ALFREDO VOLPI Solo Exhibitions
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W E St K U N St O St K U N St
Válogatás a gyűjteményből KUNST The Collection OST on Display KUNST Ludwig Múzeum – Kortárs Művészeti Múzeum WEST Ludwig Museum – Museum of Contemporary Art WESTKUNST – OSTKUNST Válogatás a gyűjteményből The Collection on Display Válogatás a gyűjteményből The Collection OSTKUNST on Display Ludwig Múzeum – Kortárs Művészeti Múzeum Ludwig Museum – Museum of Contemporary Art 2018 WESTKUNST Tartalomjegyzék | Contents FABÉNYI Julia előszava | Foreword by Julia FABÉNYI 9 Idővonal | Timeline 14 1 A gyűjtő portréja | A Portrait of the Art Collector 22 2 Az ellenállás művészete | The Art of Opposition 34 2a Koncept és fluxus | Concept Art and Fluxus 38 2b Pop art – Fotórealizmus | Pop Art – Photorealism 64 3 A neoavantgárd művészei | The Artists of the Neo-Avant-Garde 106 3a Az Iparterv-generáció | The Iparterv Generation 112 3b Konceptuális és akció-fotográfia | Conceptual and Action Photography 134 4 Picasso For Ever 1 5 4 5 Rituálék | Rituals 172 6 Idő-kép | The Image of Time 190 7 Hétköznapi rögeszmék – Új szerzemények | Everyday Obsessions – New Acquisitions 208 Műtárgyindex | Artwork Index 236 Rövidítések feloldása | Abbreviation Key 240 ELŐSZŐ FOREWORD Westkunst – Ostkunst Westkunst – Ostkunst Az 1989-ben Budapesten alapított Ludwig The Ludwig Museum, founded in Budapest in Múzeum az első olyan intézmény volt az egy- 1989, was the first institution in the former Social- kori szocialista táborban, amely a kortárs nem- ist bloc to present universal Western art beside zeti művészet mellett az egyetemes, nyugati contemporary national art. The founders, Peter művészetet is bemutatta. Az alapítók, Peter és and Irene Ludwig – after whom the institution is Irene Ludwig – kiknek nevét az intézmény viseli – named – have laid the foundations of the Buda- kiemelkedő, ma már emblematikusnak számító pest Museum with outstanding, emblematic művekkel tették le a budapesti múzeum alapjait. -
Mário Pedrosa PRIMARY DOCUMENTS
Mário Pedrosa PRIMARY DOCUMENTS Editors Glória Ferreira and Paulo Herkenhoff Translation Stephen Berg Date 2015 Publisher The Museum of Modern Art Purchase URL https://store.moma.org/books/books/mário-pedrosa-primary-documents/911- 911.html MoMA’s Primary Documents publication series is a preeminent resource for researchers and students of global art history. With each volume devoted to a particular critic, country or region outside North America or Western Europe during a delimited historical period, these anthologies offer archival sources–– such as manifestos, artists’ writings, correspondence, and criticism––in English translation, often for the first time. Newly commissioned contextual essays by experts in the field make these materials accessible to non-specialist readers, thereby providing the critical tools needed for building a geographically inclusive understanding of modern art and its histories. Some of the volumes in the Primary Documents series are now available online, free-of-charge. © 2018 The Museum of Modern Art 2 \ Mário Pedrosa Primary Documents Edited by Glória Ferreira and Paulo Herkenhoff Translation by Stephen Berg The Museum of Modern Art, New York Leadership support for Mário Pedrosa: Copyright credits for certain illustrations Primary Documents was provided and texts are cited on p. 463. by The International Council of The Museum of Modern Art. Distributed by Duke University Press, Durham, N.C. (www.dukepress.edu) Library of Congress Control Number: 2015954365 This publication was made possible ISBN: 978-0-87070-911-1 with cooperation from the Fundação Roberto Marinho. Cover: Mário Pedrosa, Rio de Janeiro. c. 1958 p. 1: Mário Pedrosa in front of a sculp- Major support was provided by the ture by Frans Krajcberg at the artist’s Ministério da Cultura do Brasil. -
Antonio Dias Brazilian Art Icon Questions the Limits of Painting in A
antonio dias Brazilian art icon questions the limits of painting in a solo show at galeria nara roesler st th opening Galeria Nara Roesler will host from April 1 to May 6 a show featuring April 1st, 2014 the recent production of Brazilian art icon, Antonio Dias 7pm>10pm The selected pieces are part of the artist’s recent production and demonstrate the strength and freshness of the work of Dias, who exhibition Apr. 02 > May 6 continues to restlessly research on an organic painting that is alive Mon>Fri 10am>7 pm and in consonance with the present. Sat 11am>3pm The artist is also on show at Fundação Iberê Camargo with the galeria nara roesler avenida europa 655 exhibition Potencia da Pintura, curated by Paulo Sergio Duarte. The 01449-001 show opens on March 13th. são paulo sp brasil t 55 (11) 3063 2344 About Dias’ paintings, art critic Sonia Salzstein wrote: “Antonio Dias’ f 55 (11) 3088 0593 www.nararoesler.com.br recent set of paintings follow the path chosen by the artist as of the mid-1980s. These works confirm procedures that were characteristics press office of what he began to do at that time." What we see are assemblages agência guanabara of chaotically put together juxtaposed and superimposed paintings t 55 (11) 3062 6399a [email protected] that deconstruct the two-dimensional notion of painting by means of [email protected] its volumes and its irregular contours. Nevertheless, the alternation of framing and surface is not the only aspect that subverts the traditional pictorial quality: in the seemingly monotonous patterns printed in each module by the irregular pigmentation and almost left to their own devices as a result of the deposition of volatile material – pigments, mineral elements, agglutinants – Dias creates chromatic units that constitute a set that is similar to the pieces of a mosaic, forming deceitful visual nuances that fool the eye by abruptly rupturing color temperatures and organic Antonio Dias patterns. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Dissertação Laeticia Jensen Eble
Universidade de Brasília Instituto de Letras Departamento de Teoria Literária e Literaturas IMAGENS CONVERGENTES: os anônimos de Oswaldo Goeldi e Luiz Ruffato Laeticia Jensen Eble Brasília 2011 Laeticia Jensen Eble IMAGENS CONVERGENTES: os anônimos de Oswaldo Goeldi e Luiz Ruffato Dissertação apresentada ao Programa de Pós- Graduação em Literatura da Universidade de Brasília (UnB) como parte dos requisitos exigidos para obtenção ao grau de Mestre em Literatura. Orientadora: Prof a Dr a Regina Dalcastagnè Aprovada em 15 de dezembro de 2011. Banca Examinadora: ____________________________ Prof a Dr a Regina Dalcastagnè Presidente Universidade de Brasília – UnB ____________________________ Prof. Dr. Paulo Thomaz Membro interno Universidade de Brasília – UnB ____________________________ Prof a Dr a Susana Moreira de Lima Bigio Membro externo Escola de Aperfeiçoamento dos Profissionais da Educação – Eape ____________________________ Prof. Dr. Anderson da Mata Suplente Universidade de Brasília – UnB Ao Franc, sempre. AGRADECIMENTOS Este trabalho fala acerca da capacidade da arte de comunicar o incomunicável. Talvez agradecer esteja nessa categoria do incomunicável, porque, em alguns casos, dizer obrigado parece nunca ser suficiente. É assim que agradeço às pessoas que nomeio aqui, com a sensação de que este é só um registro, e as palavras estarão sempre aquém da gratidão que sinto. Agradeço, então, primeiramente, à prof a Regina Dalcastagnè, que me mostrou o caminho e me proporcionou enxergar um sentido em meus estudos desde a graduação. Agradeço também por ser para mim um modelo de profissional e de pessoa. Seus ensinamentos e a confiança que sempre depositou em mim revolucionaram minha vida. Conhecê-la e compartilhar com ela de tantas felicidades acadêmicas faz toda a diferença. -
ARQUITETURA E ARTE DECORATIVA DO AZULEJO NO BRASIL Prof.ª Me
ARQUITETURA E ARTE DECORATIVA DO AZULEJO NO BRASIL Prof.ª Me. LILIANE SIMI AMARAL Resumo A utilização de azulejo na arquitetura brasileira iniciou-se como revestimento de barras decorativas e posteriormente em fachadas inteiras. Este processo foi uma herança trazida de Portugal no início da colonização no Brasil, a utilização deste tipo de revestimento demonstra a influência lusitana nos nossos costumes e na nossa arquitetura. Inicialmente a utilização deste material não passava de um simples produto de importação, dependente dos tipos e padrões fornecidos pelas olarias portuguesas. Este material tornou-se indispensável na decoração da nossa arquitetura por garantir uma proteção eficaz contra as intempéries de um país tropical, como a abundância de chuva e a ação do sol. A retomada do azulejo de fachada coincide com a renovação da arquitetura brasileira, que se inicia nos anos 30, após o declínio do neocolonial, e se prolonga até a inauguração de Brasília. O azulejo assume posição de destaque e renovação e de expressão plástica. Na arquitetura contemporânea brasileira redescobriu-se o valor estético das superfícies revestidas com azulejos e suas aplicações tornaram-se frequentes a partir dos painéis criados por Portinari para o Ministério da Educação e Cultura no Rio de Janeiro e para a igreja da Pampulha, em Belo Horizonte, projetados por Oscar Niemeyer uma redescoberta e retorno as suas raízes. O uso deste material no decorrer da história, que resistiu ao tempo se inova a cada dia procurando novas possibilidades na sua utilização funcional e também como forma de expressão plástica. Palavras-chave: Azulejo; Azulejaria; Arte Decorativa; Azulejo no Brasil. -
Seawright-Dissertation-2017
Bodies of Books: Literary Illustration in Twentieth Century Brazil The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945017 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Bodies of Books: Literary Illustration in Twentieth Century Brazil A dissertation presented by Max Ashton Seawright to The Department of Romance Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Romance Languages and Literatures Harvard University Cambridge, Massachusetts January, 2017 © 2017 Max Ashton Seawright All rights reserved. Professor Josiah Blackmore Max Ashton Seawright Bodies of Books: Literary Illustration in Twentieth Century Brazil ABSTRACT This dissertation explores the nature and role of literary illustrations twentieth century Brazil, not just in relation to their companion texts, but also in what ways they reflect defining characteristics of Brazilian literature beyond the chronological or theoretical limits of modernism, regionalism, magic realism, or postmodernism. Illustrations in new fiction — that is, writer and artist and editor collaborating on a book to be illustrated in its first or otherwise definitive edition — gained popularity in Brazil just as the form waned from existence in North America and Europe, where the “Golden Age” of book illustration was a nineteenth century phenomenon. Understanding illustrated books is key to approaching Brazil’s artistic production beyond the strictly textual or visual. -
Murilo Mendes E Oswaldo Goeldi: Relações Entre Gravador E Poeta
UNIVERSIDADE FEDERAL DE JUIZ DE FORA INSTITUTO DE ARTES E DESIGN PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES, CULTURA E LINGUAGENS TAMMY SENRA FERNANDES GENÚ Oswaldo Goeldi e Murilo Mendes: Relações entre gravador e poeta Juiz de Fora 2017 Tammy Senra Fernandes Genú Murilo Mendes e Oswaldo Goeldi: Relações entre gravador e poeta Dissertação apresentada ao Programa de Pós-Graduação em Artes, Cultura e Linguagens do Instituto de Artes e Design da Universidade Federal de Juiz de Fora, como requisito parcial para a obtenção do grau de Mestre. Área de Concentração: Teorias e Processos Interdisciplinares. Orientadora: Profª Drª Raquel Quinet de Andrade Pifano Juiz de Fora 2017 Agradecimentos Se há uma certeza é se estivesse sozinha, este trabalho não teria sido finalizado, portanto, gostaria de agradecer a todos que de alguma forma me ajudaram a chegar até este momento. À professora e orientadora Prof.ª Dr. ª Raquel Quinet Pifano, por ter sido a primeira a acreditar comigo neste projeto e ter me auxiliado neste caminho do mestrado me apoiando e orientando, inclusive emocionalmente. Aos meus pais, Eneida e Paulo por todo apoio e suporte neste caminho, pelos ensinamentos e por entenderem por vezes minha ausência nestes dois anos de mestrado. Aos meus irmãos, em especial minha irmã Denise, pelo ombro mais que amigo, por sempre ter acreditado nas minhas capacidades e me apoiado em todas as minhas decisões. Ao Jonathas pelo carinho e paciência comigo durante estes últimos meses e por ter me auxiliado em minha organização para que este trabalho se concretizasse no tempo correto. À Lani Goeldi, por ter aberto para mim as portas do Instituto Goeldi e me apresentado um pouco mais a história de sua família. -
O Mercado De Arte Moderna Em São Paulo
O MERCADO DE ARTE MODERNA EM SÃO PAULO 1947–1951 1 Ministério da Cultura e Museu de Arte Moderna de São Paulo apresentam O MERCADO DE ARTE MODERNA EM SÃO PAULO 1947–1951 Curadoria e textos Curatorship and texts José Armando Pereira da Silva 07 de fevereiro a 30 de abril Patrocínio Realização Collecting and conserving works of art is the essential mis- sion of any museum, fully accomplished when these works are exhibited to the public in a manner that is accessible and critical, and based on solid educational action. In The São Paulo Modern Art Market, some 70 works from the MAM collection will enable viewers to get a sense of the art scene in São Paulo during the 1940s, a decade whose modern spirit was decisive to MAM’s foundation. Confident that this exhibition will present the public with an opportunity to reflect on the role of museums and art institu- tions, MAM invites you to join this transformative encounter with the origins of the Brazilian modernist culture. Milú Villela President of Museu de Arte Moderna de São Paulo Colecionar e conservar obras de arte é uma missão essencial a um museu. Essa missão é plenamente cumprida quando as obras são exibidas ao público de maneira acessível e crítica, amparada por uma sólida ação educativa. Em O mercado de arte moderna em São Paulo: 1947-1951, mais de 70 obras do acervo do MAM permitem conhecer o ambiente artístico da cidade de São Paulo nos anos 1940, cujo espírito moderno foi decisivo para a fundação do MAM. -
Edward Hopper 26 January – 26 July 2020
Media release Edward Hopper 26 January – 26 July 2020 Edward Hopper (1882–1967) is widely acknowledged as one of the most significant artists of the 20th century. In Europe, he is known mainly for his oil paintings of urban life scenes dating from the 1920s to 1960s, some of which have become highly popular images. Less attention has so far been paid to his landscapes. Surprisingly, no exhibition to date has dealt comprehensively with Hopper’s approach to American landscape. Initially until 17 May 2020, the Fondation Beyeler presents an extensive exhibition of iconic landscape paintings in oil as well as a selection of watercolors and drawings. This will also be the first time Hopper’s works are shown in an exhibition in German-speaking Switzerland. Hopper was born in Nyack, New York. After training as an illustrator, he studied painting at the New York School of Art until 1906. Next to German, French and Russian literature, the young artist found key reference points in painters such as Diego Velázquez, Francisco de Goya, Gustave Courbet and Édouard Manet. Although Hopper long worked mainly as an illustrator, his fame rests primarily on his oil paintings, which attest to his deep interest in color and his virtuosity in representing light and shadow. Moreover, on the basis of his observations Hopper was able to establish a personal aesthetics that has influenced not only painting but also popular culture, photography and film. The idea for this exhibition arose when Cape Ann Granite, a landscape painted by Edward Hopper in 1928, joined the collection of the Fondation Beyeler as a permanent loan. -
Mulheres E Charges Políticas: a Subversão Pelo Humor Nos Espaços Públicos22
64 MULHERES E CHARGES POLÍTICAS: A SUBVERSÃO PELO HUMOR NOS ESPAÇOS PÚBLICOS22 Giovanna Carrozzino Werneck23 Artigo recebido em: 29/05/2018 Artigo aceito em: 25/06/2018 RESUMO: Objetiva-se analisar e dar visibilidade a mulheres que produzem (ou produziram) charges políticas no Brasil, discutindo aspectos relativos aos papéis sociais atribuídos a homens e mulheres e aos estudos de gênero. Na primeira seção, são apresentados conceitos e características da charge como um gênero textual permeado por aspectos políticos, críticos e humorísticos. Na segunda seção, optou-se pela apresentação analítica e descritiva, nos limites deste artigo, do trabalho de três cartunistas brasileiras e suas biografias: Nair de Teffé, Patrícia Galvão (Pagu) e Hilde Weber. Em seguida, discute-se a produção atual de charges por mulheres no Brasil e o trabalho de coletivos que trabalham em prol da visibilização dessas obras. A metodologia utilizada é a pesquisa bibliográfica e documental. PALAVRAS-CHAVE: Charge; Mulheres; Gênero; Humor ABSTRACT: The objective is to analyze and give visibility to women who produce (or produce) political cartoons in Brazil, discussing aspects related to the social roles attributed to men and women and to gender studies. In the first section, concepts and features of the cartoon are presented as a textual gender permeated by political, critical and humorous aspects. In the second section, we opted for the analytical and descriptive presentation, within the limits of this article, of the work of three Brazilian cartoonists and their biographies: Nair de Teffé, Patrícia Galvão (Pagu) and Hilde Weber. Next, we discuss the current production of cartoons by women in Brazil and the work of collectives who work for the visibility of these works. -
A LFR ED O V O L P I T He P O Etics O F C O Lo Ur
ALFREDO VOLPI The Poetics of Colour Nouveau Musée National de Monaco ALFREDO VOLPI The Poetics of Colour Francisco Rebolo, Alfredo Volpi, Paulo Rossi Osir, Nelson Nóbrega and Mário Zanini, 1930s FOREWORD 7 ALFREDO VOLPI: COLOUR IN ALL ITS STATES 9 INSTITUTO ALFREDO VOLPI DE ARTE MODERNA 11 THE MONACO EXHIBITION Cristiano Raimondi 14 VOLPI Lorenzo Mammì 22 THE COMPLEXITY OF SILENCE Jacopo Crivelli Visconti 52 AUTHORS 60 WORKS 62 TEXTES EN FRANÇAIS 163 TEXTOS EM PORTUGUÊS 195 ALFREDO VOLPI La poétique de la couleur 228 BIOGRAPHY AND EXHIBITIONS 244 — BIBLIOGRAPHY 253 IMPRINT 254 6 FOREWORD Presenting the work of Alfredo Volpi at the Nouveau Musée National de Monaco means paying tribute to a man who spent his life extolling and promulgating the Brazil of his time through the use of colour and simplified forms. Volpi’s façades immerse us in a subtle and refined world, while his masts and flags convey the atmospheres of the ‘festas juninas’ with a delicacy and poetry of which only a great master is capable. Brazil and the Principality of Monaco are once again linked through art and research, and by the long-standing relationship between our country and our distant friends on the other side of the ocean. Volpi is a welcome guest here, where great artists and avant-gardes have developed, and I am more than happy to participate in the international exposition of this poet of colour, an exceptional painter in his great simplicity. H.R.H. The Princess of Hanover 7 8 ALFREDO VOLPI: COLOUR IN ALL ITS STATES It is a rare privilege to be able to display the work of Alfredo Volpi, an artist almost unknown in Europe.