEUX > En journée, entrée libre durant la manifestation « LA CLASSE, L’ŒUVRE ! » : partez à la découverte des œuvres des musées, guidés par les élèves, passeurs de culture. MUSÉE MATISSE MUSÉE DE PRÉHISTOIRE MUSÉE MATISSE MUSÉE DE LA En conclusion, les enfants aborderont l’avenir 164, avenue des Arènes de Cimiez DE TERRA AMATA des éléphants en sensibilisant le public à la Bus n° 15, 17, 20 - arrêt Arènes / Musée 18h [durée : 15 mn] PHOTOGRAPHIE 25, boulevard Carnot protection de la biodiversité. Matisse Bus n° 3, 7, 9, 10, 14, 81, 82 - arrêt Le Port Les Jeannettes 1, 2, 3, 4, 5 CHARLES NÈGRE Michèle de Lorgeril et ses élèves de GS Bus n° 25 - arrêt Monastère Bus n° 20 et A30 - arrêt Lympia 14h à 15h 15h à 16h « Les Parmes », école maternelle Bellanda Bus n° 81, T32, 100 - arrêt Gustavin / Carnot présenteront leur création d’un livre L’Opéra du Monde, de Christine La mandibule en couleur e numérique devant les œuvres sculptées Les 6 3du collège Roland Garros abordent MUSÉE DE LA PHOTOGRAPHIE Spengler le thème de la mandibule de l’éléphanteau, Jeannettes I à V, 1910-1913 (au niveau 1). Les élèves de CM1-CM2 de l’école MUSÉE DES BEAUX-ARTS sous forme de dessins tout en couleur et de CHARLES NÈGRE Leurs travaux réalisés au cours de l’année Saint-Sylvestre s’inspireront des images de sculptures exposés dans la salle de 1, Place Pierre Gautier 33, avenue des Baumettes seront exposés à l’atelier pédagogique Christine Spengler pour les retranscrire sous conférences.