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Senior & Shopmaker Gallery
SENIOR & SHOPMAKER GALLERY Winter Selections: Prints and Drawings January 18-March 2, 2019 ROY LICHTENSTEIN (American, $24,000 1923-1997) YELLOW BRUSHSTROKE, 1985 2-color photoetching on Rives BFK (Corlett #209) Paper size: 31 x 19.875 inches 78.7 x 50.5 cm Image Size: 23 7/16 x 12 13/16 inches JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1979 mixed adhesive plastics on graph paper (JP1901) Paper size: 17 x 22 inches (43.2 x 55.9 cm) JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1980-81 mixed adhesive plastics on paper (JP1902) 17 x 22 inches (43.2 x 55.9 cm) Frame size: 24 5/8 x 29 1/2 inches (62.5 x 74.9 cm) AL HELD (American, 1928-2005) $34,000 HUDSON 12, 1989 watercolor on paper 22 1/2 x 27 3/4 inches (57.2 x 70.5 cm) Frame size: 28 x 35 inches (71.1 x 88.9 cm) 210 ELEVENTH AVENUE · 8TH FLOOR · NEW YORK NEW YORK 10001 TEL 212 213 6767 · FAX 801 640 2408 [email protected] · WWW.SENIORANDSHOPMAKER.COM LEON POLK SMITH (American, 1906 $7,500 -1996) COLOR FORMS (A), 1974 screenprint Paper size: 33 x 23 1/4 inches (83.8 x 59.1 cm) Frame size: 35 3/4 x 26 1/8 inches (90.8 x 66.4 cm) SEAN SCULLY (Irish, b. 1945) $18,000 ROOM, 1988 etching, drypoint, aquatint, soapground aquatint, spitbite aquatint, crayon resist 41 3/4 x 50 3/4 inches (106 x 128.9 cm) Image Size: 31 3/4 x 41 3/4 inches (80.6 x 106 cm) MICHAEL CRAIG-MARTIN (Irish, b. -
Una Mirada a La Inmigración Española De 1939-40 En Santo Domingo
Una mirada a la inmigración española de 1939-40 en Santo Domingo Disertaciones presentadas en la Universidad APEC Semanas de España en la República Dominicana 2015 Santo Domingo, R.D. Octubre 2016 Una mirada a la inmigración española de 1939-40 en Santo Domingo : disertaciones presentadas en la Universidad APEC : Semanas de España en la República Dominicana 2015 / José del Castillo Pichardo ...[et al.] ; Jaime Lacadena, introducción. – Santo Domingo : Universidad APEC, 2016 168 p. : il. ISBN: 978-9945-423-39-6 1. Emigración - Española 2. Inmigración - República Dominicana 2. España - Historia - Guerra civil, 1936-1939 3. Exilio - España 4. República Dominicana - Influencias españolas 3. Arte dominicano - Influencias españolas 5. España - Vida intelectual - República Dominicana. I. Castillo Pichardo, José del. II. González Tejera, Natalia. III. Vega, Bernardo. IV. Gil Fiallo, Laura. V. Mateo, Andrés L. VI. Céspedes, Diógenes. VII. Lacadena, Jaime, introd. 304.8 I57e CE/UNAPEC Título de la obra: Una mirada a la inmigración española de 1939-40 en Santo Domingo Disertaciones presentadas en la Universidad APEC Semanas de España en la República Dominicana 2015 Primera edición: Octubre 2016 Gestión editorial: Oficina de Publicaciones Vicerrectoría de Investigación, Innovación y Relaciones Internacionales Composición, diagramación y diseño de cubierta: Departamento de Comunicación y Mercadeo Institucional Impresión: Editora Búho ISBN: 978-9945-423-39-6 Impreso en República Dominicana Printed in Dominican Republic JUNTA DE DIRECTORES DE LA UNIVERSIDAD APEC Lic. Opinio Álvarez Betancourt Presidente Lic. Fernando Langa Ferreira Vicepresidente Lic. Pilar Haché Tesorera Dra. Cristina Aguiar Secretaria Lic. Álvaro Sousa Sevilla Miembro Lic. Peter A. Croes Miembro Lic. Isabel Morillo Miembro Lic. -
ROBERT RAUSCHENBERG a W I N G S F R O M T H E 1 9 6 0 S
Transfer Drawings from the 1960s Drawings from Transfer ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s FEBRUARY 8– MARCH 17, 2007 41 EAST 57TH STREET, NEW YORK, NY 10022 FOREWORD For me, a roomful of Robert Rauschenberg's “Transfer” drawings from the 1960s evokes a powerful sense of dèjà vu. It's a complicated flash from the past, dense with images and newspaper headlines drawn from the events of the time. Saturn 5 rockets, Apache helicopters, ads for spark plugs, photos of astronauts mix with pictures of motorcycles, flashcubes, wristwatches and razor blades, all taken out of their original contexts and reworked into a web of startling new associations by an artist with a keen sense of popular history heightened by irony and a profound wit. Rauschenberg is like a mollusk in the sea of time, filtering and feeding upon everything that passes through his awareness and transforming it to suit his own ends, like an oyster secreting a pearl. He selects images from popular media as signifiers—telling icons of who we Americans are as a people, a nation and a culture. And the new linkages he creates make us question our assumptions about our identity: where did we come from, what do we really care about, where are we going? Rauschenberg's smart, deliberative art mirrors the American character: self-questioning and proud, defiant and wondering, but always hopeful. It is a great pleasure to re-familiarize the public with these drawings, important both artistically and historically. Many of them are being shown in the United States for the first time since they were originally exhibited in Paris at Galerie Ileana Sonnabend in 1968. -
Jean METZINGER (Nantes 1883 - Paris 1956)
Jean METZINGER (Nantes 1883 - Paris 1956) The Yellow Feather (La Plume Jaune) Pencil on paper. Signed and dated Metzinger 12 in pencil at the lower left. 315 x 231 mm. (12 3/8 x 9 1/8 in.) The present sheet is closely related to Jean Metzinger’s large painting The Yellow Feather, a seminal Cubist canvas of 1912, which is today in an American private collection. The painting was one of twelve works by Metzinger included in the Cubist exhibition at the Salon de La Section d’Or in 1912. One of the few paintings of this period to be dated by the artist, The Yellow Feather is regarded by scholars as a touchstone of Metzinger’s early Cubist period. Drawn with a precise yet sensitive handling of fine graphite on paper, the drawing repeats the multifaceted, fragmented planes of the face in the painting, along with the single staring eye, drawn as a simple curlicue. The Yellow Feather was one of several Cubist paintings depicting women in fashionable clothes, and with ostrich feathers in their hats, which were painted by Metzinger in 1912 and 1913. Provenance: alerie Hopkins-Thomas, Paris Private collection, Saint-Germain-en-Laye, until 2011. Literature: Jean-Paul Monery, Les chemins de cubisme, exhibition catalogue, Saint-Tropez, 1999, illustrated pp.134-135; Anisabelle Berès and Michel Arveiller, Au temps des Cubistes, 1910-1920, exhibition catalogue, Paris, 2006, pp.428-429, no.180. Artist description: Trained in the Académie des Beaux-Arts in Nantes, Jean Metzinger sent three paintings to the Salon des Indépendants in 1903 and, having sold them, soon thereafter settled in Paris. -
Sobriety First, Housing Plus Meet the Man Who Runs a Homeless Program with a 93 Percent Success Rate and Why He Says Even He Couldn’T Solve San Francisco’S Crisis
Good food and drink Travel tips The Tablehopper says get ready for hops Bay Area cannabis tours p.18 at Fort Mason p.10 Visiting Cavallo Point — Susan Dyer Reynolds’s favorite things p.11 The Lodge at the Golden Anthony Torres scopes out Madrone Art Bar p.12 Gate p.19 MARINATIMES.COM CELEBRATING OUR 34TH YEAR VOLUME 34 ISSUE 09 SEPTEMBER 2018 Reynolds Rap Sobriety first, housing plus Meet the man who runs a homeless program with a 93 percent success rate and why he says even he couldn’t solve San Francisco’s crisis BY SUSAN DYER REYNOLDS Detail of Gillian Ayres, 1948, The Walmer Castle pub near Camberwell School of Art, with Gillian Ayres (center) hris megison has worked with the home- and Henry Mundy (to the right of Ayres). PHOTO: COURTESY OF GILLIAN AYRES less for nearly three decades. He and his wife, Tammy, helped thousands of men get off the Cstreets, find employment, and earn their way back into Book review: ‘Modernists and Mavericks: Bacon, Freud, society. But it was a volunteer stint at a winter emergency shelter for families where they saw mothers and babies Hockney and The London Painters,’ by Martin Gayford sleeping on the floor that gave them the vision for their organization Solutions for Change. The plan was far from BY SHARON ANDERSON tionships — artists as friends, as photographs and artworks, Gayford traditional: Shelter beds, feeding programs, and conven- students and teachers, and as par- draws on extensive interviews with tional human services were replaced with a hybrid model artin gayford’s latest ticipants who combined to define artists to build an intimate history of where parents worked, paid rent, and attended onsite book takes on the history painting from Soho bohemia in the an era. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Impressionist & Modern
Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale. -
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. -
Documentary Introduction to the Ángel Ramos and Tina Hills Donation for a Young Institution Like the Museo De Arte De Puerto Ri
Documentary Introduction to the Ángel Ramos and Tina Hills Donation For a young institution like the Museo de Arte de Puerto Rico (MAPR), the bequest of thirty artworks donated by Ángel Ramos and Tina Hills represents both a responsibility and a commitment, a commitment that binds the Museum to continue the visionary, nation-building work done by these two exemplary philanthropists for so many years. Ángel Ramos was a pioneer of modern media communications in Puerto Rico. From a family of few resources and little formal education, he began as a proofreader and layout man at El Mundo newspaper and went on to hold several management positions until, in 1946, he became its editor and owner. His professional career almost literally skyrocketed. Along the way he created publications such as Puerto Rico Ilustrado and Puerto Rico World Journal, owned radio stations, and pioneered television in Puerto Rico. To these accomplishments he added the creation of the Ángel Ramos Foundation in 1958, a philanthropic organization unparalleled in the history of Puerto Rico. Ángel Ramos was also a person of great aesthetic sensitivity, which led him to become a patron of outstanding artists and an exemplary collector. Tina (Argentina S.) Hills took on the responsibilities of the El Mundo family of businesses on the death of her husband, Ángel Ramos, and in 1966 she achieved his dream of completing the establishment of the Foundation that bears his name. Today, after a long career in newspapers, radio, television, and philanthropy, she is the president of the Ángel Ramos Foundation and has also continued, with untiring enthusiasm, to collect works of art from Puerto Rico and abroad. -
Copyright by Laura Kathleen Valeri 2011
Copyright by Laura Kathleen Valeri 2011 The Thesis Committee for Laura Kathleen Valeri Certifies that this is the approved version of the following thesis: Rediscovering Maurice Maeterlinck and His Significance for Modern Art APPROVED BY SUPERVISING COMMITTEE: Supervisor: Linda D. Henderson Richard A. Shiff Rediscovering Maurice Maeterlinck and His Significance for Modern Art by Laura Kathleen Valeri, BA Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Abstract Rediscovering Maurice Maeterlinck and His Significance for Modern Art Laura Kathleen Valeri, MA The University of Texas at Austin, 2011 Supervisor: Linda D. Henderson This thesis examines the impact of Maurice Maeterlinck’s ideas on modern artists. Maeterlinck's poetry, prose, and early plays explore inherently Symbolist issues, but a closer look at his works reveals a departure from the common conception of Symbolism. Most Symbolists adhered to correspondence theory, the idea that the external world within the reach of the senses consisted merely of symbols that reflected a higher, objective reality hidden from humans. Maeterlinck rarely mentioned symbols, instead claiming that quiet contemplation allowed him to gain intuitions of a subjective, truer reality. Maeterlinck’s use of ambiguity and suggestion to evoke personal intuitions appealed not only to nineteenth-century Symbolist artists like Édouard Vuillard, but also to artists in pre-World War I Paris, where a strong Symbolist current continued. Maeterlinck’s ideas also offered a parallel to the theories of Henri Bergson, embraced by the Puteaux Cubists Jean Metzinger and Albert Gleizes. -
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery Is Pleased to Pr
Abstract and Figurative: Highlights of Bay Area Painting January 8 – February 28, 2009 John Berggruen Gallery is pleased to present Abstract and Figurative: Highlights of Bay Area Painting, a survey of historical works celebrating the iconic art of the Bay Area Figurative movement. The exhibition will occupy two floors of gallery space and will include work by artists Elmer Bischoff, Theophilus Brown, Richard Diebenkorn, Manuel Neri, Nathan Oliveira, David Park, Wayne Thiebaud, James Weeks, and Paul Wonner. Abstract and Figurative is accompanied by an illustrated catalogue with an introduction by art historian and Director of the Palm Springs Art Museum and former Associate Director and Chief Curator of the Fine Arts Museums of San Francisco, Steven A. Nash. Many of the works included in Abstract and Figurative are on loan from museums and private collections and have rarely been exhibited to the public. John Berggruen Gallery is proud to have this opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, January 8, 2009 between 5:30 and 7:30 pm. Nash writes, “There is no more fabled chapter in the history of California Art than the audacious stand made by Bay Area Figurative painters against Abstract Expressionism in the 1950s.” This regionalized movement away from the canon of the New York School (as championed by artists Jackson Pollock and Willem de Kooning, and critic Clement Greenberg, among others) finds its roots in 1949, when a young painter by the name of David Park “gathered up all his abstract- expressionist canvases and, in an act that has gone down in local legend, drove to the Berkeley city dump and destroyed them.”1 Disillusioned with the strict non-representational tenets of a movement that promoted the Greenbergian notion of “purity” in art towards a perpetually evolving abstraction, Park submitted Kids on Bikes (1950), a small figurative painting, to a 1951 competitive exhibition and won. -
Peter Agostini Christopher Cairns Bruce Gagnier Jonathan Silver George Spaventa
Five Sculptors Peter Agostini Christopher Cairns Bruce Gagnier Jonathan Silver George Spaventa March 31 - April 30, 2006 Cantor Fitzgerald Gallery Haverford College wishes to acknowledge the loan of sculpture from the following individuals: Diane Agostini Richard Bechtel Mark and Johanna Chehi Jock Ireland Stanley Kunitz Lindsey Lawrence Deborah Masters Paul Resika Harriett Vicente Anita Shapolsky Gallery Elizabeth Harris Gallery The Jonathan and Barbara Silver Foundation Lori Bookstein Fine Arts This show has been organized by Alexis, Christopher, and Nicholas Cairns with assistance by Vita Litvak and Rebecca Strattan. Photo Credits: Christopher Cairns - 8, 9, 12, 16, 20; Chris Carone - 10, 13; Vita Litvak - 2, 4, 5, 6, 14, 17, 18, 21 Five Sculptors: One Aesthetic The five sculptors whose works are presented in this exhibition, Peter Agostini (1913-1993), George Spaventa (1918-1978), Jonathan Silver (1937-1992), Bruce Gagnier (b. 1941), and Christopher Cairns (b.1942) all lived and worked in New York City during a seminal period in each artist’s development. Their intersecting circumstances and interconnected experiences created a culture of creative energy, collaboration, and competition. The five formed a guild of sorts, based on a shared aesthetic of working from the figure, informing and influencing one another’s work while forging individual creative paths and lines of inquiry. They are not “figurative” artists in the current parlance, but artists whose subject is the figure. Their shared aesthetic is an extension of late 19th century and early modern European art as represented by Cezanne, Picasso, Braque, Giacometti, and deKooning. The works in this show – whose influences range from dreams to Abstract Expressionism to the Medici Chapel, from African masks to Leonardo’s horses – reveal the artists’ dedication to their subject.