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In Turn-Of-The-Century Paris, an Explosion of Brash New Art
1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it. -
Twentieth Century Masters
TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works. -
Kolokytha, Chara (2016) Formalism and Ideology in 20Th Century Art: Cahiers D’Art, Magazine, Gallery, and Publishing House (1926-1960)
Citation: Kolokytha, Chara (2016) Formalism and Ideology in 20th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960). Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/32310/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Formalism and Ideology in 20 th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960) Chara Kolokytha Ph.D School of Arts and Social Sciences Northumbria University 2016 Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Ethical clearance for the research presented in this thesis is not required. -
Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style. -
What Is Fauvism? Fauvism Was an Art Style That Lasted Only Four Years, Beginning in 1905
F I N E A R T S What is Fauvism? Fauvism was an art style that lasted only four years, beginning in 1905. Fauvism was a movement in French painting that revolutionized the concept of color in modern art. The word Fauvism is french for "wild beasts". It got this name because the paintings had bright and unusual colors. The subjects in the paintings were shown in a simple way, and the colors and patterns were bright and wild. The leader of this movement was Henri Matisse. At the end of the nineteenth century, Neo Impressionist painters were already using pure colors, but they applied those colors to their canvases in small strokes. The fauves rejected the impressionist palette of soft, shimmering tones in favor of radical new style, full of violent color and bold distortions. These painters never formed a movement in the strict sense of the word, but for years they would nurse a shared ambition, before each went his separate and more personal way. Main Representatives • Henri Matisse • Paul Gauguin • Andre Derain • Raoul Dufy • Maurice de Vlaminck • Kees van Dongen • Albert Marquet • Charles Camoin • Georges Braque • Othon Friesz • Henry-Charles Manguin • Jean Puy Objectives: Students will be able to: Painting: Guided Practice: Have class critique. Compare and contrast finished work to that of the • Identify and describe the painting The Fauve landscape painting is our first Fauves. style of the Fauve artists. painting experience of the year. Spending time to explore color mixing is important • Understand why the works of Art Assessment: Matisse and Derain outraged critics to painting success. -
FRENCH ILLUSTRATORS Leroux, a Pupil of Bonnat, Was Awarded Th E Prix De Rome in 1906
11 PIERRE-GEORGES JEANNIOT (1848-1934) lndependants. Much concerned wtih the under-priviledged, he contributed to GEORGES TIRET-BOGNET (1855-) / 43 . Equestrians many political journals such as La Feuille and Le Chambard. 67. Le Petit Parisien (Cover) 1889 Ink and watercolour 209 x 311 ANDRE MARCHAND (1877-1951) Ink and watercolour 260 x 197 Portraitist, landscapist and watercolourist Jeanniot was born in Geneva of 56. Wounded Soldier and Family Primarily an illustrator. Tiret-Bognet contributed to the leading illustrated French parents (his father, a painter, was his first teacher). Beginning in 1872, Lithograph and pencil 178 x 162 periodicals. he showed regularly at the Salon. One of the early contributors to La Vie Marchand studied with Bonnat, Detaille, and Toudouze; started showing at D.O. WIDHOPFF (1867-1933) ); Moderne, he subsequently became director of Le Journal Amusant. Salon in 1898; awarded many prizes including a Gold Medal in 1920. The 68. Le Megotier (Hugues Delorme) / JOB (1858-1931 ) Musee d'Art Moderne has two of his paintings. La Femme au loup blanc, and Conte crayon 460 x 311 44. Les Marins de Ia Garde Les /nconnus . Born in Odessa. landscapist and caricaturist Wid hopff appeared regularly Wash 190 x 267 HENRY MONNIER (1805-1877) Courrier Francais as well as in the major Salons. He also designed Gobel in "Job" is the pseudonym of Jacques-Marie-Gaston Onfray de Breville. He was 57. R!!ve de Mari and Beauvais tapestries. a student of Luminais and specialised in military scenes. His work appeared in In dia ink 79 x 67 periodicals throughout the world, including Pick-Me-Up (London) and Although he trained as a painter under Girondet and Gros, he devoted a good Scribner's (New York) portion of his life to acting and writing, creating one of the best-known TONY JOHANNOT (1803-1852) characters in French letters. -
Expressionism in Germany and France: from Van Gogh to Kandinsky
LACM A Image Sheet Expressionism in Germany and France: From Van Gogh to Kandinsky 1 2 3 4 5 6 7 8 9 Page 1 10 11 12 13 14 15 16 17 Page 2 Expressionism in Germany and France: From Van Gogh to Kandinsky 1. Paul Gauguin The Swineherd (Le Gardien de porcs) , 1888 Oil on canvas 28 3/4 x 36 5/8 in. (73.03 x 93.03 cm) Los Angeles County Museum of Art, Gift of Lucille Ellis Simon and family in honor of the museum's twenty-fifth anniversary (M.91.256) Photo © 2014 Museum Associates/ LACMA 2. Vincent Van Gogh The Poplars at Saint-Rémy (Les peupliers sur la colline) , 1889 Oil on fabric 24 1/4 × 18 in. (61.6 × 45.7 cm) The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. (1958.32) Photo © The Cleveland Museum of Art 3. Paul Gauguin Haystacks in Brittany (Les Meules / Le champ de pommes de terre) , 1890 Oil on canvas 74.3 x 93.6 cm (29 1/4 x 36 7/8 in.) National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.11 Image courtesy National Gallery of Art, Washington D.C. 4. Paul Gauguin The House of Pan-Du (La Maison du Pan-Du), 1890 Oil on canvas 19 13/16 × 24 1/16 in. (50.3 × 61.1 cm) Private collection, Canada Photo courtesy private collection 5. Paul Cézanne Still Life with Apples (Nature morte avec pommes) , 1893-94 Oil on canvas 25 3/4 × 32 1/8 in. -
Fauvism Was the First Twentieth Century Movement in Modern Art
QUICK VIEW: Synopsis Fauvism was the first twentieth century movement in modern art. Inspired by the examples of van Gogh, Gauguin, and Neo-Impressionists such as Seurat and Signac, it grew out of a loosely allied group of French painters with shared interests. Henri Matisse was eventually recognized as the leader of Les Fauves, or The Wild Beasts as they were called in French, and like the group, he emphasized the use of intense color as a vehicle for describing light and space, but also for communicating emotion. The style proved to be an important precursor to Expressionism, and an inspiration for other, painterly modes of abstraction. Key Points • Fauvism never developed into a coherent movement in the manner of Impressionism or Surrealism, but instead grew from the work of several acquaintances who shared common enthusiasms. Many, such as Matisse, Marquet, and Rouault, had been pupils of the Symbolist Gustave Moreau, and admired his stress on personal expression. • The Fauves generally rejected the fantastic imagery of the Post-Impressionists, and returned to the more traditional subjects once favored by the Impressionists, such as landscapes, cityscapes, and scenes of bourgeois leisure. • Rather than extend the quasi-scientific investigations of artists such as Seurat and Signac, Fauves such as Matisse and Derain were inspired by them to employ pattern and contrasting colors for the purposes of expression. • The Fauves became renowned for using pure and unmixed colors which they intensified further by applying thick daubs and smears. • Although the Fauves were not well-versed in academic color theory, they sought out © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org unique and unnatural color combinations in their paintings with the purpose of evoking a variety of emotional responses; in that sense, color was used arbitrarily and was subject to the painter's own emotional response to the canvas. -
Imogen Racz Volume 1
HENRI LAURENS AND THE PARISIAN AVANT-GARDE IMOGEN RACZ NEWCASTLE UNIVERSITY LIBRARY 099 19778 0 -' ,Nesis L6 VOLUME 1 Thesis submitted for the degree of PhD. The University of Newcastle. 2000. Abstract This dissertation examines the development of Henri Laurens' artistic work from 1915 to his death in 1954. It is divided into four sections: from 1915 to 1922, 1924 to 1929, 1930 to 1939 and 1939 to 1954. There are several threads that run through the dissertation. Where relevant, the influence of poetry on his work is discussed. His work is also analyzed in relation to that of the Parisian avant-garde. The first section discusses his early Cubist work. Initially it reflected the cosmopolitan influences in Paris. With the continuation of the war, his work showed the influence both of Leonce Rosenberg's 'school' of Cubism and the literary subject of contemporary Paris. The second section considers Laurens' work in relation to the expanding art market. Laurens gained a number of public commissions as well as many ones for private clients. Being site specific, all the works were different. The different needs of architectural sculpture as opposed to studio sculpture are discussed, as is his use of materials. Although the situation was not easy for avant-garde sculptors, Laurens became well respected through exposure in magazines and exhibitions. The third section considers Laurens in relation to the depression and the changing political scene. Like many of the avant-garde, he had left wing tendencies, which found form in various projects, including producing a sculpture for the Ecole Karl Marx at Villejuif. -
Four Latin American Women Exhibit in Paris
"Exhilarating Exile" : Four Latin American Women Exhibit in Paris Extrait du Artelogie http://cral.in2p3.fr/artelogie/spip.php?article262 Michele Greet "Exhilarating Exile" : Four Latin American Women Exhibit in Paris - Numéro 5 - Date de mise en ligne : lundi 30 septembre 2013 Description : Modernism, the decorative, art and gender, exile/expatriate, Paris, women artists, Latin American art, Tarsila do Amaral, Anita Malfatti, Lola Velásquez Cueto, Amelia Peláez Artelogie Copyright © Artelogie Page 1/26 "Exhilarating Exile" : Four Latin American Women Exhibit in Paris This essay will analyze the individual exhibitions of four Latin American women artists held in Paris between the two world wars : Brazilians Tarsila do Amaral and Anita Malfatti in 1926, Mexican Lola Velásquez Cueto in 1929, and Cuban Amelia Peláez in 1933. Entering the modern art milieu involved decisions about subject matter and technique, about whether to portray national themes or avoid them, and how to negotiate the gendered implications of style. During periods of "exhilarating exile" all four of these artists entered the vibrant artistic environment in Paris and strategically positioned themselves, via their artistic choices, in relation to aesthetic debates about the role of decorative in modern art. In her essay "Art and the Conditions of Exile" Linda Nochlin proposes the notion of "exhilarating exile," a heightened awareness of cultural difference that inspires creativity, as a framework for understanding the work of women artists living and exhibiting abroad (Nochlin, 1996 : 318, 329). In Paris, far removed from the conservative Catholic society of their home countries and the traditional boundaries of feminine identity, women artists from Latin America experienced new freedoms that inspired novel approaches to art making. -
Catalogo N. 251
CATALOGO N. 251 LIBRI ILLUSTRATI DA ARTISTI MODERNI ITALIANI E STRANIERI ARTE - EDIZIONI DI LUSSO - LIBRI SULL’INCISIONE CATALOGHI MOSTRE - LIBRI DI VARIO GENERE CON 75 ILLUSTRAZIONI LIBRERIA ANTIQUARIA PRANDI S.N.C. DI DINO E PAOLO PRANDI REGGIO EMILIA 2015 1 Contemporaneamente a questo catalogo libri abbiamo diffuso il nostro sessantatresimo catalogo annuale dedicato alla grafica: CATALOGO N. 252 INCISIONI ORIGINALI ITALIANE E STRANIERE DELL’800 E MODERNE ACQUERELLI E DISEGNI con uno scritto inedito di Nicola Manfredi Con tavole fuori testo comprendenti numerose riproduzioni a colori e in nero Il catalogo, in considerazione del suo altissimo costo è inviato gratuitamente ai nostri abituali Clienti acquirenti di opere di grafica. A tutti gli altri che ne faranno richiesta verrà inviato dietro versamento anticipato di € 16,00 sul nostro c/c postale n.160424 (o a mezzo francobolli, assegno bancario o postale), oppure in contrassegno postale a € 16,00 più spese postali. Il costo del Catalogo è rimborsabile in caso d’acquisto. 2 CATALOGO N. 251 (Le opere che dopo il numero d’ordine sono seguite da un asterisco * contengono stampe originali o disegni) 1 - ACONCIO GIACOMO. Stratagematum Satanae. oro al piatto, sguardie decorate, sovraccoperta Libri VIII. A cura di Giorgio Radetti. Edizione illustrata. € 25,00 Nazionale dei classici del pensiero italiano. Firenze Vallecchi 1946 8°; pp. 641 non num. 2, testo 6 - AIME TINO. Works. Opere. Testi di latino con a fronte traduzione in italiano. edizione Angelo Mistrangelo, Ernesto Caballo, Marco fondata sulla seconda ristampa dell’opera (1565 Franceschetti, Nico Orengo, Franco Piccinelli. Basilea); riprodotto f.testo su carta patinata il Torino Priuli & Verlucca 2008 4°; pp. -
Martin Stone: the French Books JUSTIN CROFT Martin Stone: the French Books 2
1 2. ILLUSTRATED BOOKS, 1926-1970 JUSTIN CROFT Martin Stone: the French books JUSTIN CROFT Martin Stone: the French books 2. Illustrated books, 1926-1970 Justin Croft Antiquarian Books Ltd, ABA, ILAB 7 West Street Faversham Kent ME13 7JE UK +44 1795 591111 +44 7725 845275 www.justincroft.com [email protected] VAT: GB 854 5998 64 3 2. ILLUSTRATED BOOKS, 1926-1970 [1] MARTIN STONE (1946-2016) BAUDELAIRE, Charles. Édouard CHIMOT, illustrator. Paul de PIDOLL, Volume I of this catalogue contained Martin’s French illustrated books, 1873-1925. Volume II continues the ornaments. Le Spleen de Paris, petits poèmes story from 1926-1970. en prose. Paris: [Jacoub et Aulard for] Éditions de l’intermédiaire du Bibliophile, As before, we have left all Martin’s neat pencil markings and prices in these books, so the prices in the catalogue 1926. £250 may sometimes be different. 8vo (220 × 166 mm), pp. 220, [4], plus frontispiece in 2 states and 10 etched plates. Uncut in original wrappers. Grey marbled slipcase. Catalogue by Imogen Croft with the assistance of Justin Slight tear to glassine cover near spine. Interior fine. Croft. Photography by Rachel Thapa-Chhetri, except portraits of Martin Stone by Simon Tyszko. Design by FIRST EDITION. Number 151 of 625 copies on papier vergé Dean Pavitt. With renewed thanks to Lynn Hoggatt, d’Arches (total edition 750). Saara Marchadour, Jonathan Kearns, Nigel Stone and Antonia Phinnemore. Carteret IV: p. 66, ‘Intéressante publication.’ Review of Volume I, Revue Histoires Littéraires, 2018: [2] ‘Une vraie merveille, avec quantité d’illustrations toutes en couleurs, et qui est un hommage au regretté libraire Martin Stone, BLOCH, Jean-Richard.