DOCSLIB.ORG

Arshile Gorky : Paintings, Drawings, Studies with a Foreword by Julien Levy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Arshile Gorky : paintings, drawings, studies With a foreword by Julien Levy Author Seitz, William Chapin Date 1962 Publisher The Museum of Modern Art: Distributed by Doubleday, Garden City, N.Y. Exhibition URL www.moma.org/calendar/exhibitions/1991 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art v , " -T ' Arshile Gorky frontispiece : The Diary of a Seducer. 1945. Oil, 50 x 62". Mr. and Mrs. William A. M. Burden, New York cover: from Bull in the Sun. (1942). Wool rug, 116V1 x 85". The Museum of Modern Art, New York. Gift of Monroe Wheeler BY WILLIAM C. SEITZ WITH A FOREWORD BY JULIEN LEVY THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE WASHINGTON GALLERY OF MODERN ART Distributed by Doubleday & Company, Inc., Garden City, New York TRUSTEES OF THE MUSEUM OF LENDERS TO THE EXHIBITION MODERN ART Dr. and Mrs. David Abrahamsen; Mr. and Mrs. William A. M. Burden, Chairman of the Board; Walter Bareiss; Mr. and Mrs. William A. M. Bur Henry Allen Moe, William S. Paley, Vice-Chair den; Mr. and Mrs. Hans Burkhardt; Joshua Binion men; Mrs. John D. Rockefeller 3rd, President; Cahn; Mr. and Mrs. Merlin Carlock; Mr. and Mrs. James Thrall Soby, Ralph F. Colin, Vice-Presi Abraham L. Chanin; Miss Ann Dunnigan; Mrs. dents; Alfred H. Barr, Jr., "Mrs. Robert Woods Herbert Ferber; Mr. and Mrs. B. H. Friedman; Mr. Bliss, Gardner Cowles, *Mrs. W. Murray Crane, and Mrs. Philip Gersh; Mr. and Mrs. Milton A. John de Menil, Rene d'Harnoncourt, Mrs. C.Doug Gordon; Mr. and Mrs. I. Donald Grossman; Mr. las Dillon, Mrs. Edsel B. Ford, "A. Conger Good and Mrs. Stephen Hahn; Mr. and Mrs. Gaston de year, "Mrs. Simon Guggenheim, Wallace K. Har Havenon; Mr. and Mrs. Joseph H. Hazen; Mr. and rison, Mrs. Walter Hochschild, "James W. Husted, Mrs. Ben Heller; The Joseph H. Hirshhorn Collec Philip C. Johnson, Mrs. Albert D. Lasker, John L. tion; Mrs. Martha K. Jackson; Mr. and Mrs. Wil Loeb, Mrs. Henry R. Luce, Porter A. McCray, Ran liam B. Jaffe; Mr. and Mrs. Julien Levy; Mrs. H. ald H. Macdonald, Mrs. Samuel A. Marx, Mrs. Gates Lloyd; Mrs. David Metzger; Mrs. Moorad G. Macculloch Miller, Mrs. Bliss Parkinson, Mrs. Mooradian; Mrs. Edward M. Murphy; Mrs. Albert Charles S. Payson, "Duncan Phillips, David Rocke H. Newman; Mr. and Mrs. Stephen D. Paine; Mrs. feller, Nelson A. Rockefeller, "'Paul J. Sachs, Mrs. Agnes Gorky Phillips; Mr. and Mrs. Paul Scott Donald B. Straus, G. David Thompson, "Edward Rankine; Miss Jeanne Reynal; Dr. and Mrs. Israel M. M. Warburg, Monroe Wheeler, John Hay Rosen; Barney Rosset; Mrs. Ethel K.Schwabacher; Whitney. * Honorary Trustee for Life Mr. and Mrs. Raphael Soyer; Mr. and Mrs. Harris B. Steinberg; Mrs. Ruth Stephan; Michel Tapies de Celeyran; Mr. and Mrs. Fredric Varady; Mr. THE WASHINGTON GALLERY OF and Mrs. Frederick R. Weisman; Mr. and Mrs. C. MODERN ART Bagley Wright, Jr. Albright-Knox Art Gallery, Buffalo, New York; Officers: Julian Eisenstein, President; Mrs. H.Gates The Metropolitan Museum of Art, New York; The Lloyd, Vice-President; Mrs. Philip Stern, Second Museum of Modern Art, New York; Whitney Mu Vice-President; Walter C. Louchheim, Treasurer; seum of American Art, New York; Allen Memo James C. Truitt, Secretary rial Art Museum, Oberlin College, Oberlin, Ohio; Trustees: Mrs. Dean Acheson, Abe Fortas, Mrs. Washington University, St. Louis, Missouri; San Philip L. Graham, Mrs. W. Averell Harriman, Francisco Museum of Art; University of Arizona David L. Kreeger, Mrs. William S. Moorhead, John Art Gallery, Tucson ;Munson- Williams-Proctor In Safer, Nicholas Satterlee, James Hopkins Smith, stitute, Utica. Mrs. C. Law Watkins Margit Chanin, Ltd., New York; Rose Fried Gal Honorary Trustees: Mrs. John F. Kennedy, Mrs. lery, New York; Galleria Galatea, Turin; Martha George C. Garrett, Mrs. Albert D. Lasker, Thomas Jackson Gallery, New York; Sidney Janis Gallery, B. Hess, Mr. and Mrs. Duncan Phillips New York. ©1962, The Museum of Modern Art 11 West 53 Street, New York 19, N. Y. Library of Congress Catalogue Card No. 62-22083 Printed in the U.S.A. by Pictorial Offset Corporation Designed by Susan Draper The Muse:"- a Art Library Contents 6 acknowledgments 7 FOREWORD by Julien Levy 11 I THE TWENTIES 14 II PORTRAITURE (c. 1926-36) 20 III THE THIRTIES 28 IV NATURE (1942-48) 51 BRIEF CHRONOLOGY 52 SELECTED REFERENCES 53 CATALOGUE Acknowledgments Several of Gorky's friends, and members of his family, gave assistance in preparing this exhibition. Mrs. Agnes Gorky Phillips was helpful not only by putting the paintings and drawings in the Gorky Estate at our disposal, but also in locating other works. Sidney Janis also helped in this regard. Ethel Schwabacher, whose sensitive and serious monograph I repeatedly consulted, answered doz ens of additional questions and was kind enough to read and criticize this manuscript. Willam Agee acted as research assistant. Gorky's sister Mrs. Moorad Mooradian and his nephew Karlin Mooradian filled important gaps in my knowl edge of Gorky's life. The staff of the Whitney Museum of American Art not only assisted us in preparing the exhibition, but opened their archives to us. For his moving tribute to Gorky which serves as a foreword to the book, I wish to thank his friend and dealer Julien Levy, who also assisted me in documentation as did Jeanne Reynal, Will Bar- net, Ara Ignatius, Frederick Kiesler, Abram Ler- ner, and several lenders to the exhibition; also Andrew C. Ritchie for his cooperation. In addition to the paragraphs quoted from Harold Rosenberg's book I was also assisted by his insights into certain aspects of Gorky's personality and art. My short account of Gorky's development was edited by Helen Franc; Susan Draper designed the EXHIBITIONS: book and cover; Alicia Legg assembled the cata logue. For special assistance I wish to thank Mr. The Museum of Modern Art, New York and Mrs. Frederick R. Weisman. On behalf of the December ly, 1962 Trustees of The Museum and The Washington The Washington Gallery of Modern Art Gallery of Modern Art I wish to thank all those March 12, 1962 who lent drawings and paintings. 6 Foreword From poverty, or of a piece with his camouflage, generously suggested that I also look at a port for he was a very camouflaged man, Arshile Gorky folio of Gorky's own drawings. "My portfolio is as long as I knew him wore a patched coat, either already in your back office," Gorky reluctantly an old tweed jacket with leather elbow pads in sum confessed, and my secretary told me that "that mer or in winter a ragged overcoat much too long man is always leaving his portfolio in the back for even his tall and lean frame. Inside his overcoat office. He comes back days later and pretends he he would draw himself up, or lower himself with had forgotten it." out bending, so when he crouched, perhaps to ex "Yes," said Gorky shamelessly, "and I always amine a canvas, his coat crumpled down like an expect you will have opened it and discovered accordion as he folded his legs beneath it with the masterpieces " So I sorted through them now, same muscles used by Caucasian dancers-although and I answered Gorky gently. Because if I had not Gorky was not Caucasian, was in fact Armenian, found masterpieces, I nevertheless thought I de and Gorky was not his real name. This is how tected future greatness. I went down to Union camouflaged he was. His dark fierce face and fero Square with Gorky and looked at everything in his cious black moustache concealed something soft studio. I listened to his passionate discourses con and vulnerable and not easily approached even by cerning the faded illustrations tacked on his walls, his intimates. Strangers he either frightened or monochrome reproductions of Mantegna and Piero awed. Policemen, he told me proudly, often della Francesca and photographs of Ingres draw stopped him for questioning, "just because I look ings. I listened to the woes of his financial dis so dangerous," he said, but more probably because order, and I lent him five hundred dollars. Later, he was walking through traffic too absent-mind when he couldn't repay, I bought some of his edly. Once in a dramatically illuminated exhibition drawings. But I could not promise him an exhibi in a museum he appeared suddenly conspicuous tion. beneath one of the spotlights. A woman crossed "Your work is so very much like Picasso's," I herself, then apologized. "For a moment," she said, told him. "Not imitating," I said, "but all the same "I thought you were Jesus Christ." "Modom," he too Picassoid." said, drawing h'mself up to his towering tallness, "I was with Cezanne for a long time," said "I am Arshile Gorky." And this was not arrogance. Gorky, "and now naturally I am with Picasso — " This was his devotion to a self-appointed mission. "Someday, when you are with Gorky..." I prom Art was Religion for Gorky, and in a museum God ised. was in His Temple and Gorky was His Prophet. I had never before met a painter with the em His life may have been unhappy; or he may have pathy to enter so completely into the style of an chosen the climate of unhappiness as deliberately other. I thought of the translations Moncrieff had as he chose his own name, Gorky, the "bitter one." made from the French of Proust.
Recommended publications
  • “L.A. Raw” RADICAL CALIFORNIA by Patricia Cronin

    “L.A. Raw” RADICAL CALIFORNIA by Patricia Cronin

    “L.A. Raw” hris Burden Donatello, 1975 RADICAL CALIFORNIA private collection by Patricia Cronin Maverick independent curator Michael Duncan has mounted a visceral, hair-raising survey exhibition of figurative art by more than 40 Los Angeles artists in “L.A. RAW: Abject Expressionism in Los Angeles 1945-1980, from Rico LeBrun to Paul McCarthy,” Jan. 22-May 20, 2012, at the Pasadena Museum of California Art. The show is a revelatory part of the Getty Initia- Nancy Buchanan tive’s 60-exhibition extravaganza “Pacific Standard Time,” whose various Wolfwoman, 1977 events have been reviewed prolifically byArtnet Magazine’s own Hunter courtesy of the artist and Drohojowska-Philp. Cardwell Jimmerson Contemporary Art In Los Angeles, artists responded to post-war existential questions in a dramatically different fashion than their East Coast counterparts. While the New York School turned to Abstract Expressionism (simultaneously shift- ing the epicenter of the art world from Paris and Europe), artists in L.A. fashioned a much more direct and populist response to the realities of the Vietnam war, the horrors of Auschwitz and Hiroshima, and the threat of McCarthyism. The hallmark of this kind of work is the expressively distort- ed human body, constitutig a new, distinctly West Coast kind of human- ism. Of the 41 artists in the show, ten percent had fled Europe and immigrated to the U.S., and nearly half of them, including the occult performance art- Rico Lebrun The Oppressor (after de Sade, 6–8) ist Marjorie Cameron (1922-1995), served in the Armed Forces in WWII. 1962 Ben Sakoguchi was sent to a wartime internment camp when he was only courtesy of Koplin Del Rio Gallery, four years old, and Kim Jones served in Vietnam.
  • Hans Burkhardt (1904-1994)

    Hans Burkhardt (1904-1994)

    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Hans Burkhardt (1904-1994) An extremely prolific artist, Hans Burkhardt remained relatively silent in the Los Angeles art world, choosing to let his artworks express his feelings and thoughts. A forerunner of abstracted, expressionist painting, particularly amid the more conservative Los Angeles figurative painters in the late 1930s, Burkhardt nonetheless based his experimentation on a solid artistic foundation. The order and balance in Burkhardt’s compositions derive from his training as a draughtsman and his belief in the importance of underpinning painting with strong drawing skills. Following the advice of his mentor, Arshile Gorky, who had often directed the young artist, “painting is not more than drawing with paint,” Burkhardt always created sketches in pencil, pastel, or ink before beginning a canvas in oil. As a result, his compositions exhibit a strong sense of structure and design, even in their abstraction. Burkhardt drew motifs from nature, internalizing them and creating a highly personal, abstract realization of the scene or event. In a 1974 interview for the Archives of American Art, the artist explained that for him paintings evolve out of emotions and ideas—a process not unlike the Surrealist’s conception of the genesis of creative thought. Burkhardt recognized associations to things and people in nature. In his canvases, objects became symbols (for example, two nails transformed into lovers under a moonlit sky.) The symbolic and expressive content of these motifs derives from the artist’s deeply felt humanism and compassion.
  • Insights Into Hittite History and Archaeology

    Insights Into Hittite History and Archaeology

    COLLOQUIA ANTIQUA ————— 2 ————— INSIGHTS INTO HITTITE HISTORY AND ARCHAEOLOGY Edited by HERMANN GENZ and DIRK PAUL MIELKE PEETERS LEUVEN – PARIS – WALPOLE, MA 2011 11209-8_MielkeGenz_voorwerk.indd209-8_MielkeGenz_voorwerk.indd IIIIII 99/03/11/03/11 113:053:05 TABLE OF CONTENTS Preface Gocha R. Tsetskhladze . VII Introduction Dirk Paul Mielke and Hermann Genz . IX List of Abbreviations . XI List of Illustrations . XIII CHAPTER 1 Research on the Hittites: A Short Overview Hermann Genz and Dirk Paul Mielke. 1 CHAPTER 2 History of the Hittites Horst Klengel . 31 CHAPTER 3 The Written Legacy of the Hittites Theo P.J. van den Hout . 47 CHAPTER 4 Hittite State and Society Trevor R. Bryce . 85 CHAPTER 5 Environment and Economy in Hittite Anatolia Walter Dörfler, Christa Herking, Reinder Neef, Rainer Pasternak and Angela von den Driesch . 99 CHAPTER 6 Hittite Military and Warfare Jürgen Lorenz and Ingo Schrakamp . 125 CHAPTER 7 Hittite Cities: Looking for a Concept Dirk Paul Mielke . 153 CHAPTER 8 Hittite Temples: Palaces of the Gods Caroline Zimmer-Vorhaus . 195 CHAPTER 9 Open-Air Sanctuaries of the Hittites A. Tuba Ökse . 219 11209-8_MielkeGenz_voorwerk.indd209-8_MielkeGenz_voorwerk.indd V 99/03/11/03/11 113:053:05 VI TABLE OF CONTENTS CHAPTER 10 Hittite Pottery: A Summary Ulf-Dietrich Schoop . 241 CHAPTER 11 Metals and Metallurgy in Hittite Anatolia Jana Siegelová and Hidetoshi Tsumoto . 275 CHAPTER 12 Foreign Contacts of the Hittites Hermann Genz . 301 List of Contributors . 333 Index . 335 11209-8_MielkeGenz_voorwerk.indd209-8_MielkeGenz_voorwerk.indd VIVI 99/03/11/03/11 113:053:05 CHAPTER 11 METALS AND METALLURGY IN HITTITE ANATOLIA Jana SIEGELOVÁ and Hidetoshi TSUMOTO Abstract The present chapter attempts to give an overview of Hittite metallurgy from a philo- logical as well as from an archaeological point of view.
  • Oral History Interview with June Wayne, 1970 August 4-6

    Oral History Interview with June Wayne, 1970 August 4-6

    Oral history interview with June Wayne, 1970 August 4-6 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with June Wayne on August 4, 1970. The interview took place in Los Angeles, CA, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview Tape 1, Side 1 PAUL CUMMINGS: It's August 4 - Paul Cummings talking to June Wayne in her studio. Well, how about some background. You were born in Chicago? JUNE WAYNE: Yes, I was. I understand I was born at the Lying-In Hospital on the Midway in Chicago. Right in the shadow of the University of Chicago. PAUL CUMMINGS: And then you went to Gary, Indiana? JUNE WAYNE: I went to Gary when I was an infant. I don't know whether I was a year old or two years old. I do know that I was back in Chicago by the time I was four or five. So my stay in Gary was very brief. Incidentally, I have memories of Gary, of the steel mills at night, those giant candles with the flutes of fire coming out of the stacks. I also remember very vividly picking black-eyed Susans along the railroad tracks of the Illinois Central in Gary. I must have lived somewhere nearby. My grandmother used to take me for walks along there. I can remember that very significantly. I have lots of memories of Gary.

  • Turkish Plastic Arts

    Turkish Plastic Arts by Ayla ERSOY REPUBLIC OF TURKEY MINISTRY OF CULTURE AND TOURISM PUBLICATIONS © Republic of Turkey Ministry of Culture and Tourism General Directorate of Libraries and Publications 3162 Handbook Series 3 ISBN: 978-975-17-3372-6 www.kulturturizm.gov.tr e-mail: [email protected] Ersoy, Ayla Turkish plastic arts / Ayla Ersoy.- Second Ed. Ankara: Ministry of Culture and Tourism, 2009. 200 p.: col. ill.; 20 cm.- (Ministry of Culture and Tourism Publications; 3162.Handbook Series of General Directorate of Libraries and Publications: 3) ISBN: 978-975-17-3372-6 I. title. II. Series. 730,09561 Cover Picture Hoca Ali Rıza, İstambol voyage with boat Printed by Fersa Ofset Baskı Tesisleri Tel: 0 312 386 17 00 Fax: 0 312 386 17 04 www.fersaofset.com First Edition Print run: 3000. Printed in Ankara in 2008. Second Edition Print run: 3000. Printed in Ankara in 2009. *Ayla Ersoy is professor at Dogus University, Faculty of Fine Arts and Design. TABLE OF CONTENTS INTRODUCTION 5 Sources of Turkish Plastic Arts 5 Westernization Efforts 10 Sultans’ Interest in Arts in the Westernization Period 14 I ART OF PAINTING 18 The Primitives 18 Painters with Military Background 20 Ottoman Art Milieu in the Beginning of the 20th Century. 31 1914 Generation 37 Galatasaray Exhibitions 42 Şişli Atelier 43 The First Decade of the Republic 44 Independent Painters and Sculptors Association 48 The Group “D” 59 The Newcomers Group 74 The Tens Group 79 Towards Abstract Art 88 Calligraphy-Originated Painters 90 Artists of Geometrical Non-Figurative
  • 3254 at OI Turkey2013

    3254 at OI Turkey2013

    THE ORIENTAL INSTITUTE The University of Chicago 1155 East 58th Street Chicago, IL 60637-1540 Archaeological Treasures of Eastern Turkey May 18 – June 3, 2013 Led by Dr. Gil J. Stein, The Oriental Institute Archaeological Treasures of Eastern Turkey May 18 – June 3, 2013 Led by Dr. Gil J. Stein The Oriental Institute rock-hewn Byzantine churches decorated with elaborate frescoes. This evening we will Dear Members and Friends of the Oriental Institute: attend a presentation of whirling dervish ceremony at a lovely restored caravanserai. For over seventy-five years, the Oriental Institute has been at the forefront of the study of HILTON DOUBLETREE (B/L/D) Anatolia (modern Turkey). Starting in the 1920s we have excavated major sites in Turkey, and have continued up to the present with our two ongoing excavations at Kerkenes and Zincirli. THURSDAY, MAY 23: GAZIANTEP Our archaeologists have explored virtually every major period in Turkey’s incredibly rich This morning we depart for Gaziantep. We will history — from the origins of the first Neolithic villages 10,000 years ago up through the stop en route to visit the Late Hittite fortress Islamic and Ottoman periods. Scholars from the Oriental Institute played a major role in of Karatepe, founded in the 8th century BC by establishing the Museum of Anatolian Civilizations in Ankara. One of our most lasting Asatiwatas, ruler of the plain of Adana. We will contributions to Anatolian studies is the compilation of the great Chicago Hittite Dictionary. see the remaining blocks of basalt carved with sculptures of lions and sphinxes, inscriptions Our tour sets itself apart from other trips to Turkey by focusing on the great civilizations and and reliefs, depicting cultural and mythological monuments of central and eastern Turkey.
  • \Ыщ ^ PROBLEMS (F HITTITE ART Lo MS - 1

    \Ыщ ^ PROBLEMS (F HITTITE ART Lo MS - 1

    \ыщ ^ PROBLEMS (F HITTITE ART lo MS - 1 - W^iat is {f-W-tite art? What place does it occupy amo­ ng other arts of the Ancient ^ast? ?rhat means the паше/ Rarely any art has been so problema tic alt « __ 'Hwy-jaoaorn ara a Hittite/is derived from Mb±±tH3_L \ TçhittTm, used a couple of times^to designate not always the same, but people of an old native group in - -yria fi and neighböurjSS-jiÄ^W^Hebr. Khi ti, As syr, Khatti, E*. gyp t. He ta, all reflect an original khatti7~nâ!Hg~''ôî^b~ origines in middle AsiaMinor, who)!? spoke a language ф t <У <ЩР »'•j-kiiingiBQ» Щ a rare Caucasian уяг.^/Гу- and who had ootab-- Ш__№'1 a state of their own in the 5rd and the beginni­ ng of the 2nd millennium B.C.- s - . -nA- îè^^cA ,- i-tyU —- •"bout 1800^they »vere conquered by another nation, perhaps newcomers, who established a mighty empire and destroyed, in 1750, what regained of the old Sumero-Ak- 1 Ü№\ СЛАллЛ,, ЫАМ k-vv- ft 4 kadian glory in Babylonia. Ш«н__. ;тйтл i|4re\unknown, as is their name. 3й theft e; nlrn yrlnnguage somehow related to the Indo-Europ. family, which tihr— . «.1«. n»3ìiiwì nasili, "Nastan". Perhaps that *т& . al s^ their real ethnical name^ ^dt^-b^r//w^- é*«*? ,/ * Н4*СА*Э<Г . - ил** , jfëfaét,; &*4* /r Л u^a --, * 1\ C^U^CAJ - Hi . 2 - We know the. ."language well froe the thousands of doc- 4— uments fro® Boghazköi.
  • Royal Inscriptions from Persepolis in Electronic Form Matthew W

    Royal Inscriptions from Persepolis in Electronic Form Matthew W

    oi.uchicago.edu THE ORIENTAL INSTITUTE NEWS & NOTES SPRING 1998 ©THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO ACHAEMENID ROYAL INSCRIPTIONS FROM PERSEPOLIS IN ELECTRONIC FORM MATTHEW W. STOLPER. PROFESSOR OF ASSYRIOLOGY GENE GRAGG. PROFESSOR OF NEAR EASTERN LANGUAGES AND DIRECTOR OF THE ORIENTAL INSTITUTE From 550 BC on, Cyrus the Great and his successors, the Persian structed narrative of Darius's triumph over his competitors for kings of the Achaemenid dynasty, conquered and held an em­ control of the empire, and it was not only addressed to posterity, pire on a scale that was without precedent in earlier Near East­ but also translated and disseminated to the conquered lands, and ern history, and without parallel until the formation of the an Aramaic version was copied out in Egypt about a century af­ Roman Empire. At its greatest extent, its corners were in Libya ter the text was composed. But the other inscriptions, for the and Ethiopia, Thrace and Macedonia, Afghanistan and Central most part, present the empire not as an accomplishment, the re­ Asia, and the Punjab. It incorporated ancient literate societies in sult of royal efforts, but as a divinely sanctioned order. Elam, Mesopotamia, Egypt, and elsewhere. It engaged the The characteristic that best represented this order was its di­ versity, which was in turn an expression of the empire's size. In I ~ 13DDO!lDC,lDcnIS I nybljc nm,'mms I I w< t?sjtc infocmali oo & SIlUj Sljcs I clIoyriyhl$ & pcn)Jjs.~ioos I ~ I a world where few people had seen maps, where area and dis­ I webs;l!! nllviegriQnal aid I tance could not be expressed in geometric figures, the most im­ pressive way of putting them in words was to name the many ACHAEMENID ROYAL INSCRIPTIONS people who served the king, and so some of the inscriptions give lists of subject lands, twenty, or twenty-three, or twenty-eight items long.
  • Oral History Interview with Michael C. Mcmillen, 1997 Apr. 15-Dec. 8

    Oral History Interview with Michael C. Mcmillen, 1997 Apr. 15-Dec. 8

    Oral history interview with Michael C. McMillen, 1997 Apr. 15-Dec. 8 Funding for the transcription of this interview provided by the Pasadena Art Alliance. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Michael C. McMillen on April 15, August 19 and December 8, 1997. The interview was conducted at Michael C. McMillen's home in Santa Monica, California by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Funded by the Pasadena Art Alliance Transcribing Project. Interview MM: MICHAEL Mc MILLEN PK: PAUL KARLSTROM [BEGIN SESSION #1, TAPE 1, SIDE A] PK: Archives of American Art, Smithsonian Institution, the first session of an interview with artist Michael C. Mc Millen. The interview is taking place in Michael C. Mc Millen's home in Santa Monica, California, on April 15, 1997. This is the first session, Tape 1, Side A, and the interviewer for the Archives is Paul Karlstrom. This is where you live. As a matter of fact, if I'm not mistaken, you actually grew up in this very house. You were born in Santa Monica? Would you just fill in the background? MM: I was born in Echo Park, Queen of Angels Hospital, in East L.A. My folks moved to Santa Monica in the forties, and I grew up basically in this house, which is on Princeton Street.
  • Hittite Rock Reliefs in Southeastern Anatolia As a Religious Manifestation of the Late Bronze and Iron Ages

    Hittite Rock Reliefs in Southeastern Anatolia As a Religious Manifestation of the Late Bronze and Iron Ages

    HITTITE ROCK RELIEFS IN SOUTHEASTERN ANATOLIA AS A RELIGIOUS MANIFESTATION OF THE LATE BRONZE AND IRON AGES A Master’s Thesis by HANDE KÖPÜRLÜOĞLU Department of Archaeology İhsan Doğramacı Bilkent University Ankara September 2016 HITTITE ROCK RELIEFS IN SOUTHEASTERN ANATOLIA AS A RELIGIOUS MANIFESTATION OF THE LATE BRONZE AND IRON AGES The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by Hande KÖPÜRLÜOĞLU In Partial Fulfillment of the Requirements of the Degree of MASTER OF ARTS THE DEPARTMENT OF ARCHAEOLOGY İHSAN DOĞRAMACI BİLKENT UNIVERSITY September 2016 ABSTRACT HITTITE ROCK RELIEFS IN SOUTHEASTERN ANATOLIA AS A RELIGIOUS MANIFASTATION OF THE LATE BRONZE AND IRON AGES Köpürlüoğlu, Hande M.A., Department of Archaeology Supervisor: Assoc. Prof. Dr. Marie-Henriette Gates September 2016 The LBA rock reliefs are the works of the last three or four generations of the Hittite Empire. The first appearance of the Hittite rock relief is dated to the reign of Muwatalli II who not only sets up an image on a living rock but also shows his own image on his seals with his tutelary deity, the Storm-god. The ex-urban settings of the LBA rock reliefs and the sacred nature of the religion make the work on this subject harder because it also requires philosophical and theological evaluations. The purpose of this thesis is to evaluate the reasons for executing rock reliefs, understanding the depicted scenes, revealing the subject of the depicted figures, and to interpret the purposes of the rock reliefs in LBA and IA. Furthermore, the meaning behind the visualized religious statements will be investigated.
  • Download the Full Brochure

    Download the Full Brochure

    NOVEMBER 18, 2011 – APRIL 8, 2012 PAM1102_Brochure.10.indd 1 12/9/11 9:19 AM PAM1102_Brochure.10.indd 1 12/9/11 9:19 AM his exhibition, for the first time, traces the entire development of the Pasadena Art Museum in the North Los Robles building Tthat now houses Pacific Asia Museum, and in the Pasadena Art Museum’s final location on Colorado Boulevard, where it became the Norton Simon Museum in 1974. Important works of art, borrowed from the Norton Simon Museum and from artists, galleries and private collections, provide key examples of art in or related to the Pasadena Art Museum collection. The exhibition also presents images of installations Facing page: of the exhibitions, and the important individuals and organizations Studio of J. Allen Hawkins, Pasadena involved in the Museum. Excerpts from interviews with artists, former Art Museum, Courtesy of the Archives, Pasadena Museum of History directors, curators and trustees give personal views of the Pasadena Art © Pasadena Museum of History Museum’s history. The exhibition provides a brief history of art from the 1910s through the Vasily Kandinsky (1866–1944), Pressure from Above, 1928, late 1960s. Works by Paul Klee, Vasily Kandinsky, Lyonel Feininger and Watercolor and India ink on wove paper, Courtesy of Norton Simon Alexei Jawlensky—all members of the Blue Four group of artists in Museum, The Blue Four Galka Germany after the First World War—show the effects of the development Scheyer Collection © 2011 Artists Rights Society (ARS), New York/ of Cubism. Their use of geometry to create compositions and express ADAGP, Paris imagination (in all four artists), and the use of abstraction to express spirituality (in Kandinsky and Jawlensky), demonstrate the many possibilities of Cubism’s new way of showing space and implied movement on a flat surface.
  • Ivories - Hittite Affiliations

    Ivories - Hittite Affiliations

    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ANATOLIP~ IVORIES - HITTITE AFFILIATIONS ' ( IN LIGHT OF NEW FINDINGS A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Joan Anne Greenfield _/ January 1977 -----------------------. The Thesis of Joan Anne Greenfield is approved: Earle Field, Ph.D. Chairman California State University, Northridge ii ACKNOWLEDGMENT I would like to take this opportunity to thank the members of my committee, Dr. Earle Field, Dr. Birgitta Wohl, and Dr. Jeanne L. Trabold for their generously donated time and guidance throughout the development of this study. An additional expression of gratitude is extended to Dr. Trabold, my committee chairman, graduate advisor and instructor, from whose talents and interest I have gained the necessary stimulus for the completion of this thesis. ----------------------------------~ iii TABLE OF CONTENTS Page ACKNOWLEDGMENT . iii LIST OF PLATES AND SOURCES • . v · ABSTRACT . xiv COLORPLATE (PLATE 1) . • Frontispiece Chapter 1. INTRODUCTION . • . • . • . ~ • . • • 1 2. HITTITE ARTISTIC FEATURES IN GENERAL: ROLE OF THE MINOR ARTS IN RELATION TO HITTITE ART AS A WHOLE . • . • . 21 3. HITTITE CHP~ACTERISTICS IN THE ANATOLIAN SCHOOL OF IVORY CARVING . • • . • • • 61 4. INFLUENCES FROM THE ANATOLIAN SCHOOL OF IVORY CARVING REFLECTED IN THE NEG- HITTITE PERIOD • • • • . • • • 116 5. SUMMP~Y AND CONCLUSIONS . 155 BIBLIOGRAPHY . 163 APPENDIXES . 169 COMPARATIVE TABLE 170 MAP. • • • • . • . 171 CHART ~~ MAP SOURCES. • 172 iv Plates and Sources Plate Page 1. Pratt Ivories in the Metropolitan Museum: Three ivory female sphinxes; hind leg of a lion. Source: Prudence 0. Harper, "Dating a Group of Ivories from Anatolia," Connoisseur, Vol 172, #693, November, 1969, Figure 8..