Pablo PICASSO (1881 – 1973)
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Paul Klee – the Abstract Dimension October 1, 2017 to January 21, 2018
Media release Paul Klee – The Abstract Dimension October 1, 2017 to January 21, 2018 From October 1, 2017, to January 21, 2018, the Fondation Beyeler will be presenting a major exhibition of the work of Paul Klee, one of the most important painters of the twentieth century. The exhibition undertakes the first-ever detailed exploration of Kleeʼs relationship to abstraction, one of the central achievements of modern art. Paul Klee was one of the many European artists who took up the challenge of abstraction. Throughout his oeuvre, from his early beginnings to his late period, we find examples of the renunciation of the figurative and the emergence of abstract pictorial worlds. Nature, architecture, music and written signs are the main recurring themes. The exhibition, comprising 110 works from twelve countries, brings this hitherto neglected aspect of Kleeʼs work into focus. The exhibition is organized as a retrospective, presenting the groups of works that illustrate the main stages in Kleeʼs development as a painter. It begins, in the first of the seven rooms, with Kleeʼs apprenticeship as a painter in Munich in the 1910s, followed by the celebrated journey to Tunisia in 1914, and continues through World War I, and the Bauhaus decade from 1921 to 1931, with the well- known “chessboard” pictures, the layered watercolors, and works that respond to the experiments of the 1930s with geometric abstraction. The next section features a selection of the pictures painted after Kleeʼs travels in Italy and Egypt in the later 1920s and early 1930s. Finally, the exhibition examines the “sign” pictures of Kleeʼs late period, and the prefiguration, in his conception of painting, of developments in the art of the postwar era. -
List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Self-portrait Date: 1918-1920 Medium: Graphite on watermarked laid paper (with LI countermark) Size: 32 x 21.5 cm Accession: n°00776 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Mother with a Child Sitting on her Lap Date: December 1947 Medium: Pastel and graphite on Arches-like vellum (with irregular pattern). Invitation card printed on the back Size: 13.8 x 10 cm Accession: n°11684 Lender: BRUSSELS, FUNDACIÓN ALMINE Y BERNARD RUIZ-PICASSO PARA EL ARTE 20 rue de l'Abbaye Bruxelles 1050 Belgique © FABA Photo: Marc Domage PROVENANCE Donation by Bernard Ruiz-Picasso; Estate of the artist; previously remained in the possession of the artist until his death, 1973 Note that: This object was made post-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Picasso and Paper 25 January 2020 to 13 April 2020 Arist: Pablo Picasso Title: Little Girl Date: December 1947 Medium: Pastel and graphite on Arches-like vellum. -
2016 Picasso! an Anniversary Exhibition Musee Picasso Paris
2016 Picasso! An Anniversary Exhibition Musee Picasso Paris 2016 Picasso Sculptor Musee Picasso Paris 2016 PICASSO Heather James Fine Art 2016 Picasso Sculpture Museum of Modern Art 2016 PICASSO Modern Master Printmaker Gilden's Art Gallery 2015 Once dibujos de Picasso Galeria Guillermo de Osma 2015 Picasso & The Camera Gagosian Gallery 2014 Pablo Picasso: Les Femmes Hubert Gallery 2013 Picasso Museum Jorn (former Silkeborg Art Museum), Silkeborg, Denmark 2013 Picasso: The Vollard Suite Hood Museum of Art, Hanover, USA 2013 Yo Picasso: Self-portraits Museo Picasso, Barcelona, Spain 2013 Pablo Picasso's Woman in the Studio Fred Jones Jr. Museum of Art, Norman, USA 2013 Pablo Picasso: The Prints and Ceramics National Museum of Art, Osaka, Japan 2013 Pablo Picasso Museo Picasso Málaga, Spain 2013 Picasso Black and White Museum of Fine Arts Houston, Houston, USA 2013 Becoming Picasso Courtauld Institute of Art, London, England 2013 Picasso and Chicago The Art Institute of Chicago, USA 2013 Picasso grabador (1904-1935) Museo de Arte Abstracto Español, Cuenca, Spain 2012 Picasso Black and White Solomon R. Guggenheim Museum, New York, USA 2012 Picasso's Drawings 1890–1921: Reinventing Tradition The National Gallery of Art, Washington, D.C. 2012 Pablo Picasso Galerie Miro, Prague, Czech Republic 2012 Picasso and the Mysteries of Life: Deconstructing La Vie The Cleveland Museum of Art, Cleveland, USA 2012 Picasso Capolavori dal Museo Nazionale Picasso di Parigi, Palazzo Reale, Milan, Italy 2012 Picasso les chemins du Sud Centre d’art la Malmaison, -
Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17
Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17. November 2018 – 03. Februar 2019 Ausstellungsinformation Raumplan Wand 3 Wand 7 Wand 2 Wand 6 Wand 5 Wand 4 Wand 2 Wand 1 ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Komposition René Pulfer Der Basler Künstler René Pulfer, einer der Pioniere der Schweizer Videokunst und Hochschulprofessor an der HGK Basel /FHNW bis 2015, hat sich seit den späten 1970 Jahren auch intensiv mit Sound Art, Kunst im Kontext von Musik (Covers, Booklets, Artist Editions in Mu- sic) interessiert und exemplarische Arbeiten von Künstlerinnen und Künstlern gesammelt. Die Ausstellung konzentriert sich auf Covers und Objekte, bei denen das künstlerische Bild in Form von Zeichnung, Malerei oder Fotografie im Vordergrund steht. Durch die eigenständige Präsenz der Bildwerke treten die üblichen Angaben zur musikalischen und künstlerischen Autorschaft in den Hintergrund. Die Sammlung umfasst historische und aktuelle Beispiele aus einem Zeitraum von über 50 Jahren mit geschichtlich unterschiedlich gewachsenen Kooperationsformen zwischen Kunst und Musik bis zu aktuellen Formen der Multimedialität mit fliessenden Grenzen, so wie bei Rodney Graham mit der offenen Fragestellung: „Am I a musician trapped in an artist's mind or an artist trapped in a musician's body?" ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Composition René Pulfer The Basel-based artist René Pulfer, one of the pioneers of Swiss video- art and a university professor at the HGK Basel / FHNW until 2015, has been intensively involved with sound art in the context of music since the late 1970s (covers, booklets, artist editions in music ) and coll- ected exemplary works by artists. -
QLEVELAND NEWS Wednesday. June X., 1949. Xn the Jews. a Thief
§P QLEVELAND NEWS Wednesday. June X., 1949. Xn the jews. A Thief passes for a gentleman, when stealing has made him rich.- Thos.Fuller, SPANISH MORALITX Spain la knocking on the door of the G,S., t&T full recognition, and the UH, for membership. A little-noticed event last year ought to he brought up and settled before Spain goto anywhere. • • • Xou hoar Spain extolled as a "bulwark against European commu nism" , beoauae of the Franco rightist dictatorial positions, but communism would hardly go further than the actions in this parti cular incident* There is in the largo industrial city of Barcelona a public utility, the Barcelona Light, Power & Traotion Go. Xt was built 20 years ago by Investors and engineers of the 0, S., England, Belgium and Canada, and it furnishes the olty with street oars, electric power and lights. When the Franco government oast to power in 1937i It put a stop to money loafing the country. The BLPT Go. went on earning coupon payments for Its bondholders and dividends for its stock holders, but these payments were not allowed to be sent out of Spain: so it deposited all payments la two Banks la Barcelona and Madrid and notified all its Investors that their earnings had beea escrowed in these banks and perhaps some day could bo paid to them. The richest citizen of Spain (and great Franoo supporter) is Juan March, who In the last 20 years has been written up as a "tycoon* a "munitions merchant", a political power over western Europe and the Mediterranean. -
Jordi Catalan Francoist Spain Under Nazi Economic Hegemony, 1936–1945
Jordi Catalan Francoist Spain under Nazi Economic Hegemony, 1936–1945 1. The Spanish economy, 1914–36: structural change, industrial break- through and political instability During the late decades of the Nineteenth century, the Spanish economy diverged from Western Europe. Maddison’s per capita GDP data suggests that Spain’s aver- age income in relation to Western Europe fell steadily: from 82 per cent in 1913 to 65 per cent in 1870 and 61 per cent in 19131. On the eve of World War One, its level of industrialization was very poor in comparative terms: only 14 per cent of the Spanish male workforce was employed in mining, manufacturing and con- struction, compared with a proportion of at least a third in early industrialized countries such as Britain, France or Germany. Spain also lagged significantly be- hind latecomers such as Italy (24 per cent), Hungary (19 per cent) or Norway (28 per cent). Analysing the first century of modern industrialization from a compara- tive perspective, it seems very difficult to deny the failure of the first industrial revolution in Spain2. The situation began to change in the early twentieth century. By 1930 the share of male labour in the Spanish industry had jumped to 25 per cent, a proportion close to those recorded in Italy (26 per cent), Hungary (26 per cent) and Norway (29 per cent) and notably higher than that in Portugal (19 per cent), the Republic of Ireland (17 per cent) and the Balkan countries (all below 17 per cent). The sharp increase in secondary activity indicates that the Spanish process of development experienced an industrial outburst between World War One and the 1930s3. -
Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor. -
New Perspectives on Nationalism in Spain • Carsten Jacob Humlebæk and Antonia María Ruiz Jiménez New Perspectives on Nationalism in Spain
New Perspectives on Nationalism in Spain in Nationalism on Perspectives New • Carsten Humlebæk Jacob and Antonia María Jiménez Ruiz New Perspectives on Nationalism in Spain Edited by Carsten Jacob Humlebæk and Antonia María Ruiz Jiménez Printed Edition of the Special Issue Published in Genealogy www.mdpi.com/journal/genealogy New Perspectives on Nationalism in Spain New Perspectives on Nationalism in Spain Editors Carsten Humlebæk Antonia Mar´ıaRuiz Jim´enez MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Editors Carsten Humlebæk Antonia Mar´ıa Ruiz Jimenez´ Copenhagen Business School Universidad Pablo de Olavide Denmark Spain Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Genealogy (ISSN 2313-5778) (available at: https://www.mdpi.com/journal/genealogy/special issues/perspective). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03943-082-6 (Hbk) ISBN 978-3-03943-083-3 (PDF) c 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. -
Casanova, Julían, the Spanish Republic and Civil
This page intentionally left blank The Spanish Republic and Civil War The Spanish Civil War has gone down in history for the horrific violence that it generated. The climate of euphoria and hope that greeted the over- throw of the Spanish monarchy was utterly transformed just five years later by a cruel and destructive civil war. Here, Julián Casanova, one of Spain’s leading historians, offers a magisterial new account of this crit- ical period in Spanish history. He exposes the ways in which the Republic brought into the open simmering tensions between Catholics and hard- line anticlericalists, bosses and workers, Church and State, order and revolution. In 1936, these conflicts tipped over into the sacas, paseos and mass killings that are still passionately debated today. The book also explores the decisive role of the international instability of the 1930s in the duration and outcome of the conflict. Franco’s victory was in the end a victory for Hitler and Mussolini, and for dictatorship over democracy. julián casanova is Professor of Contemporary History at the University of Zaragoza, Spain. He is one of the leading experts on the Second Republic and the Spanish Civil War and has published widely in Spanish and in English. The Spanish Republic and Civil War Julián Casanova Translated by Martin Douch CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521493888 © Julián Casanova 2010 This publication is in copyright. -
The Spanish Civil War, 70 Years On: the Deafening Silence on Franco’S Genocide
http://www.counterpunch.org July 19, 2006 The Spanish Civil War, 70 Years On: The Deafening Silence on Franco’s Genocide By VICENTE NAVARRO Editors’ note: 70 Years ago this week, General Franco launched his attack on the Spanish Republic, backed by Hitler, Mussolini and, tacitly, by the US and other Western powers. Across the next few days and weeks we will be publishing articles on this pivotal struggle, and the imperishable gallantry of the Republic’s defenders. We start with a overview by Vicente Navarro of the enduring significance of the Fascist onslaught and the malign tenacity of Franco's admirers to this day in burying his crimes while seeking to renew his objectives. AC / JSC. Barcelona, Catalonia The Spanish Civil War , launched by the military Fascist coup, on July 18, 1936 was the first act of World War II. The cast of characters that shaped and appeared in World War II first came together in Spain. The Civil War, like World War II, was a war between progressive forces and the axis of evil of that day--fascism, Nazism, and reaction. Interestingly, though, in the Spanish war the Western democracies stood to one side or, even worse, indirectly assisted on the fascist side. Why? To answer this question, we need to understand what happened in Spain before the coup led by General Franco, which took place on July 18, 1936. That coup interrupted the most progressive and modernizing government seen in Spain in the first half of the twentieth century. The II Republic, established in 1931, put in place some of the most important reforms that Spanish society has ever seen: It established reforms of the public school system, which were opposed by the Church, until that time in control of most of the educational system. -
LISA FLORMAN 37 Smith Place Columbus, Ohio 43201 (614) 294
LISA FLORMAN 37 Smith Place History of Art Columbus, Ohio 43201 5036 Smith Labs (614) 294-3628 174 W. 18th Street Ohio State University email: [email protected] Columbus, OH 43210 (614) 688-8192 ___________________________________________________________________ EMPLOYMENT Professor and Department Chair, History of Art, Ohio State University. (Professor, 2103-; Department Chair, 2014-present; Acting Chair, 2008/9; Associate Chair, 2005 – 2008; Associate Professor, 2000 – 2013; Assistant Professor, 1994 – 2000) EDUCATION Ph.D., with Distinction, Department of Art History and Archaeology, Columbia University, October 1994 M.Phil., Art History and Archaeology, Columbia University, May 1988 M.A., Columbia University, May 1986 B.A., with High Honors, University of Virginia, May 1983 PUBLICATIONS Books Cézanne’s Bathers and Their Progeny (in progress) Concerning the Spiritual—and the Concrete—in Kandinsky’s Art (Stanford University Press, 2014) Myth and Metamorphosis: Picasso’s Classical Prints of the 1930s (The MIT Press, 2000) Articles, Essays and Book Chapters “Twentieth-Century Art Historicities: The Multiple Shapes of Time,” in Stefanos Geroulanos, ed., A Cultural History of Ideas in the Modern Age (London: Bloomsbury, forthcoming) “Kandinsky avec Hegel et Kojève,” in Ioulia Podoroga and Jean-Philippe Jaccard, eds., Kandinsky, Malévitch, Filonov et la philosophie. Les systèmes de l’abstraction dans l’avant- garde russe (Nantes: Éditions nouvelles Cécile Defaut, forthcoming) “Proven Objectivity” (Michael Fried’s “Art and Objecthood” at -
Kolokytha, Chara (2016) Formalism and Ideology in 20Th Century Art: Cahiers D’Art, Magazine, Gallery, and Publishing House (1926-1960)
Citation: Kolokytha, Chara (2016) Formalism and Ideology in 20th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960). Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/32310/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Formalism and Ideology in 20 th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960) Chara Kolokytha Ph.D School of Arts and Social Sciences Northumbria University 2016 Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Ethical clearance for the research presented in this thesis is not required.