DOCSLIB.ORG

Download Article (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Article (PDF) International Conference on Industrial Technology and Management Science (ITMS 2015) A Dissertation on the Personalization Features of Freud's Painting Language Shaojie Zhang & Jing xi Zhengzhou Huaxin University, Xinzheng, Zhengzhou ABSTRACT: Lucian Freud is one of the representative artists in the field of contemporary realism painting field. Freud's painting language and image expression of its own style that has a great influence on the contemporary realism painting. His works reach a perfect unification in the texture and structure, space, volume, color painting factors. the picture shows a unique aesthetic value to people. The works have a highly personalized style. Freud's paintings have profound meaning to the spread of the traditional realistic painting, it also has progressive significance to the development of modern art. KEYWORD: Realism painting; Expression; Personalized 1 INTRODUCTION perception of the world that keep a special perception ability. This perception ability will be With the development of western modern painting, brought into the picture, become his own bright all kinds of painting are colorful. Freud is insist symbol. committed to the research of realistic painting. He Freud into st union painting school in 1939, discribe the state of modern people, formed a unique trained bythe principal morris. This time his painting "freudian" spirit of the painting language. This theme is broad that influence of surrealism. The article attempts to express the spirit of the emotionas painting is delicate and detail, then it began to have in contemporary realism painting language and the some sensitive. unique personalized features through the From the 40 s to 80 s, he settled in London, introduction of Freud's resume, the development of whether as an artist or ordinary people, Freud are artistic style, and its personalized style supposed to be hard to get along with. He is in a characteristics. state of isolated and un, he concentrate on his own Freud's realism painting has great historic field that away from the international trend of art. significance. On the one hand,it heritage the In recent years, Lucian Freud held a personal European classical realism painting. On the other exhibition for many times in Britain and the United hand, it breakthrough the realism painting and inject States, his works is the highest price in London fresh blood of the modernism. Freud's painting is Christie's and sotheby's auction, so that he once beneficial for the transmission of traditional realistic again become the focus of the critics. Freud's painting, also has progressive significance to the painting “a sleeping benefits supervisor” be bought development of modern art. This article through of by a European collector on May 13, 2008 in New the Freud painting language and the analysis of York for $33.64 million, that became the most characteristics of personalization to further expensive living artist's works. understand and study modern realism painting. 2.2 The art influences of the family background 2 ART RESUME AND BACKGROUND Freud, as all educated Viennese family, his elders in his childhood environment and create a sense of 2.1 Freud's artistic resume Vienna - a suspicion and exploring spirit. In the Born in Vienna in 1922 of a jewish family. His Germanic languages, the lonely sensitive was born grandfather is Sigmund Freud that a famous and the Austrian literary works often reflect the psychologist. He is a child has natural suspicion, theme of the picking unstable molecules in the body lonely and curious spirit that make his unease, of the shadow of roaming. As a famous © 2015. The authors - Published by Atlantis Press 1863 psychologist, read his grandfather let young are blond hair, pale green pajamas, as well as the grandson quatrain \"song under the gallows\", in his white dog hair nuanced, very able to bear or endure paintings, hang on the living room..., all of this look. The whole picture smooth tonal and downy, caused him to form a special kind of consciousness. under the background of warm gray, white dog and By 1933, Lou Freud follow father moved to the UK, light green clothes dressed woman appear lively and the Austrian became famous English painter. Lucian exquisite. Picture of the painting language is a little Freud's work before age 20 years almost all rely on similar to traditional Chinese painting methods of direct observation of the material. At that time, the dealing with the lyrics. Character's facial expressions British English, is actually a Munich - has been and clothing with exquisite and hidden stroke warning of war frighten lifeless, people smooth surface clean, character of the stereo sense is psychological stasis by inexplicable fear than the not strong, shadow, just for the sake of performance show the words and deeds. May be childhood form is not to achieve the effect of classical oil personality cause, also may be he is sensitive to painting space depth, on the whole tend to be more a reality, the soul of his youth was two invisible line feeling of complanation and decoration, the fine leads circuitous journey in feeling and dream. delicate, smooth as a mirror skin texture strokes, and the characters dull because of rigid strain modal together, the peace of the whole picture spread a 3 THE FORMATION OF FREUD'S PAINTING kind of fright, appear this kind of brushwork texture LANGUAGE processing has been injected with a painter for objective object is a kind of subjective experience 3.1 Previous art painting language style (40s to and spiritual concern, rather than simply on 50s) meticulous and shortlisted for the objective object It is a slightly exaggerated form, partial key, line outgoing depict. Secrecy, careful, grinds to the density contrast and composition technique, plane, delicate brushwork texture conveys the painter have adornment style. He used this kind of gimmick sensitive spirit temperament, at the same time, these painted many thorny plants and emotional works have preliminarily show Freud quiet, awe, indifference and strange characters of apprehension. indifference which personalized style. While those with a nervous feeling line and shape by a specific tension. He said he was influenced by 3.2 Beardsley, may also help us to know that his life is Late 2.2 the art of painting language style (50 s common in the works of those for graphic depiction yet) of sex, it may be a lonely, mentality and ecological 50 s, his painting style has changed a seems to be spirit need instinct interpretation of the flesh to reborn, his line, plane, decoration, drawing, painting himself. Freud's early works in some sense close to style, turned to the volume, space, realistic sense, Schiller's work style, expressed anxiety slightly trying to rely more oil painting color performance. nervous and sensitive, stroke smooth, smooth and His painting is sensitive to outline of neurotic, into fine. the oil painting brush strokes charity decent more Early on behalf of \"take the girl rose\" (1947), see the rational efforts to shape the form. Hidden in the work presented the he can grasp details and good the works of his early adolescent pathological performance ability of nuanced QingSu Freud has anxiety and tension, into a he who sees through the the stable life. The frame, the girl sit slightly off world, deep the feeling of helplessness and center, broad shoulders motioned girl confident and loneliness exhausted when. The magnanimous, independent personality traits. On the painting skills, exposed, callous flesh, in a kind of suffering by Freud in the task of face, the use of clothing and desire in the experience of pain. He had previously chairs behind the seemingly flat technique of that contour sharp sensitive nervous become coating, brush excessive tender soft, almost can't see relaxation, but he has made a more intrinsic, more the brush strokes, in this kind of fine gentle eruptions storage volume of storage to the sense of brushwork floating color relieve slight change, make tension, which has intensified on the expression of the person's face and clothing on the processing of shape and state that it surprised the audience visual delicate and subtle, volume is not very strong impact. He put the super realistic style kept until character. Images to express the relationship now. Freud with rough and full of elasticity bristle between space and the characters, but the overall pen instead of the early practical delicate soft sable effect is similar to the two type of picture. Another brush, brush strokes to become more powerful and painting of his girl and a white dog, painter with administrative levels sense, expressive and more tapering small character's hair and white dog fur, intense. Has seen the formation and the early work is delicate transfer of difficult line in deep GouMiao exquisite, instead, the brush strokes reveal the thick body carry bright color of the hair impression, and and strong crude, varied style to warm. Begin to each group of pen has a clear boundary line shape the image directly with powerful strokes, distinguished from another group of lines. Women according to the physique structure with a hard 1864 bristle pen to powerful sweep, \"brush strokes with 4 THE FORMATION OF FREUD'S PAINTING the structure of transshipment and traces of long\". LANGUAGE The works of this period, Freud is no longer the hair carefully described as bird feather, characters of the 4.1 Colour modelling style works skin, clothing and the background. Also don't like 4.1.1 image expression his early work not delicate brushwork, but with the Freud's painting object never describe dramatic bristle pen drive leave the natural texture of thick events, basically give priority to with indoor portrait, paint through the canvas to represent the simple nude portrait.
Load more

Recommended publications
  • Sacred Psychoanalysis” – an Interpretation Of
    “SACRED PSYCHOANALYSIS” – AN INTERPRETATION OF THE EMERGENCE AND ENGAGEMENT OF RELIGION AND SPIRITUALITY IN CONTEMPORARY PSYCHOANALYSIS by JAMES ALISTAIR ROSS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY School of Philosophy, Theology and Religion College of Arts and Law The University of Birmingham July 2010 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 From the 1970s the emergence of religion and spirituality in psychoanalysis is a unique development, given its traditional pathologizing stance. This research examines how and why ‘sacred psychoanalysis’ came about and whether this represents a new analytic movement with definable features or a diffuse phenomena within psychoanalysis that parallels developments elsewhere. After identifying the research context, a discussion of definitions and qualitative reflexive methodology follows. An account of religious and spiritual engagement in psychoanalysis in the UK and the USA provides a narrative of key people and texts, with a focus on the theoretical foundations established by Winnicott and Bion. This leads to a detailed examination of the literary narratives of religious and spiritual engagement understood from: Christian; Natural; Maternal; Jewish; Buddhist; Hindu; Muslim; Mystical; and Intersubjective perspectives, synthesized into an interpretative framework of sacred psychoanalysis.
    [Show full text]
  • DRAWING and PAINTING FINAL PROJECT Mrs. J. Spadaro DUE MAY 11, 2016
    DRAWING AND PAINTING FINAL PROJECT Mrs. J. Spadaro DUE MAY 11, 2016 Select an Art Movement: Classical Realism, Impressionism, Post Impressionism, Fauvism Select a Topic: A STILL LIFE FEATURING A COLLECTION OF OBJECTS: Choose ONE: 1. Sweet treats - candies, desserts, fruits – arranged in an interesting composition or looked upon from an unusual point of view 2. Natural objects – shells, pinecones, plant materials, etc arranged in an interesting composition OR A SELF PORTRAIT featuring yourself on an interesting background – a map that can showcase your heritage, the place you live now or a place that holds a special meaning to you; sheet music of a favorite song; newspaper with a meaningful article, etc. OR A well developed LANDSCAPE showcasing a particular season and including an interesting foreground, middle ground and background – no sunsets, simple beach scenes Refer to your text for reference… Pay close attention to your total work: drawing, composition, design elements, technique and color usage if applicable… remember, it is your final exam and will be graded as such. YOU MAY NOT WORK FROM PHOTOS UNLESS THEY ARE YOUR OWN REFERENCE. Draw or paint your subject influenced by the styles and artists in your selected movement. You may focus on one or more artists within that movement. Decide how you will treat color – achromatic or chromatic – perhaps a monochromatic study, or a color triad, perhaps neutral colors with the addition of one color, etc. Minimum size is 11” x 14 “ but keep your work stock size so that matting and framing is easy. THESE DRAWINGS MUST BE FULLY DEVELOPED, COMPLETED WORKS OF ART – not just quick sketches.
    [Show full text]
  • Self-Portrait) My Work Is Purely Autobiographical
    ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Lucian Freud’s Reflection (Self-Portrait) My work is purely autobiographical. It is about myself and my surroundings. It is an attempt at a record. I work with people that interest me, and that I care about and think about, in rooms that I live in and know. Lucian Freud1(p7) UCIAN FREUD (1922-2011), byKennethClark.5 Thedistinctionbetween phasized thickly applied white and deep grandson of Sigmund Freud, naked and nude is central to Clark’s dis- red colors. is considered to be the leading cussion. Clark writes that “to be naked is Because Freud stood when he painted, realist painter of the last cen- to be deprived of our clothes, and the word his figures often appear foreshortened. He Ltury. His father Ernst Freud, an architect, implies some of the embarrassment most preferred not to use professional models was the 4th of Sigmund Freud’s 6 children of us feel in that condition,”5(p23) but that as his subjects. Instead, his models were and was the youngest son. Lucian grew up the nude is balanced and confident. “[I]n peoplefromallwalksoflifewhomheknew, in Berlin, Germany, far from the influ- the greatest age of painting, the nude in- including his adult daughters, who found ence of the birthplace of psychoanalysis spired the greatest works.”5(p23) For Clark, thatposingforhimwasoneoftheonlyways in Vienna, Austria. Grandfather Sigmund the nude as a conceptual and artistic cat- to spend time with him and to get to know visited Lucian’s family in Berlin regularly egoryalwaysinvolvedthenotionofanideal him as a father.
    [Show full text]
  • Fragmentation and Narcissism in Lucian Freud and Jenny Saville
    Fragmentation and narcissism in Lucian Freud and Jenny Saville: A Lacanian interpretation By Alecia D. van Rooyen 213165348 Submitted in partial fulfillment of the requirements for the degree MAGISTER TECHNOLOGIAE: FINE ARTS in the Department of Fine and Applied Arts FACULTY OF THE ARTS Tshwane University of Technology Supervisor: Dr. A. Scheffer Co-supervisor: Prof R. Kruger Practical Supervisor: Mr. J. van der Merwe 2018 DECLARATION BY CANDIDATE I hereby declare that the dissertation submitted for the degree M Tech: Fine Arts, in the Faculty of the Arts, Tshwane University of Technology, is my own original work and has not been previously submitted to any other institution of higher education. I declare that all the sources cited or quoted are indicated and acknowledged by means of a comprehensive list of references. Alecia D. van Rooyen i DEDICATION This study is dedicated to my parents and to my fiancé for their unconditional love and support in completing this work. ii ACKNOWLEDGEMENTS I would like to sincerely thank all of the following people without whom I could not complete this thesis: The Tshwane University of Technology and the NRF for financial support during the completion of this study. My Supervisor and co-supervisor, Dr. Anne Scheffer and Prof Runette Kruger for their outstanding guidance, support, time, patience and kindness. My practical supervisor Dr. Jan van der Merwe, for his support, inspiration and kind heart. Tanya Pretorius for the meticulous editing which brought everything together. A warm thank you to my exceptional mother and father for wiping away the tears and for the much-needed hugs and love to complete this study.
    [Show full text]
  • Futuristic Aerie with a Park View
    C M Y K Nxxx,2012-05-11,C,023,Bs-4C,E1 N C23 FRIDAY, MAY 11, 2012 Futuristic Aerie With a Park View RICHARD PERRY/THE NEW YORK TIMES By CAROL VOGEL For the past 15 summers the Met’s “Tomás Saraceno on the Roof: about a dozen installers assembling his most spinning around from the perspec- roof garden has been the setting for tra- creation, which he described as “an in- N Tomás Saraceno’s imagination his Cloud City” opens Tuesday at the tive inside this giant futuristic construc- ditional sculptures by artists like Ells- ternational space station.” As pieces be- constellation of 16 joined modules Metropolitan Museum of Art. tion. worth Kelly, Jeff Koons and, last year, gan to be set in place, Mr. Saraceno under construction on the roof of Like many of Mr. Saraceno’s installa- Anthony Caro. It has also been a place sneaked a visitor inside and up a twisty tions “Cloud City” is his vision of float- I the Metropolitan Museum of Art to walk up a winding bamboo pathway gonal habitat of reflective stainless steel staircase about 20 feet above the roof ing or flying cities — places that defy will take off in a heavy puff of wind and that soared some 50 feet in an untradi- and acrylic. garden. Some of the floors were trans- float over Central Park. “The whole conventional notions of space, time and tional installation that invited visitor Called “Cloud City,” it is the largest of parent, and the walls were mirrored gravity. “You can have a feeling of thing will go into orbit,” Mr.
    [Show full text]
  • IMMA Collection: Freud Project 2016 - 2021 Introduction
    IMMA FREUD CENTRE IMMA Collection: Freud Project 2016 - 2021 Introduction Since 2016 IMMA has presented the IMMA Collection: Freud Project, a five year loan to the Collection of 52 works by Lucian Freud (1922-2011), one of the greatest realist painters of the 20th century. 2021 is the final year of the Freud Project at IMMA and as we emerge from the global effect of Covid-19 we are delighted to bring to our audiences as our concluding programme or ‘finissage’, a combination of digital and physical elements, the exhibition The Artist’s Mother: Lucie and Daryll – a response by Chantal Joffe; The Maternal Gaze, a series of short videos by 22 artists and creatives in response to the theme of the Artist’s Mother and Soul Outsider, a new contemporary music commission composed by Deirdre Gribbin and performed by Crash Ensemble, in a recording that accompanies Freud’s portraits in the Freud Centre. www.imma.ie/whats-on/imma-collection-freud-project-the-artists-mother Front cover Lucian Freud, The Painter’s Mother Resting I, 1976, Oil on canvas, 90.2 x 90.2 cm, Collection Irish Museum of Modern Art, On Loan, Private Collection © The Lucian Freud Archive / Bridgeman Images 2 Chantal Joffe My Mother with Fern, 2017, Oil on canvas, 40.8 x 31.3 cm © The artist 3 The Artist’s Mother: Lucie and Daryll - a response by Chantal Joffe Room One We invited artist Chantal Joffe to begin a dialogue with Lucian Freud’s portraits of his mother as part of our ongoing programme in the context of the Freud Project.
    [Show full text]
  • The Rarity of Realpolitik the Rarity of Brian Rathbun Realpolitik What Bismarck’S Rationality Reveals About International Politics
    The Rarity of Realpolitik The Rarity of Brian Rathbun Realpolitik What Bismarck’s Rationality Reveals about International Politics Realpolitik, the pur- suit of vital state interests in a dangerous world that constrains state behavior, is at the heart of realist theory. All realists assume that states act in such a man- ner or, at the very least, are highly incentivized to do so by the structure of the international system, whether it be its anarchic character or the presence of other similarly self-interested states. Often overlooked, however, is that Real- politik has important psychological preconditions. Classical realists note that Realpolitik presupposes rational thinking, which, they argue, should not be taken for granted. Some leaders act more rationally than others because they think more rationally than others. Hans Morgenthau, perhaps the most fa- mous classical realist of all, goes as far as to suggest that rationality, and there- fore Realpolitik, is the exception rather than the rule.1 Realpolitik is rare, which is why classical realists devote as much attention to prescribing as they do to explaining foreign policy. Is Realpolitik actually rare empirically, and if so, what are the implications for scholars’ and practitioners’ understanding of foreign policy and the nature of international relations more generally? The necessity of a particular psy- chology for Realpolitik, one based on rational thinking, has never been ex- plicitly tested. Realists such as Morgenthau typically rely on sweeping and unveriªed assumptions, and the relative frequency of realist leaders is difªcult to establish empirically. In this article, I show that research in cognitive psychology provides a strong foundation for the classical realist claim that rationality is a demanding cogni- tive standard that few leaders meet.
    [Show full text]
  • Lucian Freud Pdf, Epub, Ebook
    LUCIAN FREUD PDF, EPUB, EBOOK William Feaver | 488 pages | 06 Nov 2007 | Rizzoli International Publications | 9780847829521 | English | New York, United States Lucian Freud PDF Book Amsterdam and New York: Rodopi, pp. They are generally sombre and thickly impastoed, often set in unsettling interiors and urban landscapes. Hotel Bedroom Settling in Paris in , Freud painted many portraits, including Hotel Bedroom , which features a woman lying in a bed with white sheets pulled up to her shoulders. Freud moved to Britain in with his parents after Hitler came to power in Germany. Lucian Freud, renowned for his unflinching observations of anatomy and psychology, made even the beautiful people including Kate Moss look ugly. Michael Andrews — Freud belonged to the School of London , a group of artists dedicated to figurative painting. Retrieved 9 February The Daily Telegraph. Retrieved 29 January Freud was one of a number of figurative artists who were later characterised by artist R. The works are noted for their psychological penetration and often discomforting examination of the relationship between artist and model. Wikipedia article. His series of paintings and drawings of his mother, begun in and continuing until the day after her death in , are particularly frank and dramatic studies of intimate life passages. Freud worked from life studies, and was known for asking for extended and punishing sittings from his models. The work's generic title, giving no hint of the specifics of the sitter or the setting, reflects the consistent, clinical detachment with which Freud approached all subjects, no matter what their relationship to him. Ria, Naked Portrait , a nude completed in , required sixteen months of work, with the model, Ria Kirby, posing all but four evenings during that time.
    [Show full text]
  • LUCIAN FREUD Early Works, 1940-1958 9 October – 12 December 2008
    Hazlitt Holland-Hibbert 38 Bury Street St James’s London SW1Y 6BB T +44 (0)20 7839 7600 W www.hh-h.com E [email protected] LUCIAN FREUD Early works, 1940-1958 9 October – 12 December 2008 A major loan exhibition of early works by Lucian Freud (born 1922) will be held at Hazlitt Holland-Hibbert, 38 Bury Street, St James’s, London SW1 from 9 October – 12 December 2008. The earliest paintings, from 1940, were completed when the artist was only 17. Many of the paintings in the exhibition are from private collections and not normally available to be seen by the public. Woman with a Tulip, 1945 Oil on plywood With the support of the artist, the exhibition will be curated by 9 x 5 inches; 22.8 x 12.7 cm the artist’s assistant and model for the past fifteen years, the painter David Dawson, with help from Catherine Lampert, who most recently selected the Freud retrospective which opened in Dublin in June 2007. This will be the first exhibition devoted entirely to the artist’s early work since 1997 with all works on loan from private or public collections worldwide, and several being shown publicly for the first time. Highlights include oil portraits such as Woman with Tulip (1945), Portrait of a Man (John Craxton) 1946, Girl in a Blanket (1953), A Woman Painter (1954) and the self portrait Man at Night (1947) as well as the still lifes Cacti and Stuffed Bird (1943), Dead Heron (1945), Lemon Sprig (1946) and Still Life with Aloe (1949).
    [Show full text]
  • P Ablo P Icasso
    operagallery.com Pablo Picasso September 2015 18 September - 18 October 2015 2 Orchard Turn # 04-15 ION Orchard 238801 Singapore T. + 65 6735 2618 - [email protected] Opening Hours Weekdays: 11 am - 8 pm • Weekends: 10 am - 8 pm Preface 2015 marks the 50th Anniversary of Singapore’s independence, and such a substantial milestone calls for an exhibition of equal merit. It is with this in mind that we are proud to showcase one of the most illustrious names in 20th century art: Pablo Picasso. Heralded as one of the biggest names of Modern Art and one of the pioneers of Cubism, Picasso dramatically changed the landscape of his contemporary art scene. Excelling in various mediums and movements, Picasso strived to cast aside conventional ideals, driving forward and exploring new limits all the while establishing himself as one of the most important figures within the art world. 3 We are pleased to present to you these prestigious works by the world’s most illustrious and recognizable Modern artist, in an intimate setting for collectors and appreciators alike. Gilles Dyan Stéphane Le Pelletier Founder and Chairman Director Opera Gallery Group Opera Gallery Asia Pacific Researching an illustrious figure such as Picasso is bound to elicit an array of polarizing definitions. The life of Pablo Picasso began in Málaga, Spain on October 25th in 1881. Not a particularly bright ‘Genius’, surely, is one that repeats itself often, ‘visionary’ another. Tormented, manipulative, student academically, at the age of eight Pablo was already displaying signs of artistic aptitude, a misanthropic – also phrases that pepper history’s perception of the persona, a man whose namesake talent his artistic parents recognized and encouraged.
    [Show full text]
  • Notes for Teachers by Miquette Roberts 2 1
    Lucian Freud 20 June – 22 September 2002 Sponsored by UBS Warburg Notes for Teachers by Miquette Roberts Lucian Freud The artist’s reputation Introduction Aged eighty this year, Lucian Freud, painter of portraits, nudes and some still lifes, continues to pursue a demanding schedule of work. It is now more than a decade since he was first acclaimed by the critic and historian Robert Hughes as ‘the greatest living realist painter’ and similar accolades have proliferated ever since. For example the press release for this exhibition tells us that he has ‘redefined portraiture’. Students should bear these claims in mind as they view the exhibition and try to decide for themselves why Freud’s work should be so highly valued. For their assessment to be meaningful, they need to consider the social and historical background to his painting, described in these pages, as well as comparing it with work by other artists on view at Tate Britain, Tate Modern and the National Portrait Gallery. This booklet is intended mainly for teachers of secondary students although primary teachers could adapt some of its themes. It includes two interviews, one with Sue Tilley who has modelled for the artist and the other with Mary Horlock, one of the curators of the exhibition. 1 This exhibition focuses on portraits and nudes. Think about these two genres. • What do you expect of a portrait? Why do you think it is such a popular genre? There is a long tradition in art of male artists painting beautiful naked women. You can find examples in the National Gallery, by Titian for instance.
    [Show full text]
  • TRADITIONS & D E P a R T U R
    REALISM NOW : TRADITIONS & D e p a r t u r e s M entors and P rotégés JOEL BABB chung shil adams • PETER BOUGIE barbara allen • LEWIS COHEN benjamin cariens jeff slomba • ARTHUR DECOSTA deborah deichler paul dusold • NEIL DREVITSON janice drevitson • LARRY FRANCIS frank depascale • ROBERT HUNTER sergio roffo • SIDNEY HURWITZ andrew raftery • PAUL INGBRETSON lindesay harkness • RICHARD LACK allan banks • LISA LEARNER geronna lewis • DAVID LOWREY sam vokey • DOUGLAS MARTENSON david campbell jess montgomery • MAUREEN MCCABE katy wood • GEORGE NICK shalom flash • ELLIOT OFFNER andrew devries • RICHARD RAISELIS sedrick huckaby REALISM NOW : • GLENN RUDDEROW david baker • TRADITIONS & D e p a r t u r e s SUSAN STEPHENSON nathan lewis • ANDREW WYETH M ENTORS AND P ROTÉGÉS jamie wye1th carolyn wyeth REALISM NOW : TRADITIONS & De p a rtu r es M ENTORS AND P ROTÉGÉS Part I Artists from New England, greater Philadelphia, and greater Minneapolis November 24, 2003 to January 17, 2004 vose NEW AMERICAN REALISM contemporary R EALISM N OW : T RADITIONS AND D EPARTURES , M ENTORS AND P ROTÉGÉS Part I, Artists from New England, greater Philadelphia and greater Minneapolis November 24, 2003 to January 17, 2004 Compiled by Nancy Allyn Jarzombek Essay by Trevor J. Fairbrother Catalogue designed by Claudia Arnoff Abbot W. Vose and Robert C. Vose III, Co-Presidents Marcia L. Vose, Director, Vose Contemporary Lynnette Bazzinotti, Business Manager Carol L. Chapuis, Director of Administration Nancy Allyn Jarzombek, Director of Research Siobhan M. Wheeler, Associate for Research Julie Simpkins, Artist-in-Residence, Preparator Courtney S. Kopplin, Assistant to the Gallery Manager Claudia G.
    [Show full text]