Moments in Time: Lithographs from the HWS Art Collection
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A Guide for Educators and Students TABLE of CONTENTS
The Munich Secession and America A Guide for Educators and Students TABLE OF CONTENTS FOR EDUCATORS GETTING STARTED 3 ABOUT THE FRYE 3 THE MUNICH SECESSION AND AMERICA 4 FOR STUDENTS WELCOME! 5 EXPERIENCING ART AT THE FRYE 5 A LITTLE CONTEXT 6 MAJOR THEMES 8 SELECTED WORKS AND IN-GALLERY DISCUSSION QUESTIONS The Prisoner 9 Picture Book 1 10 Dutch Courtyard 11 Calm before the Storm 12 The Dancer (Tänzerin) Baladine Klossowska 13 The Botanists 14 The Munich Secession and America January 24–April 12, 2009 SKETCH IT! 15 A Guide for Educators and Students BACK AT SCHOOL 15 The Munich Secession and America is organized by the Frye in GLOSSARY 16 collaboration with the Museum Villa Stuck, Munich, and is curated by Frye Foundation Scholar and Director Emerita of the Museum Villa Stuck, Jo-Anne Birnie Danzker. This self-guide was created by Deborah Sepulvida, the Frye’s manager of student and teacher programs, and teaching artist Chelsea Green. FOR EDUCATORS GETTING STARTED This guide includes a variety of materials designed to help educators and students prepare for their visit to the exhibition The Munich Secession and America, which is on view at the Frye Art Museum, January 24–April 12, 2009. Materials include resources and activities for use before, during, and after visits. The goal of this guide is to challenge students to think critically about what they see and to engage in the process of experiencing and discussing art. It is intended to facilitate students’ personal discoveries about art and is aimed at strengthening the skills that allow students to view art independently. -
Alberto Giacometti: a Biography Sylvie Felber
Alberto Giacometti: A Biography Sylvie Felber Alberto Giacometti is born on October 10, 1901, in the village of Borgonovo near Stampa, in the valley of Bregaglia, Switzerland. He is the eldest of four children in a family with an artistic background. His mother, Annetta Stampa, comes from a local landed family, and his father, Giovanni Giacometti, is one of the leading exponents of Swiss Post-Impressionist painting. The well-known Swiss painter Cuno Amiet becomes his godfather. In this milieu, Giacometti’s interest in art is nurtured from an early age: in 1915 he completes his first oil painting, in his father’s studio, and just a year later he models portrait busts of his brothers.1 Giacometti soon realizes that he wants to become an artist. In 1919 he leaves his Protestant boarding school in Schiers, near Chur, and moves to Geneva to study fine art. In 1922 he goes to Paris, then the center of the art world, where he studies life drawing, as well as sculpture under Antoine Bourdelle, at the renowned Académie de la Grande Chaumière. He also pays frequent visits to the Louvre to sketch. In 1925 Giacometti has his first exhibition, at the Salon des Tuileries, with two works: a torso and a head of his brother Diego. In the same year, Diego follows his elder brother to Paris. He will model for Alberto for the rest of his life, and from 1929 on also acts as his assistant. In December 1926, Giacometti moves into a new studio at 46, rue Hippolyte-Maindron. The studio is cramped and humble, but he will work there to the last. -
1. Walter B. Douglas Rooster and Chickens, Ca. 1920 1952.038 2
3 22 2 4 21 28 32 1 17 14 10 33 40 8 18 45 19 23 49 29 6 38 24 34 5 43 41 46 51 11 15 36 30 35 25 47 53 7 9 12 13 16 20 26 27 31 37 39 42 44 48 50 52 54 1. Walter B. Douglas 7. Hermann-David Saloman 12. Franz von Defregger 18. Adolf Heinrich Lier 24. Johann Friedrich Voltz 28. Eugéne-Louis Boudin 33. Marie Weber 38. Léon Barillot 44. Charles Soulacroix 50. Emile Van Marcke Rooster and Chickens, ca. 1920 Corrodi The Blonde Bavarian, ca. 1905 Lanscape Near Polling, 1860-70 Cattle on the Shore, ca. 1883 View of the Harbor, Le Havre, Head of a Girl in Fold Costume, Three Cows and a Calf, ca. 1890 Expectation, ca. 1890 In the Marshes, ca. 1880 1952.038 Venice, ca. 1900 1952.034 1952.107 1952.182 1885-90 1870s-1880s 1952.005 1952.158 1952.178 1952.025 1952.010 1952.187 2. Edmund Steppes 13. Ludwig Knaus 19. Friedrich Kaulbach 25. Louis Gabriel Eugéne Isabey 39. William Adolphe Bouguereau 45. Arnold Gorter 51. Nikolai Nikanorovich Dubovskoi The Time of the Cuckoo, 1907 8. Franx-Xaver Hoch Drove of Swine: Evening Effect Portrait of Hanna Ralph, n.d. The Storm, 1850 29. Wilhelm Trüber 34. Henry Raschen The Shepherdess, 1881 Autumn Sun, n.d. Seascape with Figures, 1899 1952.160 Landscape with Church Towers, 1952.085 1952.080 1952.073 Three Fir Trees at Castle Old Man, n.d. 1952.012 1952.056 1952.039 1912 Hemsbach, 1904 1952.139 3. -
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
Alberto Giacometti
ALBERTO GIACOMETTI ..................................................................................................................................................................................................................... Genius manifest in art Texts by Beat Stutzer, Franco Monteforte, Casimiro Di Crescenzo, Christian Dettwiler Genius manifest in art ..................................................................................................................................................................................................................... Alberto Giacometti, 1901–1966 by Beat Stutzer* Page I: Alberto Giacometti in the courtyard to his atelier in Paris, ca. 1958. This portrait is featured on Switzerland’s 100-franc banknote. On this page: Alberto Giacometti in his atelier in Paris, ca. 1952. Left: Alberto Giacometti’s Self-portrait , ca. 1923. Oil on canvas, on wood: 55 x 32 cm. Kunsthaus Zürich, Alberto Giacometti Foundation. Alberto Giacometti ..................................................................................................................................................................................................................... Virtually every book or article on Alberto bathed in sunlight. Its bare landscape and Giacometti includes some element of tough climate had a great influence on the biography. Some publications illuminate rural population here. The people of Bergell Giacometti’s life through the use of a spe - were used to hardship and deprivation, as cial literary treatment, -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
Portraits of Sculptors in Modernism
Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction ....................................................................................................................... -
Sabine Fehlemann (Hg.): Max Slevogt. Die Berliner Jahre
Sabine Fehlemann (Hg.): Max Slevogt. Die Berliner Jahre. Bearbeitet von Nicole Hartje, Köln: Wienand 2005, 206 S., 81 Farb-, 106 s/w-Abb., ISBN 3-87909-862-x, EUR 39,80 Rezensiert von: David Ogawa Indiana University, Bloomington The exhibition and catalog Max Slevogt: Die Berliner Jahre represents the third part of the ambitious program of the Von der Heydt-Museum to showcase masterpieces of their collections through exhibitions on the "Dreigestirns des deutschen Impressionismus," Lovis Corinth (in 1999), Max Liebermann (in 2004), and Max Slevogt. The handsomely designed catalogue is richly illustrated, with large, full-color illustrations of the eighty exhibited works accompanied by descriptive catalog entries. The catalogue is organized more or less by genre: a general survey of Slevogt's Berlin years is followed by a section on self-portraits and family portraits, a section on landscapes, and a section on theater-pieces. Each of these sections is preceded by a substantial essay; the editor also chose to include an essay on Slevogt's graphic work from this period, but evidently none of these works were shown in the exhibition. A concise but complete year-by-year biography closes the text of the catalog. Slevogt's move from Munich to Berlin in 1899 came at a decisive moment in his career. Trained in Munich, he had been operating as a "freischaffender Künstler" there since 1891. The "wachsendem Unverständnis" he encountered in the conservative art scene there became concrete in 1899 when his Danaë (1895) was withdrawn from the Munich Secession exhibition in June of that year (9). -
Press Kit Lausanne, 15
Page 1 of 9 Press kit Lausanne, 15. October 2020 Giovanni Giacometti. Watercolors (16.10.2020 — 17.1.2021) Giovanni Giacometti Watercolors (16.10.2020 — 17.1.2021) Contents 1. Press release 2. Media images 3. Artist’s biography 4. Questions for the exhibition curators 5. Public engagement – Public outreach services 6. Museum services: Book- and Giftshop and Le Nabi Café-restaurant 7. MCBA partners and sponsors Contact Florence Dizdari Press coordinator 079 232 40 06 [email protected] Page 2 of 9 Press kit Lausanne, 15. October 2020 Giovanni Giacometti. Watercolors (16.10.2020 — 17.1.2021) 1. Press release MCBA the Musée cantonal des Beaux-Arts of Lausanne conserves many oil paintings and drawings by Giovanni Giacometti, a major artist from the turn of the 20th century and a faithful friend of one of the institution’s great donors, the Lausanne doctor Henri-Auguste Widmer. By putting on display an exceptional group of watercolors, all of them privately owned and almost all unknown outside their home, MCBA is inviting us to discover a lesser known side of Giovanni Giacometti’s remarkable body of work. Giovanni Giacometti (Stampa, 1868 – Glion, 1933) practiced watercolor throughout his life. As with his oil paintings, he found most of his subjects in the landscapes of his native region, Val Bregaglia and Engadin in the Canton of Graubünden. Still another source of inspiration were the members of his family going about their daily activities, as were local women and men busy working in the fields or fishing. The artist turned to watercolor for commissioned works as well. -
Pop Culture and Art
Colorado Teacher-Authored Instructional Unit Sample Visual Arts 6th Grade Unit Title: Pop Culture and Art INSTRUCTIONAL UNIT AUTHORS Pueblo County School District Amie Holmberg Brenna Reedy Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Denver School District Capucine Chapman Fountain School District Sean Norman Colorado’s District Sample Curriculum Project This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 6th Grade Course Name/Course Code Sixth Grade Visual Arts Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. The characteristics and expressive features of art and design are used in unique ways to respond to two- and VA09-GR.6-S.1-GLE.1 Comprehend three-dimensional art 2. Art created across time and cultures can exhibit stylistic differences and commonalities VA09-GR.6-S.1-GLE.2 3. Specific art vocabulary is used to describe, analyze, and interpret works of art VA09-GR.6-S.1-GLE.3 2. Envision and Critique to 1. Visual symbols and metaphors can be used to create visual expression VA09-GR.6-S.2-GLE.1 Reflect 2. Key concepts, issues, and themes connect the visual arts to other disciplines such as the humanities, sciences, VA09-GR.6-S.2-GLE.1 mathematics, social studies, and technology 3.