DOCSLIB.ORG

Jackson Pollock Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jackson Pollock Pdf, Epub, Ebook JACKSON POLLOCK PDF, EPUB, EBOOK Mike Venezia | 32 pages | 25 Nov 1999 | Hachette Children's Group | 9780516422985 | English | London, United Kingdom Jackson Pollock PDF Book Donate Login Sign up Search for courses, skills, and videos. In Pollock began psychiatric treatment for alcoholism , and he suffered a nervous breakdown in , which caused him to be institutionalized for about four months. Pollock was expelled from two high schools during his formative years, the second one being Los Angeles Manual Arts School, where he was encouraged to pursue his interest in art. He had struggled on it for a while, and he decided to take that painting off the easel, place it on the floor, and then pour some paint on the surface to finish it. Landau also presents the forensic findings of Harvard University and presents possible explanations for the forensic inconsistencies that were found in three of the 24 paintings. Related Artists. Art historians, at the time, coined this kind of painting, action painting, because of this very idea that you could imagine quite viscerally the actions that went into the making of the painting. It was a piece puzzle that they promoted as "the world's most difficult puzzle". Overwhelmed with Pollock's needs, Krasner was also unable to work. Learnodo Newtonic. Archived from the original on March 12, Retrieved July 23, Recover your password. We strive for accuracy and fairness. Kenneth Noland - At the time Krasner was visiting friends in Europe and she abruptly returned on hearing the news from a friend. Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager. Easter and the Totem is a painting produced by Jackson Pollock in A larger, more comprehensive exhibition of his work was held there in Views Read Edit View history. Tags: abstract , expressionism , Jackson Pollock , love , new york. The Painting Techniques of Barnett Newman. Abstract Expressionism, an introduction. Not happy with the result, he added color as a way to salvage the work. Archived from the original on June 11, Archived from the original PDF on July 3, In all that time, Pollock did not stop. Pollock spent much of his time with Benton, often babysitting Benton's young son, and the Bentons eventually became like the family Pollock felt he never had. Robert Morris - Anthropology and Aesthetics, No. The war and its aftermath were at the underpinnings of the movement that became known as Abstract Expressionism. See Article History. His father had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other. New York: Abbeville Press, American painter Jackson Pollock is remembered for his abstract-expressionist art and "drip technique. Now, specifically, we're talking about the actions of almost a dancer. The painting is now one of the most popular exhibits in the gallery. Certain left-wing scholars, most prominently Eva Cockcroft, have argued that the U. Jackson Pollock Writer Number 17A No. October 17, Posted by Afzal Ibrahim. Hasenstein and J. Film and audio. The movie was the project of Ed Harris, who portrayed Pollock. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting. Number 1 Lavender Mist by Jackson Pollock. Pollock was both renowned and critiqued for his conventions. Although the psychotherapy did not cure his drinking, it did expose him to Jungian concepts, which he expressed in his paintings at the time. Certain left-wing scholars, most prominently Eva Cockcroft, have argued that the U. You can imagine Pollock's feet shuffling around the painting. He died after driving drunk and crashing into a tree in New York in , at age But as the demand from collectors for Pollock's art grew, so too did the pressure he felt, and with it his alcoholism. Read What is Abstract Expressionism? Retrieved December 2, A larger, more comprehensive exhibition of his work was held there in Although Pollock never confirmed it, many think that the painting is based on the legendary wolf mother of Romulus and Remus , the twins who according to a myth founded Rome. All Rights Reserved. Before her death, Krasner set up the Pollock-Krasner Foundation, which gives grants to young, promising artists. In the early s, Pollock spent a summer touring the Western United States together with Glen Rounds, a fellow art student, and Benton, their teacher. Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In , Pollock's show at the Betty Parsons Gallery sold out, and he suddenly became the best-paid avant-garde painter in America. During his early life, Pollock experienced Native American culture while on surveying trips with his father. By the mids, Jackson Pollock introduced his famous 'drip paintings', which represent one of the most original bodies of work of the century, and forever altered the course of American art. Artworks Left Right. Echeverria, E. Jackson Pollock Reviews A rhythm of poured paint would develop across the surface of the painting. Pollock was introduced to the use of liquid paint in at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros. In , The Pollock-Krasner Foundation requested a fractal analysis to be used for the first time in an authenticity dispute [82] [83] stirring controversy [84] [85] [86] by researchers at the University of Oregon, which identified differences between the patterns in the 6 disputed paintings analyzed and those in 14 established Pollocks. Smith, Roberta February 15, Clarkson N. Retrieved June 14, Yves Tanguy - Read full Wikipedia entry. They were later archived with her own papers. The article asked of Pollock, "Is he the greatest living painter in the United States? Lee Krasner. Guggenheim Museum: Collection Online. However some, including art historian Dennis Phillips, think that the title does the painting a disservice as the viewer concentrates on the blue poles and misses much of the rest. It was also called 'action painting', since he used the force of his whole body to paint, often in a frenetic dancing style. In some sources say , Pollock met Lee Krasner, a Jewish contemporary artist and an established painter in her own right, at a party. The figurative character of works such as Totem Lesson 1 and The Blue Unconscious contrasts with the heavily painted, all-over design of Shimmering Substance and Eyes in the Heat , indicating the range of imagery and technique he employed during this period. It was also called ' action painting ', since he used the force of his whole body to paint, often in a frenetic dancing style. My photography session lasted as long as he kept painting, perhaps half an hour. Joseph Henderson, who encouraged Pollock in his artistic endeavors as part of his therapy. To log in and use all the features of Khan Academy, please enable JavaScript in your browser. Cognitive neuroscientists have shown that Pollock's fractals induce the same stress-reduction in observers as computer-generated fractals and Nature's fractals. The Pollock-Krasner Authentication Board was created by the Pollock-Krasner Foundation in to evaluate newly found works for an upcoming supplement to the catalogue. Namespaces Article Talk. The impact of Pollock's Convergence was evident in when hundreds of thousands of Americans purchased the jigsaw puzzle. The Canberra Times. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas. Jackson Pollock Read Online American painter Jackson Pollock is remembered for his abstract-expressionist art and "drip technique. Back to list. Number 8, detail Jackson Pollock Furthermore, acts of self-promotion made him feel like a phony, and he would sometimes give interviews in which his answers were scripted. In addition to the 'drip and splash' style, the All-over method of painting, is also one which is tied to Jackson Pollock, and many of the artworks he created. Mark Rothko. The abstract male and female 'guardians' have been interpreted in myriad ways: as Northwest Indian totems; Egyptian gods; even as conflations of playing cards and chess pieces wearing African masks. April 30, Posted by The Artist Editorial. He died after driving drunk and crashing into a tree in New York in , at age Autumn Rhythm by Jackson Pollock. Newman's Onement I, At times they could suggest the life-force in nature itself, at others they could evoke man's entrapment - in the body, in the anxious mind, and in the newly frightening modern world. Robert Motherwell - He is known for founding the Democratic Party and for his support of individual liberty. In the summer and autumn of , the artist produced three wall size paintings which included this one too. Pollock's work after was darker in color, including a collection painted in black on unprimed canvases. Menu Categories. He was energized by his new surroundings and by his supportive wife. Going West exemplifies many aspects of Pollock's early interests. Read artistic legacy. During his lifetime, Pollock enjoyed considerable fame and notoriety; he was a major artist of his generation. Get help. The Deep by Jackson Pollock. Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager. https://files8.webydo.com/9584467/UploadedFiles/F1BD26C8-4DC8-B7E2-7029-7F7D2DED17B6.pdf https://files8.webydo.com/9583877/UploadedFiles/0191C35A-A4FD-3CA9-4954-765BC3D55C31.pdf https://files8.webydo.com/9582923/UploadedFiles/BD093615-3455-97EA-0988-6FF29701946D.pdf https://files8.webydo.com/9583278/UploadedFiles/3D5E3DF0-3E9B-F705-6853-14E7DFA42352.pdf https://files8.webydo.com/9582974/UploadedFiles/3706D09D-C2C0-4B97-372F-09338E511773.pdf https://files8.webydo.com/9583974/UploadedFiles/DFED1A64-C1F7-80F2-B7DA-ABA958F2E656.pdf https://files8.webydo.com/9582735/UploadedFiles/D4344404-5863-554B-1F02-8B5BB1734374.pdf https://files8.webydo.com/9583794/UploadedFiles/02957818-7552-1E22-2EC1-FC5AD99FFDA3.pdf.
Load more

Recommended publications
  • Fractal Expressionism—Where Art Meets Science
    Santa Fe Institute. February 14, 2002 9:04 a.m. Taylor page 1 Fractal Expressionism—Where Art Meets Science Richard Taylor 1 INTRODUCTION If the Jackson Pollock story (1912–1956) hadn’t happened, Hollywood would have invented it any way! In a drunken, suicidal state on a stormy night in March 1952, the notorious Abstract Expressionist painter laid down the foundations of his masterpiece Blue Poles: Number 11, 1952 by rolling a large canvas across the oor of his windswept barn and dripping household paint from an old can with a wooden stick. The event represented the climax of a remarkable decade for Pollock, during which he generated a vast body of distinct art work commonly referred to as the “drip and splash” technique. In contrast to the broken lines painted by conventional brush contact with the canvas surface, Pollock poured a constant stream of paint onto his horizontal canvases to produce uniquely contin- uous trajectories. These deceptively simple acts fuelled unprecedented controversy and polarized public opinion around the world. Was this primitive painting style driven by raw genius or was he simply a drunk who mocked artistic traditions? Twenty years later, the Australian government rekindled the controversy by pur- chasing the painting for a spectacular two million (U.S.) dollars. In the history of Western art, only works by Rembrandt, Velazquez, and da Vinci had com- manded more “respect” in the art market. Today, Pollock’s brash and energetic works continue to grab attention, as witnessed by the success of the recent retro- spectives during 1998–1999 (at New York’s Museum of Modern Art and London’s Tate Gallery) where prices of forty million dollars were discussed for Blue Poles: Number 11, 1952.
    [Show full text]
  • Jackson Pollock & Tony Smith Sculpture
    Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt.
    [Show full text]
  • Art in 1960S
    Abstract Expressionism 1940s-1960s A form of abstract art that emphasized spontaneous, intuitive creation of unstructured expressions of the artist’s unconscious Action Painting: emphasized the dynamic handling of paint and techniques that were partly dictated by chance. The act of painting was as significant as the finished work: Jackson Pollock, Willem de Kooning Jackson Pollock, Blue Poles, 1952 William de Kooning, Untitled, 1975 Color-Field Painting: used large, soft-edged fields of flat color: Mark Rothko, Ab Reinhardt Mark Rothko, Lot 24, “No. 15,” 1952 “A square (neutral, shapeless) canvas, five feet wide, five feet high…a pure, abstract, non- objective, timeless, spaceless, changeless, relationless, disinterested painting -- an object that is self conscious (no unconsciousness), ideal, transcendent, aware of no thing but art (absolutely no anti-art). Ad Reinhardt, Abstract Painting,1963 –Ad Reinhardt Minimalism 1960s rejected emotion of action painters sought escape from subjective experience downplayed spiritual or psychological aspects of art focused on materiality of art object used reductive forms and hard edges to limit interpretation tried to create neutral art-as-art Frank Stella rejected any meaning apart from the surface of the painting, what he called the “reality effect.” Frank Stella, Sunset Beach, Sketch, 1967 Frank Stella, Marrakech, 1964 “What you see is what you see” -- Frank Stella Postminimalism Some artists who extended or reacted against minimalism: used “poor” materials such felt or latex emphasized process and concept rather than product relied on chance created art that seemed formless used gravity to shape art created works that invaded surroundings Robert Morris, Felt, 1967 Richard Serra, Cutting Device: Base Plat Measure, 1969 Hang Up (1966) “It was the first time my idea of absurdity or extreme feeling came through.
    [Show full text]
  • The Jackson Pollock Approach to Reading the Bible
    The Jackson Pollock Approach to Reading the Bible I am not a fan of most modern or abstract art, but Nope, nope, and nope. What matters is what the there's something about the art of Jackson Pollock I author intended. Language ultimately has no find intriguing. Pollock was a key figure in what is meaning if we define the words in whatever way called Abstract Expressionism. It doesn't look like suits us. That is as irresponsible as the young man Pollock did anything but randomly drip paint on a on a date who says to a woman, "You say 'no,' but I canvas—which is exactly what he did. think you mean 'yes.'" Go ahead and admit it: you look at this painting and We must practice good hermeneutics—how we it reminds you of something your kid drew on his interpret the text. For example: bedroom wall when he was three. You may wish you still had that Keep in mind the type of literature it is. section of his Narrative, prophecy, poetry, and teaching passages bedroom wall, use different styles and structures. When we read because this Psalm 91 as poetry, we don't take verse 4—"He will particular Pollock cover you with his feathers; you will take refuge painting, called under his wings."—to mean God is a giant chicken. Number 17a, sold in 2015 for $200 Read a verse in light of the whole passage. My million. most popular post addresses how Philippians 4:13— "I am able to do all things through him who I can't tell what the painting means or signifies.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • Intermediate Painting: Impression, Surrealism, & Abstract
    California State University, San Bernardino CSUSB ScholarWorks Course Outlines Curriculum Archive 5-2017 Intermediate Painting: Impression, Surrealism, & Abstract Jessica Agustin Follow this and additional works at: https://scholarworks.lib.csusb.edu/art-course-outlines Recommended Citation Agustin, Jessica, "Intermediate Painting: Impression, Surrealism, & Abstract" (2017). Course Outlines. 7. https://scholarworks.lib.csusb.edu/art-course-outlines/7 This Article is brought to you for free and open access by the Curriculum Archive at CSUSB ScholarWorks. It has been accepted for inclusion in Course Outlines by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CLASS TITLE: Intermediate Painting DATE: 01/19/2017 SITE: CIM- C Yard TEACHING ARTIST: Jessica Revision to Current Class OVERVIEW OF CLASS In this course, participants will investigate different forms of painting through discussion and art historical examples. Participants will practice previously learned technical skills to explore more conceptual themes in their paintings. At the same time, participants will also learn to experiment with various formal/technical aspects of painting. Intermediate Painting will constitute of a lot of brainstorming, sketching (if needed) and Studio Time and reflection/discussion. ESSENTIAL QUESTION OR THEME What are some of art movements that have influenced art making/painting and how can we apply them to our work? STUDENT LEARNING OUTCOMES These should include at least 3 of the 4 areas: • Technical/ skill o Participants will use their technical skills to build their conceptual skills. • Creativity/ imagination o Participants will learn to take inspiration from their surroundings. o Participants will learn about different types of art styles/movement that will get them out of their comfort zone and try new techniques.
    [Show full text]
  • Wendt Versus Pollock: Toward Visual Semiotics in the Discipline of IR Theory
    Wendt Versus Pollock: Toward Visual Semiotics in the Discipline of IR Theory Serdar Ş. Güner Department of International Relations Bilkent University, Ankara, Turkey e-mail: [email protected] URL: www.bilkent.edu.tr/~sguner Abstract We focus on a key IR Theory article by Alexander Wendt (Wendt, 1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. 1 This paper stands in the realm of semiotics intersecting the Discipline of international relations (IR) theory.
    [Show full text]
  • Secondary School Worksheet
    Secondary school worksheet Abstract Expressionism National Gallery of Australia, Canberra International Galleries: 14 July 2012–24 February 2013, Orde Poynton Gallery: 4 August 2012–20 January 2013 Abstract Expressionism is an art movement that dominated the international art world after World War II. It emphasised spontaneity, intuition and the physical act of painting. This set it apart from earlier abstract art, which had a stricter geometric basis. Although the term Abstract Expressionism encompasses several different styles and techniques, some common features of this approach include the prominence of dramatic scale, colour and texture; a visible emphasis on the dripping, scraping and brushing of paint; and the radical simplification of the image. The artists were also seen as socially rebellious, sharing a strong belief in the value of individual creative freedom. In the history of art, Abstract Expressionism marks a shift in focus from Paris to New York as a global centre for cultural production. Its influence also spread to Australia, where it shaped the work of a generation of abstract artists. The works in the exhibition are drawn from the permanent collection of the National Gallery of Australia, with the addition of two loans from the National Gallery of Victoria, Melbourne, and one from the Art Gallery of New South Wales, Sydney. Jackson Pollock Blue poles 1952 oil, enamel, aluminium paint, glass on canvas 212.1 x 488.9 cm National Gallery of Australia, Canberra, purchased 1973 © Pollock/Krasner Foundation/ARS. Licensed by Viscopy Abstract Expressionism is a style renowned for gestural expression and the creative role of chance. As always, however, artistic forethought played a part in the work of artists such as Jackson Pollock.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [Show full text]
  • Ben Heller, Pioneering Collector of Abstract Expressionism: ‘There’S Nobody Else in That League’
    Est. 1902 home • ar tnews • news Ben Heller, Pioneering Collector of Abstract Expressionism: ‘There’s Nobody Else in That League’ BY MAXIMILÍANO DURÓN March 3, 2021 11:00am Jackson Pollock paintings are returned to Ben Heller's Central Park West apartment in New York in April 1959. MUSEUM OF MODERN ART, NEW YORK/LICENSED BY SCALA/ART RESOURCE, NEW YORK Ben Heller (https://www.artnews.com/t/ben-heller/), who died in 2019, amassed a legendary collection of Abstract Expressionism, supporting artists like Jackson Pollock, Mark Rothko, and others at a time when few else would. But before he dispersed his works to some of the world’s top museums, in particular the Museum of Modern Art (https://www.artnews.com/t/museum-of-modern-art/) in New York, he kept them in his Central Park West apartment. Thousands of visitors made the pilgrimage each year to his home to see masterpieces by the likes of Pollock, Rothko, Franz Kline, and Barnett Newman, with Rothko even referring to Heller’s apartment as “the Frick of the West Side.” When he began seriously collecting Abstract Expressionism during the ’50s, museums like MoMA largely ignored the movement. Heller rushed in headlong. “He wasn’t someone to say, ‘Let me take a gamble on this small picture so that I don’t really commit myself.’ He committed himself a thousand percent, which is what he believed the artists were doing,” Ann Temkin, chief curator of painting and sculpture at MoMA, said in an interview. Though Heller was never formally a board member at MoMA—“I was neither WASP-y enough nor wealthy enough,” he once recalled—he transformed the museum, all the while maintaining close relationships with artists and curators in its circle.
    [Show full text]
  • Modern & Contemporary
    MODERN & CONTEMPORARY ART HÔTEL METROPOLE MONACO 27 NOVEMBER 2018 Above : EUGÈNE BOUDIN (Honfleur 1824 - Deauville 1898) View on the port of Dieppe (Lot 908) Front Cover : СY TWOMBLY Poster Study for ‘Nine Discourses on Commodus by Cy Twombly at Leo Castelli’ 1964 (Lot 912) Back Cover : LÉONARD TSUGUHARU FOUJITA Détail Grande composition 2, dite Composition au chien, 1928. Reliefography on Canvas (Lot 939) Sans titre-1 1 26/09/2017 11:33:03 PAR LE MINISTERE DE MAITRE CLAIRE NOTARI HUISSIER DE JUSTICE A MONACO PRIVATE COLLECTIONS RUSSIAN ART & RARE BOOKS SESSION 1 / PRIVATE COLLECTIONS FRIDAY NOVEMBER 23, 2018 - 14:00 SESSION 2 / RUSSIAN ART FRIDAY NOVEMBER 23, 2018 - 17:00 SESSION 3 / OLD MASTERS SATURDAY NOVEMBER 24, 2018 - 14:00 SESSION 4 / ANTIQUE ARMS & MILITARIA SATURDAY NOVEMBER 24, 2018 - 16:00 SESSION 5 / NUMISMATICS & OBJECTS OF VERTU SATURDAY NOVEMBER 24, 2018 - 17:00 SESSION 6 / MODERN & CONTEMPORARY ART TUESDAY NOVEMBER 27, 2018 - 19:00 Hotel Metropole - 4 avenue de la Madone - 98000 MONACO Exhibition Preview : THURSDAY NOVEMBER 22, 2018 AT 18:00 Exhibition : FRIDAY NOV 23 & SATURDAY NOV 24 10:00 - 13:00 MODERN & CONTEMPORARY : SUNDAY NOV 25 & MONDAY NOV 26 12:00 - 16:00 CONTEMPORARY COCKTAIL : TUESDAY NOV 27 18:00 Inquiries - tel: +377 97773980 - Email: [email protected] 25, Avenue de la Costa - 98000 Monaco Tel: +377 97773980 www.hermitagefineart.com Sans titre-1 1 26/09/2017 11:33:03 SPECIALISTS AND AUCTION ENQUIRIES Alessandro Conelli Ivan Terny President C.E.O. Elena Efremova Ekaterina Tendil Director Head of European Departement Contact : Tel: +377 97773980 Fax: +377 97971205 [email protected] Victoria Matyunina Julia Karpova PR & Event Manager Art Director TRANSPORTATION Catalogue Design: Hermitage Fine Art expresses our gratude to Natasha Cheung, Camille Maréchaux Morgane Cornu and Julia Karpova for help with preparation of cataloguing notes.
    [Show full text]
  • Jackson Pollock
    It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement. SYNOPSIS In its edition of August 8th, 1949, Life magazine ran a feature article about Jackson Pollock that bore this question in the headline: "Is he the greatest living painter in the United States?" Could a painter who flung paint at canvases with a stick, who poured and hurled it to create roiling vortexes of color and line, possibly be considered "great"? New York's critics certainly thought so, and Pollock's pre-eminence among the Abstract Expressionists has endured, cemented by the legend of his alcoholism and his early death. The famous 'drip paintings' that he began to produce in the late 1940s represent one of the most original bodies of work of the century. At times they could suggest the life- force in nature itself, at others they could evoke man's entrapment - in the body, in the anxious mind, and in the newly frightening modern © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org world. KEY IDEAS Pollock's tough and unsettled early life growing up in the American West shaped him into the bullish character he would become. Later, a series of influences came together to guide Pollock to his mature style: years spent painting realist murals in the 1930s showed him the power of painting on a large scale; Surrealism suggested ways to describe the unconscious; and Cubism guided his understanding of picture space.
    [Show full text]