French Sculpture Census / Répertoire De Sculpture Française

Total Page：16

File Type：pdf, Size：1020Kb

FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE LACHAISE, Gaston Paris 1882 - New York City, New York, United States 1935 Nu debout Standing Nude ca. 1915-17, cast ca. 1925-27 nickel-plated bronze statuette 1 1 1 12 ?8 x 5 ?4 x 3 ?2; weight: 6 lb signed (back): © / G. LACHAISE Acc. No.: 49.70.223 Credit Line: Alfred Stieglitz Collection, 1949 Photo credit: www.metmuseum.org © Artist : New York, New York, The Metropolitan Museum of Art www.metmuseum.org Provenance 1949, Alfred Stieglitz (1864-1946) Collection Bibliography Museum's website, 17 april 2012 1965 Gardner Albert Gardner, American Sculpture: A Catalogue of the Collection of the Metropolitan Museum of Art, New York, Metropolitan Museum of Art, distributed by New York Graphic Society, 1965, p. 143-144, repr. 1974 Nordland Gerald Nordland, Gaston Lachaise: The Man and His Work, New York, Braziller, 1974, p. 82, repr. 2001 Marter Joan M. Marter, "A Catalogue of Works by Artists Born between 1865 and 1885", American Sculpture in The Metropolitan Museum of Art, vol. 2, New York and New Haven, Ed. Thayer Tolles, 2001, p. 684–85, cat. 321, repr. Exhibitions 1927 New York Gaston Lachaise Sculptures, New York, Intimate Gallery, March 7–April 3, 1927, no. 19 1944 Philadelphia History of an American. Alfred Stieglitz: "291" and After, Philadelphia Museum of Art, July 1–November 1, 1944, no. 195 1947 New York Alfred Stieglitz Exhibition: His Collection, New York, Museum of Modern Art, June 10–August 31, 1947, no. 3 1963-1964 Los Angeles/New York Gaston Lachaise (1882–1935): Sculpture and Drawings, Los Angeles County Museum of Art, December 3, 1963–January 19, 1964; New York, Whitney Museum of Art, February 18–April 5, 1964, no. 66 1970-1971 New York Masterpieces of 50 Centuries, New York, The Metropolitan Museum of Art, November 14, 1970–February 14, 1971 1982 Palm Springs Gaston Lachaise: 100th Anniversary Exhibition, Sculpture and Drawings, Palm Springs, Palm Springs Desert Museum, November 19–December 19, 1982, no. 34.

Copy Link

Recommended publications

Preserving the Mountain
Article: Preserving the mountain Author(s): Gerri Ann Strickler Source: Objects Specialty Group Postprints, Volume Thirteen, 2006 Pages: 85-99 Compilers: Virginia Greene, Patricia Griffin, and Christine Del Re th © 2006 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Thirteen, 2006 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. Strickler AIC Objects Specialty Group Postprints, Volume 13, 2006 PRESERVING THE MOUNTAIN Gerri Ann Strickler Abstract Outdoor sculpture in New England requires a financial commitment of annual maintenance that is difficult for some owners to bear.
[Show full text]
The Whitney to Present American Legends: from Calder to O’Keeffe
THE WHITNEY TO PRESENT AMERICAN LEGENDS: FROM CALDER TO O’KEEFFE Charles Demuth, My Egypt, 1927. Oil on fiberboard, 35 3/4 × 30 in. (90.8 × 76.2 cm). Whitney Museum of American Art, New York; purchase with funds from Gertrude Vanderbilt Whitney 31.172 NEW YORK, December 3, 2012—Eighteen early to mid-century American artists who forged distinctly modern styles are the subjects of American Legends: From Calder to O’Keeffe, opening December 22 at the Whitney Museum of American Art. Drawing from the Whitney’s permanent collection, the year-long show features iconic as well as lesser known works by Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Charles Demuth, Arthur Dove, Marsden Hartley, Edward Hopper, Gaston Lachaise, Jacob Lawrence, John Marin, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella. Curator Barbara Haskell has organized the museum’s holdings of each of these artists’ work into small-scale retrospectives. Many of the works included will be on view for the first time in years; others, such as Hopper’s A Woman in the Sun, Calder’s Circus, Jacob Lawrence’s War Series, and Georgia O’Keeffe’s Summer Days, are cornerstones of the Whitney’s collection. The show will run for a year in the museum’s fifth-floor Leonard & Evelyn Lauder Galleries and both the Sondra Gilman Gallery and Howard & Jean Lipman Gallery on the fifth-floor mezzanine. To showcase the breadth and depth of the Museum’s impressive modern art collection, a rotation will occur in May 2013 in order that other artists and works can be installed.
[Show full text]
The Lachaise Foundation
THE LACHAISE FOUNDATION Marie P. Charles, Director Frederick D. Ballou, Trustee Paula R. Hornbostel, Curator & Trustee Ronald D. Spencer, Trustee REMINDER February 21, 2012 www.frelinghuysen.org www.lachaisefoundation.org www.nyc.gov/parks GASTON LACHAISE’S LA MONTAGNE (THE MOUNTAIN) IN TRAMWAY PLAZA New York City’s Department of Parks & Recreation, The Lachaise Foundation and the Frelinghuysen-Morris Foundation are pleased to remind the public of the loan of La Montagne (The Mountain) modeled in 1934 by American Modernist sculptor Gaston Lachaise (1882-1935). The monumental bronze earth goddess lies at Tramway Plaza, located on Second Avenue between 59th and 60th Streets, where it is on loan to the New York City Parks Department from September 23rd until June 4th, 2012. Born in Paris in 1882, Gaston Lachaise studied sculpture at the Ecole des Beaux-Arts, coming to the United States in 1906. He arrived in New York in 1912, and gained work with Paul Manship. He is known for his striking, voluptuous sculptures of women, they having been inspired by one woman, his muse model and wife Isabel. In 1935 the Museum of Modern Art gave Lachaise a retrospective exhibition of his work. He died later that year at the height of his career. The work of Lachaise’s work can be seen at Rockefeller Center on the 6th avenue facade of the GE building; in the sculpture garden at Moma (Floating Figure 1927) at the Metropolitan Museum of Art and at the Whitney Museum. This bronze cast, the second in an edition of five, was made in 2002 by the Modern Art Foundry.
[Show full text]
REFASHIONING the FIGURE the Sketchbooks of Archipenko C.1920
41 REFASHIONING THE FIGURE The Sketchbooks of Archipenko c.1920 Henry Moore Institute Essays on Sculpture MAREK BARTELIK 2 3 REFASHIONING THE FIGURE The Sketchbooks of Archipenko c.19201 MAREK BARTELIK Anyone who cannot come to terms with his life while he is alive needs one hand to ward off a little his despair over his fate…but with his other hand he can note down what he sees among the ruins, for he sees different (and more) things than the others: after all, he is dead in his own lifetime, he is the real survivor.2 Franz Kafka, Diaries, entry on 19 October 1921 The quest for paradigms in modern art has taken many diverse paths, although historians have underplayed this variety in their search for continuity of experience. Since artists in their studios produce paradigms which are then superseded, the non-linear and heterogeneous development of their work comes to define both the timeless and the changing aspects of their art. At the same time, artists’ experience outside of their workplace significantly affects the way art is made and disseminated. The fate of artworks is bound to the condition of displacement, or, sometimes misplacement, as artists move from place to place, pledging allegiance to the old tradition of the wandering artist. What happened to the drawings and watercolours from the three sketchbooks by the Ukrainian-born artist Alexander Archipenko presented by the Henry Moore Institute in Leeds is a poignant example of such a fate. Executed and presented in several exhibitions before the artist moved from Germany to the United States in the early 1920s, then purchased by a private collector in 1925, these works are now being shown to the public for the first time in this particular grouping.
[Show full text]
September 17, 2020 Contact: Paula Hornbostel | Director, Lachaise Foundation [email protected] | (212) 605-0380
PRESS RELEASE. For Immediate Release: September 17, 2020 Contact: Paula Hornbostel | Director, Lachaise Foundation [email protected] | (212) 605-0380 Gaston Lachaise Sculpture, Floating Woman, 1927, to be Installed in Hunter’s Point South Park On Thursday, September 24 at 3pm The Lachaise Foundation and the Hunters Point Parks Conservancy will be hosting a brief, socially distant unveiling ceremony, with short dance performance by local dance company Karesia Batan | The Physical Plant to celebrate the addition of Floating Woman in Hunter’s Point South Park. Members of the press are invited to attend. Event will occur by the sculpture, near the intersection of 51st Ave. and Center Blvd. Follow by Live- stream: @Paula_Hornbostel_LachaiseFoundation Long Island City, NY – Hunters Point Parks Conservancy and the Lachaise Foundation are thrilled to announce the temporary installation of Gaston Lachaise’s Floating Woman (Floating Figure) in Hunter’s Point South Park. The work is one of Lachaise’s best-known, monumental works dating from the late twenties. The buoyant, expansive figure represents a timeless earth goddess, one Lachaise knew and sought to capture throughout his career. This vision was inspired by his wife, who was his muse and model, Isabel, that “majestic woman” who walked by him once by the Bank of the Seine. This work is a tribute to the power of all women, to ‘Woman,’ as the artist referred to his wife, with a capital W. Gaston Lachaise devoted himself to the human form, producing a succession of powerfully conceived nude figures in stone and bronze that reinvigorated the sculptural traditions of Auguste Rodin and Aristide Maillol.
[Show full text]
Press Release
Press Release FOR IMMEDIATE RELEASE Media Contact Troy Ellen Dixon Director, Marketing & Communications 203 413-6735 | [email protected] Face & Figure: The Sculpture of Gaston Lachaise Opens at the Bruce Museum on Saturday, September 22, 2012 Gaston Lachaise was more than a gifted sculptor of the human body. He was one of the finest portraitists of his age. Greenwich CT, September 13, 2012 – Face & Figure: The Sculpture of Gaston Lachaise features key examples of the artist’s work – many on loan from leading museums, private collections and the Lachaise Foundation – that reveal the full range of his vision, with special Press Release attention to the fascinating interchange between figural work and portraiture. Executive Director Peter Sutton notes that the sculpture of Gaston Lachaise is among the most powerful, recognizable and enduring of the early twentieth century. “The inspired sensuality of his buoyant nudes uplifts us all and the individuality of his portraits achieves an incisive statement of character scarcely rivaled in three dimensions. Face & Figure addresses these two aspects of the sculptor’s work and explores the intersection of their aims.” Running throughout this contemplative exhibition is the overriding narrative of the obsession Lachaise had with his muse, model and wife, Isabel Dutaud Nagle, who – sirenlike – inspired him to become that rare exception among artists of the 1920s and ’30s, an expatriate Frenchman in New York. Lachaise’s oeuvre is a sustained elaboration of his intense feeling for Nagle’s beauty. The series of great nudes that secured his Head of a Woman (Egyptian Head), 1922 Bronze,13 x 8 x 8 ¼ in.
[Show full text]
Biography, Thomas Lamont: the Ambassador from Wall Street
eA Library The Boston Letter from eAthenteum No. 105 JUNE 1994 Work Proceeds on 14 Beacon Street Wing OR those readers who missed the announcement in the Annual Report for 1993, it bears repeating that the Athenreum recently signed papers purchasing parts of the basement and sub-basement of the Congregational Building at no. 14 Beacon Street, which abuts the Athenreum's current residence at no. 10'h. It will come as no surprise to those of you who have over the years put up with wails and moans in these pages about dwindling space at lOlh that this announcement was greeted with a collective sigh of relief from the hearts and souls of both the staff and the Trustees. For now (or at least in an imaginable future) most, if not all, of our vol umes stored off -site in places such as Allston and Lawrence will be reunited with the rest of the collection, and many members of the staff who have worked for years in offices the size of closets will be able to spread out and breathe. And the Conservation Department will expand into new and enlarged space, enabling its staff to increase in number and more efficiently service some of our ailing books that have long been pa tiently waiting for treatment. The move is a milestone, representing the first real estate the A thenreum has pur chased in nearly 100 years. And, although much noise, dust, and some inconvenience will lie ahead, the initial phase of renovation is already complete, in the form of a "demising wall" which was installed in the 14 Beacon Street building to isolate the Athenreum's space from the upper floors of that building.
[Show full text]
Lincoln Kirstein and American Art Indicates Work Cited in a Figure of Influence
Library Guide A Figure of Influence: Lincoln Kirstein and American Art Indicates work cited in A Figure of Influence Lincoln Kirstein (1907–1996) was an art insider with the imposing personality and ambitious projects to match his sizable six-foot, three-inch frame. Kirstein was involved in the early history of the Museum of Modern Art in New York and co-founded the New York City Ballet. Though he abandoned his own painting career, Kirstein directed considerable energy toward shaping the lives of artists and the art world. He organized exhibitions, wrote about art, and connected artists with collectors, museums, and private galleries. An avid collector himself, he eventually donated work by the artists he championed to several institutions, including The Nelson-Atkins Museum of Art. If you have questions, please contact the reference staff at the Spencer Art Reference Library (telephone: 816.751.1216). Library hours and services are listed on the Museum’s website at www.nelson-atkins.org On Kirstein By Kirstein By other authors Kirstein, Lincoln. Quarry: A Collection In Lieu of Duberman, Martin. The Worlds of Lincoln Kirstein. Memoirs. Pasadena, CA: Twelvetrees Press, 1986. New York: Alfred A. Knopf, 2007. Call No: N5220 K57 1986. Call No: PS3521 .I74 Z65 2007 Inscribed: “For Larry [Lawrence Sickman] with love from Lincoln: February 1987” Eakins Press Foundation & Ballet Society, Inc. “Lincoln Kirstein: The Published Writings.” Kirstein, Lincoln. Mosaic: Memoirs. Accessed February 2018. New York: Farrar, Straus and Giroux, 1994. http://www.lincolnkirstein.org/ Call No: PS 3521 .I74 Z47 1994 Library Resource List 2018 | Lincoln Kirstein | 1 Kayafas, Peter, ed.
[Show full text]
Gaston and Isabelle Nagle Lachaise Papers
Gaston and Isabelle Nagle Lachaise papers Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Gaston and Isabelle Nagle Lachaise papers AAA.lachgast Collection Overview Repository: Archives of American Art Title: Gaston and Isabelle Nagle Lachaise papers Identifier: AAA.lachgast Date: 1903-1962 Creator: Lachaise, Gaston, 1882-1935 Lachaise, Isabelle Nagle, d. 1957 Extent: 0.8 Linear feet ((microfilmed on 4 reels)) Language: English
[Show full text]
First Major U.S. Exhibition in Over 20 Years Devoted to Artist Florine Stettheimer Opens at the Jewish Museum on May 5, 2017
First Major U.S. Exhibition in Over 20 Years Devoted to Artist Florine Stettheimer Opens at the Jewish Museum on May 5, 2017 New York, NY, April 25, 2017 – The first major U.S. exhibition in over 20 years focused on artist Florine Stettheimer (1871-1944) opens at the Jewish Museum on May 5, 2017, and will remain on view through September 24, 2017. Florine Stettheimer: Painting Poetry showcases over 50 paintings and drawings in addition to costume and theater designs, photographs, and ephemera, offering a timely reconsideration of this influential American artist with a sharp satirical wit, placing her centrally in the modern dialogue of high and mass culture. The exhibition is organized by the Jewish Museum, New York, and the Art Gallery of Ontario, Toronto. After its New York City presentation, the exhibition will be on view in Toronto from October 21, 2017 to January 28, 2018. “Stettheimer has sometimes been typecast as a lightweight feminine artist with a whimsical bent,” notes Stephen Brown, Neubauer Family Foundation Associate Curator, The Jewish Museum. “This view is belied by her powerful thinking of portraiture and her astute adaptation of European vanguard ideas, most notably Symbolism, to uniquely American imagery.” Born to a wealthy Jewish family in Rochester, New York, Stettheimer studied at the Art Students League in New York City and then in Europe, where she encountered two profound influences: the Symbolist painters and poets, and the Ballets Russes. Stettheimer’s return to New York in 1914, as World War I began, was a turning point for the artist, who was then in her mid-40s.
[Show full text]
American Sculpture: Revolution to Rebellion
American Sculpture: Revolution to Rebellion Alice Levi Duncan In 1976, as a celebration of the Bicentenary of the United States, the Whitney Museum of American Art presented an exhibition entitled Two Hundred Years of American Sculpture. The exhibition and accompanying catalogue focused on the origins and history of American sculpture from the political Revolution of 1776 to the artistic one of the late 20th century. The study incorporated the influences of native aboriginal art and folk art traditions on the devel- opment of an American art, while emphasizing the impor- tance of both academic and modern artistic activity originating in Europe. The exhibition and catalogue created new academic as well as collecting interest in this area of American art. It would be ludicrous to separate this branch of fine arts from “foreign influence” and then attempt to explain the quantity and quality of sculpture produced in the United States as an inevitable response to America’s growth. The extraordinary creativity and production of sculpture by American artists can only be appreciated once its depend- ence on European roots has been “forgiven”. The reliance on Europe for artistic training, technical support and critical approval did not diminish until after the Civil War. However the body of work produced from 1840-1940 is important as part of an international artistic movement and should not be considered a distant relation. The sculpture produced by American sculptors during that period was as accomplished artistically and technically as those from Europe, albeit the majority was primarily mainstream and not innovative in style or method. Yet this body of work, made by artists constantly seeking an American idiom, predicts the extraordinary artistic develop- ments that followed in the second half of the 20th Century, 1 which turned the international spotlight to one centered on Figure 1.
[Show full text]
1 Gaston Lachaise (1920) [EE Cummings]
1 Gaston Lachaise (1920) [E. E. Cummings] To get rid altogether of contemporary “sculpture” is perhaps the surest way of appreciating the achievement of Lachaise.1 This coup of unadulterated intelligence has already been given by Mr. W. H. Wright in four sentences which I lift from the masterly sixth chapter of Modern Painting— “After Michelangelo there was no longer any new inspiration for sculpture. After Cezanne there was no longer any excuse for it. He made us see that painting can present a more solid vision than that of any stone image. Against modern statues we can only bump our heads: in the contemplation of modern painting we can exhaust our intelligences.” [(155)] I say masterly, because so long as the author keeps one or more eyes on Cezanne it must be admitted by any intelligent person that his analysis is unspeakably correct. Were the entire book devoted to a consideration of Cezanne our own task would be confined to proving that Lachaise does not produce “modern statues.” Unfortunately this is not the case. Elsewhere the author remarks that Swinburne brought the rhymed lyric to its highest development. And at one point he mentions that “the aesthetic possibilities of the human form were exhausted by” his old friend Michelangelo, with which it is a trifle difficult to agree. How about the renowned Pablo? Or, to take two far-from-colossal geniuses: Lembrach, in his lean girl at the Armory Show (1913), and Brancusi, in his Princess Bonaparte at the Independent of is it three years past, did something more than exciting.2 In the first case a super-El Greco-like significance was pitilessly extorted from the human [end page 13] form, in the second the human form was beautifully seduced into a sensual geometry.
[Show full text]