A-Level History of Art Mark Scheme Unit 03
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Plate 6 Epiphany by Marcus a Vincent 195641956 Oil on Panel 515111 X 20 1989 Courtesy Museum of Church History and Art
plate 6 epiphany by marcus A vincent 195641956 oil on panel 515111 x 20 1989 courtesy museum of church history and art A woman in a moment of silent enlightenment begins to understand an eternal truth vincent paints the woman realisti- cally juxtaposing her mortality against an abstract background symbolizing the world of the spirit the paradox of silence in the arts and religion through paradoxical silences some artists convey their an- guish over heavens unresponsiveness in theracethefacethe facehace of evil but in religion silence often conveys gods presence and sorrow jon D green only by the form the pattern can words or music reach the stillness as a chinese jar still moves perpetually in its stillness T S eliot four quartets introduction T S eliotseliote stanza captures an essential ingredient in the theme of this essay the paradoxical relationship between the mute and the immutable between silence and stasis the jar is still silent and unmoving yet still moves us in its stillness qui- etude the word still suggests that both the mute and the motion- less have continuous being and silence is laden with messages that reach our emotions the simple paradox of silence is that what is not said can be more expressive than what is said this paradox of silence has universal applications in every culture and civilization silence weaves its way through gods com- municationmunication with his creations and throughout our attempt to communicate with the divine and with each other particularly through the arts for the purposes of this paper I1 -
4 January 2009 Tate Britain Teacher and Student Notes by Linda Bolton
11 SEPTEMBER 2008 – 4 JANUARY 2009 TATE BRITAIN TEACHER AND STUDENT NOTES BY LINDA BOLTON INTRODUCTION Francis Bacon (1909–92) was one of the most important painters of the twentieth century and one of the very few British artists with a strong international reputation. He was a maverick who rejected the dominant practice of the time, abstraction, in favour of a distinctive and disturbing realism. This major exhibition displays Bacon’s work from his first masterpiece to works made shortly before his death. He was born in 1909 in Dublin to Anglo-Irish parents; his father was a racehorse trainer and his mother a steel and coal heiress. Bacon was a sickly child, he suffered from asthma and was allergic to the dogs and horses kept by his father. His lively and gregarious mother showed little interest in her son’s early sketches. Bacon’s closest childhood confidante was the family nursemaid, Jessie Lightfoot. They developed an intense bond and she lived with him at intervals long into Bacon’s adulthood, remaining one of his closest companions throughout his life. It was a peripatetic childhood as his family moved frequently between England and Ireland. The frequent upheavals he experienced as a result of this were to induce in Bacon a sense of displacement which is often referenced in his work. Bacon loved dressing up. As a shy child, his effeminate manner upset his father, who apparently had Bacon horsewhipped by their Irish groom, and banished him from the family home after finding his son dressed in his mother’s underwear, admiring himself in front of a mirror. -
Francis Bacon: the Logic of Sensation
Francis Bacon: the logic of sensation GILLES DELEUZE Translated from the French by Daniel W. Smith continuum LONDON • NEW YORK This work is published with the support of the French Ministry of Culture Centre National du Livre. Liberte • Egalite • Fraternite REPUBLIQUE FRANCAISE This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Francais du Royaume-Uni. Continuum The Tower Building 370 Lexington Avenue 11 York Road New York, NY London, SE1 7NX 10017-6503 www.continuumbooks.com First published in France, 1981, by Editions de la Difference © Editions du Seuil, 2002, Francis Bacon: Logique de la Sensation This English translation © Continuum 2003 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Gataloguing-in-Publication Data A catalogue record for this book is available from The British Library ISBN 0-8264-6647-8 Typeset by BookEns Ltd., Royston, Herts. Printed by MPG Books Ltd., Bodmin, Cornwall Contents Translator's Preface, by Daniel W. Smith vii Preface to the French Edition, by Alain Badiou and Barbara Cassin viii Author's Foreword ix Author's Preface to the English Edition x 1. The Round Area, the Ring 1 The round area and its analogues Distinction between the Figure and the figurative The fact The question of "matters of fact" The three elements of painting: structure, Figure, and contour - Role of the fields 2. -
Ofer Lellouche, Nine, 2013 the Division to Triads Also Echoes the Other Groups in the Nine
2013 V !" 6219868 03.6915060 03.6914582 [email protected] www.zcagallery.com 2013 © I 34 11 ,14 ,15 ,4 D 4 A 1514AD ,I 19241514 1514 I 154 ,9 ,2 4 ,5 ,63 ,5 ,7 3 2013 1 + 390901652013 , Nine, 2013, bronze, 165x90x90, edition: 3 + 1 A.P. Head I 156x30x30 I Head II 150x30x30 II Head III 163x30x30 III Head IV 160x30x30 IV Head V 157x30x30 V Head VI 152x30x30 VI Head VII 150x30x30 VII Head VIII 159x30x30 VIII Head IX 149x30x30 IX 1 + 390901652013 , Nine, 2013, bronze, 165x90x90, edition: 3 + 1 A.P. own writing, mentioned time and again Ovid’s Narcissus, his story and its variations, as a central prism for reading his self portraits. In di!erent essays we have read about the unique gaze of the artist who looks at himself, a gaze whose singularity he formulated when he wrote about looking at one of Rembrandt’s self portraits: “either I am Rembrandt and the painting is a mirror, or Rembrandt is looking at himself and I am the mirror”; we have read about bridging the distance between the painter and the model, while providing a more accurate answer to the demands of the observing eye from the painting hand; we have read on about the aspiration for a union of signifier and signified as a metaphor for Narcissus who could not distinguish himself from his reflection. Yet Narcissus is not the only one punished by the burden of reflection at all. In the third book of Metamorphoses Ovid recounts the story of the nymph Echo, whose role was to engage in conversation and distract Hera, queen of Olympus and Zeus’ wife, while the king of the gods seduced the nymphs. -
ARCIMBOLDO FACE to FACE I Z Z I R E B
Mécène fondateur 29.05 PRESS RELEASE → A R 22.11.21 C I M B O L D O F A C E TOFACE # c e f a nt c e r e a p a r o c m i m p b i d o o l d u o - m e t z . f r M/M (PARIS) Giuseppe Arcimboldo, Les Quatre Saisons, Le Printemps , 1573 ; huile sur toile, 76 × 63,5 cm ; Paris, musée du Louvre, département des Peintures. Photo ©RMN-Grand Palais (musée du Louvre)/Jean-Gilles Berizzi ARCIMBOLDO FACE TO FACE CONTENTS 1. GENERAL PRESENTATION .................................................................5 2. GIUSEPPE ARCIMBOLDO ...................................................................8 3. ARCIMBOLDO FACE TO FACE ..........................................................11 4. EXHIBITION LAYOUT .......................................................................18 5. FORUM .............................................................................................24 6. LISTE OF ARTISTS ............................................................................26 7. LISTE OF LENDERS ..........................................................................28 8. CATALOGUE & PUBLICATIONS ..........................................................30 9. RELATED PROGRAMME ....................................................................33 10. YOUNG PEOPLE AND EDUCATIONAL ACTIVITIES ............................38 11. PARTNERS......................................................................................40 12. PRESS VISUALS .............................................................................46 3 ARCIMBOLDO FACE TO FACE Mario -
Dossier De Presse Francis Bacon 1996
Centre Georges Pompidou Direction de la communication Communiqué de presse Francis Bacon Exposition 27 juin - 14 octobre 1996 Grande Galerie, sème étage Le Centre Georges Pompidou présente du 27 juin au 14 octobre une exposition rétrospective consacrée à l'oeuvre de Francis Bacon (1909 -1992) . L'exposition est organisée en collaboration avec le British Council. Cette rétrospective, la première à Paris depuis celle du Grand Palais en 1971 et la plus importante depuis l'exposition de la Tate Gallery à Londres en 1985, constitue un événement. Rassemblant un choix de 86 oeuvres provenant de collections publiques et privées, françaises et étrangères, cette exposition rend hommage à celui que l'on considérait déjà de son vivant comme le plus grand peintre anglais du XXe siècle . Cette rétrospective devrait permettre d'apprécier la qualité et l'ampleur d'une oeuvre inclassable mais occupant une place centrale dans l'imaginaire de notre époque. La sélection des oeuvres présentées a été confiée à David Sylvester, exégète, ami de l'artiste (qu'il a rencontré au lendemain de la dernière guerre mondiale) et célèbre critique d'art anglais . Parmi les textes qu'il a consacrés à Francis Bacon, notons la célèbre série d'entretiens l'Art de l'impossible, qui constitue depuis sa publication la source essentielle de toute approche de l'oeuvre du peintre. David Sylvester a également été l'organisateur de la rétrospective Francis Bacon à la Biennale de Venise de 1993 . Cette exposition lui a valu le Lion d'Or, une distinction attribuée pour la première fois à un critique d'art. -
Francis Bacon
Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/francisbaconOOsolo I FRMfIS THE SOLOMOI R. GlGGEnEIM MISEUM, MW VORR IN COLLABORATION WITH THE ART INSTITUTE OF CHICAGO Published by The Solomon R. Guggenheim Foundation, New York, 1963 All Rights Reserved Library of Congress Card Catalog Number: 63-21154 Printed in The Netherlands The Solomon R. Guggenheim Museum is honored to present the first American Museum retrospective exhibition by the distinguished British painter Francis Bacon. The Museum, thereby implements its stated policy to exhibit modern art of exceptional quality and significance regardless of national origins or stylistic categories. That we should be joined in this endeavor by one of the great museums in this country. The Art Institute of Chicago, is a source of particular gratification and sets a fruitful precedent for similar collaborative ventures in the future. Harry F. Guggenheim. President, The Solomon R. Guggenheim Foundation THE SOLOMON R. GUGGENHEIM FOtrNDATlON TRUSTEES HARRY F. GUGGENHKIM, PRE^SIDENT ALBERT E. THIELE, VICE PRESIDENT H. H. ARNASON, VICE PRESIDENT, ART ADMINISTRATION ELEANOR, COVNTESS CASTLE STE^VART A. CHAL'NCEY NE^VHN MRS. HENRV OBRE DANIEL CATTON RICH MICHAEL F. M'ETTACH MEDLEY G. B. WHELPLEY CARL ZIGROSSER THE ART INSTITUTE OF CHICAGO OFFICERS •WILLIAM McCORMICK BLAIR President PERCY B. ECKHART Senior Vice President LEIGH B. BLOCK Vice President FRANK B. HUBACHEK Vice President GEORGE B. YOUNG Vice President EDWARD BYRON SMITH Treasurer ALLAN McNAB Director of Administration JOHN MAXON Director of Fine Arts LOUISE LUTZ Assistant Secretary TRUSTEES JAMES W. -
Tate Report 2002–2004
TATE REPORT 2002–2004 Tate Report 2002–2004 Introduction 1 Collection 6 Galleries & Online 227 Exhibitions 245 Learning 291 Business & Funding 295 Publishing & Research 309 People 359 TATE REPORT 2002–2004 1 Introduction Trustees’ Foreword 2 Director’s Introduction 4 TATE REPORT 2002–2004 2 Trustees’ Foreword • Following the opening of Tate Modern and Tate Britain in 2000, Tate has consolidated and built on this unique achieve- ment, presenting the Collection and exhibitions to large and new audiences. As well as adjusting to unprecedented change, we continue to develop and innovate, as a group of four gal- leries linked together within a single organisation. • One exciting area of growth has been Tate Online – tate.org.uk. Now the UK’s most popular art website, it has won two BAFTAs for online content and for innovation over the last two years. In a move that reflects this development, the full Tate Biennial Report is this year published online at tate.org.uk/tatereport. This printed publication presents a summary of a remarkable two years. • A highlight of the last biennium was the launch of the new Tate Boat in May 2003. Shuttling visitors along the Thames between Tate Britain and Tate Modern, it is a reminder of how important connections have been in defining Tate’s success. • Tate is a British institution with an international outlook, and two appointments from Europe – of Vicente Todolí as Director of Tate Modern in April 2003 and of Jan Debbaut as Director of Collection in September 2003 – are enabling us to develop our links abroad, bringing fresh perspectives to our programme. -
Draft 18.2:2 Monaoc Press Pack
Contents of the Press Pack PAGE NUMBER THE EXHIBITION « Bacon, Monaco and French culture » 3 The curator: Martin Harrison 5 Quotes by and about Francis Bacon in Monaco and France 7 Francis Bacon biography 8 Key works and press images 12 Images of Francis Bacon in France and Monaco 13 THE LENDERS 16 THE GRIMALDI FORUM 17 THE FRANCIS BACON MB ART FOUNDATION 19 THE FRANCIS BACON ESTATE 21 THE EXHIBITION PARTNERS 22 PRACTICAL INFORMATION 23 For more information, please contact Kate Burvill, KBRP E: [email protected], T: 00 44 (0) 7947 754 717 2 THE EXHIBITION FRANCIS BACON, MONACO AND FRENCH CULTURE The Grimaldi Forum, Monaco will present a major exhibi:on, Francis Bacon, Monaco and French Culture from 2 July to 4 September 2016. The exhibi:on, curated by Mar:n Harrison, author of the forthcoming Francis Bacon Catalogue Raisonné (publicaon April 2016), will take place with the support of The Estate of Francis Bacon in London, and the Francis Bacon MB Art Foundaon based in Monaco. Francis Bacon’s cultural orientaon was, to an extraordinary degree, towards France, and The Grimaldi Forum exhibi:on will explore the ar:st’s work from this unique angle: the important influence of French art and culture on Bacon’s work, and his years in Monaco that had a crucial impact on his oeuvre. Major triptychs as well as famous and less well-known pain:ngs will be displayed themacally and will show direct and indirect relaonships to France and Monaco. One of the features of this exhibi:on will be to cross-reference major works of the masters who inspired the ar:st. -
TEAR DOWN the VEILS: FRANCIS BACON's PAPAL VARIATIONS 1946-1971 by KIMBERLY YUEN HONG a THESIS Presented to the Department of Ar
-_._-_ ..._--- TEAR DOWN THE VEILS: FRANCIS BACON'S PAPAL VARIATIONS 1946-1971 by KIMBERLY YUEN HONG A THESIS Presented to the Department ofArt History and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts June 2009 11 "Tear Down the Veils: Francis Bacon's Papal Variations 1946-1971," a thesis prepared by Kimberly Yuen Hong in partial fulfillment ofthe requirements for the Master ofArts degree in the Department ofArt History. This thesis has been approved and accepted by: Dr. Kat Mon och, hair ofthe Examining Committee Committee in Charge: Dr. Kate Mondloch, Chair Dr. Lauren Kilroy Dr. Ellen Rees Accepted by: G3'ean ofthe Graduate School 111 © 2009 Kimberly Yuen Hong IV An Abstract ofthe Thesis of Kimberly Yuen Hong for the degree of Master ofArts in the Department ofArt History to be taken June 2009 Title: TEAR DOWN THE VEILS: FRANCIS BACON'S PAPAL VARIATIONS 1946- 1971 Approved: - Dr. Kate Mondloch Twentieth-century British figurative painter Francis Bacon (1909-1992) is perhaps best known for his near-obsessive series ofpapal paintings inspired by Diego Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of Bacon's entire artistic career. The artist's working process plays a crucial role in understanding this celebrated and varied series. Bacon deliberately avoided Velazquez' "original" portrait, preferring instead to work with photographic reproductions ofthe piece alongside a large collection ofseemingly disparate visual material in his chaotic studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that Bacon explored issues ofmechanization, fragmentation, and repetition through these visual juxtapositions in order to offer a critique ofartistic and religious institutions. -
Timetable for the Ip Learning Olqe Preparatory Course 2021
TIMETABLE FOR THE IP LEARNING OLQE PREPARATORY COURSE 2021 July August MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN 1 2 3 4 1 Public Holiday 5 6 7 8 9 10 11 2 3 4 5 6 7 8 Head IV Head I Head VI Head I Head II Head III 12 13 14 15 16 17 18 9 10 11 12 13 14 15 Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 19 20 21 22 23 24 25 16 17 18 19 20 21 22 Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 26 27 28 29 30 31 23 24 25 26 27 28 29 Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 30 31 Head IV Head I September October MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN 1 2 3 4 5 1 2 3 Public Head VI Head I Head II Head III Head III Holiday 6 7 8 9 10 11 12 4 5 6 7 8 9 10 Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 13 14 15 16 17 18 19 11 12 13 14 15 16 17 Public Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head II Head III Holiday 20 21 22 23 24 25 26 18 19 20 21 22 23 24 Public Head IV Head I Head I Head II Head III Head I Holiday 27 28 29 30 25 26 27 28 29 30 31 Head I Head IV Head I Head VI Head I Head VI Exam November December MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN 1 2 3 4 5 6 7 1 2 3 4 5 Head VI Head II Head II Exam Exam 8 9 10 11 12 13 14 6 7 8 9 10 11 12 Head IV Head III 15 16 17 18 19 20 21 13 14 15 16 17 18 19 Head IV Head III Exam Exam 22 23 24 25 26 27 28 20 21 22 23 24 25 26 Public Holiday 29 30 27 28 29 30 31 Public Holiday Seminar Times IP Learning Monday - Friday: 6.30p.m. -
Press Release
Press release FROM PICASSO TO VELÁZQUEZ 9·30·2016/1·8·2017 I am pleased to present to you the retrospective that the Guggenheim Museum Bilbao is devoting to Francis Bacon, one of the most important artists of the 20th century. Francis Bacon: From Picasso to Velázquez surveys more than six decades of the artist’s painting, displaying an impressive selection of his paintings alongside those of some of the Spanish and French masters who influenced him the most. This show reveals the importance that Bacon attached to tradition and allows visitors to grasp one of the keys to his creative impetus. Even though Bacon’s work embodies modernity and expresses the angst common to men of his time, he also boldly and ambitiously revisits and carries on the legacy of the great masters while providing referents to the culture of his day and age. The human figure is at the core of most of his compositions, which reflect a stark existentialist view of the individual. Bacon painted extraordinarily expressive portraits with a large dose of authenticity, which means being alive in all senses and with all its consequences. He sought to capture the mystery of life and reduce reality to its essence, synthesizing it in the guise of paint. Iberdrola’s support of this show on the British artist with Irish roots is part of our close partnership with the Guggenheim Museum Bilbao, as well as our commitment to disseminating art and culture wherever we operate. I would like to congratulate everyone who has worked to put together this wonderfully broad and representative selection of paintings from Francis Bacon’s career.