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Abstract Addictions
VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times. -
Olin Levi Warner (1844—1896)
237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Paul (Harry Paul) Burlin (American Painter, 1886-1969) Paul Burlin was born in New York in 1886. He received his early education in England before returning to New York at the age of twelve. He worked for a short time as an illustrator under Theodore Dreiser at Delineator magazine, where he was exposed to Progressivist philosophy and politics. He soon grew tired of commercial work and enrolled at the National Academy of Design. There, he received a formal education and refined his technical skills; though he later dropped out to pursue his artistic studies more informally with a group of fellow students. He was also a frequent visitor at Alfred Steiglitz’s ‘291’ gallery. Burlin achieved a great deal of early artistic success. He visited the Southwest for the first time in 1910. Paintings from this visit were received warmly in New York and exhibited in a 1911 exhibition. As a result of his early success, he was the youngest artist (at twenty-six years of age) to participate in the 1913 Armory Show – the revolutionary exhibition of avant-garde European work that can be credited with introducing modern art to the United States and stimulating the development of modernism in America. There, Burlin’s work was exhibited alongside works by such artists as Picasso, Monet, Cézanne, and Duchamp. Later that year, Burlin returned to the Southwest to live. With the images and ideas of the Armory Show still prominent in his mind, Burlin was impressed and moved by what he described as the ‘primeval, erosive, forbidding character of the landscape’. -
Other Artist Bios
CSFINEARTSCENTER.ORG Contact: Warren Epstein, Media Relations and Community Outreach Manager 719.477.4316; [email protected] Other Artist Bios Jozef Bakos (1891–1977) The Polish artist founded Los Cinco Pintores (the five painters) , Santa Fe's first Modernist art group, and was dedicated to works that depicted specifically American subjects, such as the New Mexico landscape, local adobe architecture and Native American dances. He studied art with John E. Thompson at the Albright Art Institute in Buffalo, New York, and taught at the University of Colorado in Boulder. In 1920, during a break from teaching, Bakos visited Walter Mruk, a childhood friend and artist who was living in Santa Fe. During his stay he exhibited some paintings together with Mruk at the Museum of Fine Arts in Santa Fe. Gustave Baumann (1881–1971) Baumann was one of the leading figures of the color-woodcut revival in America. Born in Magdeburg, Germany, Baumann moved to the U.S. at the age of 10 and by 17, attended night classes at the Art Institute of Chicago. After spending time in Brown County, Ind., as a member of the Brown County Art Colony, Baumann headed to the Southwest in 1918. He found Taos to be too crowded and social but eventually ended up settling in Santa Fe, where he became known as a master of woodcuts, while also producing oils and sculpture. Tom Benrimo (1887 – 1958) A self-taught artist, Benrimo was born in San Francisco and lived there until the San Francisco earthquake and fire of 1906 destroyed his home. Relocating to New York with his family, he worked as a scenic designer for theatrical shows and created illustrations for various advertising companies. -
Romare Bearden: the Prevalence of Ritual Introductory Essay by Carroll Greene
Romare Bearden: the prevalence of ritual Introductory essay by Carroll Greene Author Museum of Modern Art (New York, N.Y.) Date 1971 Publisher The Museum of Modern Art ISBN 0870702513 Exhibition URL www.moma.org/calendar/exhibitions/2671 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art ROMARE BEARDEN: THE PREVALENCEOF RITUAL "W * . .. ROMARE BEARDEN: INTRODUCTORY ESSAYBY CARROLL GREENE THE PREVALENCEOF RITUAL THE MUSEUM OF MODERN ART, NEW YORK TRUSTEES OF THE MUSEUM OF MODERN ART ACKNOWLEDGMENTS David Rockefeller, Chairman; Henry Allen Moe, John Hay This exhibition has required the cooperation of many per Whitney, Gardner Cowles, Vice Chairmen; William S. Paley, sons, and I am most grateful for their assistance. I wish to President; James Thrall Soby, Mrs. Bliss Parkinson, Vice express my appreciation first to Romare Bearden, who Presidents; Willard C. Butcher, Treasurer; Robert O. Ander spent countless hours in conversation with me concerning son, Walter Bareiss, Robert R. Barker, Alfred H. Barr, Jr.,* his life and work, which this exhibition celebrates. His Mrs. Armand P. Bartos, William A. M. Burden, J. Frederic generosity in supplying information and documentary Byers III, Ivan Chermayeff, Mrs. Kenneth B. Clark, Mrs. W. material cannot be measured. Murray Crane,* John de Menil, Mrs. C. Douglas Dillon, Members of The Museum of Modern Art staff have been Mrs. Edsel B. Ford, Gianluigi Gabetti, George Heard Hamil especially generous and helpful in executing important ton, Wallace K. -
Painting and Sculpture by Living Americans : Ninth Loan Exhibition, December 2, 1930 to January 20, 1931
Painting and sculpture by living Americans : ninth loan exhibition, December 2, 1930 to January 20, 1931 Author Museum of Modern Art (New York, N.Y.) Date 1930 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1916 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art DERN LIBRARY THE ^U-£UM OF .viJOt^NART PAINTING AND SCULPTURE BY LIVING AMERICANS NINTH LOAN EXHIBITION 9;o DECEMBER 2, i TO JANUARY 20, ijjji MUSEUM OF MODERN ART NEW YORK ACKNOWLEDGMENTS The exhibition has been selected from the following collections AN AMERICAN PLACE, NEW YORK EDWARD DUFF BALKEN, PITTSBURGH JAY H. BARNUM, NORWALK, CONNECTICUT MISS L. P. BLISS,NEW YORK MRS. W. MURRAY CRANE, NEW YORK FRANK CROWNINSHIELD, NEW YORK THE CHESTER DALE COLLECTION, NEW YORK THE DANIEL GALLERY, NEW YORK THE DOWNTOWN GALLERY, NEW YORK MRS. MURIEL DRAPER, NEW YORK JOHN A. DUNBAR, NEW YORK MRS. JULIANA R. FORCE, NEW YORK A. CONGER GOODYEAR, NEW YORK EDWARD S. GREENBAUM, NEW YORK DR. F. H. HIRSCHLAND, NEW YORK EARL HORTER, PHILADELPHIA JOEL T. HOWARD, DALLAS, TEXAS SIDNEY JANOWITZ, NEW YORK KRAUSHAAR GALLERIES, NEW YORK MR. AND MRS. SAMUEL A. LEWISOHN, NEW YORK MRS. CHARLES J. LIEBMAN, NEW YORK THE MACBETH GALLERIES, NEW YORK MRS. MALCOLM L. McBRIDE, CLEVELAND, OHIO GLENN FORD McKINNEY, NEW YORK DR. AND MRS. JAMES B. MURPHY, NEW YORK GUST AVE NASSAUER, NEW YORK J. -
Contemporary American Painting and Sculpture
jLLINGiS LIBRARY AT URBAI-JA-CHAf'iSPAlGN ARCHITECTURE RIOHER LWHARY AW;HITKTU«t UNIVERSITY OF ILUNOS MlnlnHim Fee lor NOnce: Return or renew all Ubrary Meterieltl The each Lost Book Is $50.00. The person charging this material is responsible for withdrawn its return to the library from which it was on or before the Latest Date stamped below. reasons for discipli- Theft, mutilation, and underlining ol books are University. nary action and may result in dismissal from the To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN OCT f f f\UGZ jy^ 33? University of Illinois 7f'-^S^C^i^^t^ SECOND ALLEGORY -ri:'HC&IK/Cx,^*,' CONTEMPORARY University of Illinois, Urbana Sunday, March 1, through Sunday, April 12, 1953 Galleries, Architecture Building College of Fine and Applied Arts THE LiSrARY OF THE RltAtfi 1,\mA.J AhChllLCTURE MAR ^ 1953 uiiiVERSiTY OF ;m;;;c!3 Copyright 1 953 by the University of Illinois Manufactured in the United States of America RICHER LIBRARY ARCHITECTURE umvERSin OF iuinois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE GEORGE D. STODDARD President of the University REXFORD NEWCOMB Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rac OPERATING COMMITTEE C. A. Dietemann A. S. Weller W. F. Doolittle L. M. Woodroofe J. D. Hogan C. V. Donovan, Chairman L. F. Bailey J. \V. Kennedy E. H. Betts J. H. G. Lynch A. A. Boatright M. B. Martin STAFF COMMITTEE MEMBERS C. E. Bradbury R. Perlman G. R. Bradshaw J. W. Raushenberger C. \V. -
Artists for Victory
THE METROPOLITAN MUSEUM UF ART Artists for Victory M Sxhibition of Contemporary American Art PAINTINGS SCULPTURE PRINTS SPONSORED BY ARTISTS FOR VICTORY, INC ARTISTS FOR VICTORY, INC. 101 PARK AVENUE, NEW YORK, N. Y. Includes the Following Artists' Organizations: ALLIED ARTISTS OF AMERICA ALUMNI ASSOCIATION OF THE AMERICAN ACADEMY IN ROME AMERICAN ABSTRACT ARTISTS AMERICAN INSTITUTE OF DECORATORS AMERICAN SOCIETY OF MINIATURE PAINTERS AMERICAN VETERANS SOCIETY OF ARTISTS AMERICAN WATER COLOR SOCIETY AN AMERICAN GROUP, INC. ARCHITECTURAL LEAGUE OF NEW YORK BOMB SHELL ARTISTS GROUP FEDERATION OF MODERN PAINTERS AND SCULPTORS LEAGUE OF AMERICAN ARTISTS MUNICIPAL ART SOCIETY OF NEW YORK NATIONAL ACADEMY OF DESIGN NATIONAL ASSOCIATION OF WOMEN ARTISTS NATIONAL SCULPTURE SOCIETY NATIONAL SOCIETY OF MURAL PAINTERS NEW YORK CHAPTER OF THE AMERICAN ARTISTS PROFESSIONAL LEAGUE NEW YORK CHAPTER OF THE AMERICAN INSTITUTE OF ARCHITECTS NEW YORK CHAPTER OF THE AMERICAN SOCIETY OF LANDSCAPE ARCHITECTS NEW YORK SOCIETY OF WOMEN ARTISTS PITTSBURGH ARTISTS FOR VICTORY SCULPTORS GUILD, INC. SOCIETY OF AMERICAN ETCHERS UNITED SCENIC ARTISTS THE METROPOLITAN MUSEUM OF ART Artists for Victory An Exhibition of Contemporary American Art SPONSORED BY ARTISTS FOR VICTORY, INC. NEW YORK, 1942 WO. \ FOREWORD HE present exhibition expresses a desire on the part of the Museum Tto proclaim its faith in the American artist during one of the most critical years in our history. We believed that the facilities of the Mu seum should be turned over to the artists to organize an exhibition as they themselves would want it done. Artists for Victory, Inc., the emergency wartime agency representing the twenty-three leading art societies in New York was asked to undertake the task. -
Contemporary American Painting and Sculpture
^^" J LIBRA R.Y OF THt U N I VER5ITY or ILLINOIS 759.1 1950 cop.3 i'T ^ el --^» lAiiirirnH NOTICE: Return or renew all Library Materialsl The Minimum Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ^/iy ^^CH, ''recr.% L161—O-1096 ''::*mHlf. «t.«t- ARCrirk'C'lOKE t\^ff. I'KiURE AND MASK Abraham Rattiicr UNIVERSITY OF ILLINOIS EXHIBITION OF CONTEMPORARY AMERICAN PAINTING College of Fine and Applied Arts Urbana, Illinois Architecture Building .,£ ,^,^ ^,jv^_y pp Sunday, February 26 throueh Sunday, April 2, 1950 FES'- 7 1950 l)N!VFR';iT-f or I' MNCIS UNIVERSITY OF ILLINOIS EXHIBITION OF CONTEMPORARY AMERICAN PAINTING GEORGE D. STODDARD President of the University DEAN REXFORD NEWCOMB Chairman, Festival of Contemporary Arts OPERATING COMMITTEE N. Britsky M, B. Martin C. A. Dietemann M. A. Sprague C. V. Donovan A. S. Weller, Chairman I D. Hogan J. \ STAFF COMMITTEE MEMBERS L. F. Bailey R. Perlman J. Betts A. J. Pulos C. E. Bradbury E. C. Rae C. W. Briggs J. W. Raushenberger W. F. Doolittle F. J. Roos R. L. Drummond H. A. Schultz R. E. Eckerstrom J. R. Shipley G. N. Foster B. R. Stepner R. E. Hult L. M. Woodroofe J. -
María Enriqueta Frontera Zunzunegui
UNIVERSIDAD DE SALAMANCA Departamento de Biblioteconomía y Documentación TESIS DOCTORAL UNA FIGURA SEÑERA EN EL CAMPO DE LA MÚSICA TRADICIONAL ESPAÑOLA EN EL PRIMER TERCIO DEL SIGLO XX: El POLIFACÉTICO MÚSICO ALEMÁN KURT SCHINDLER (1882-1935) MARÍA ENRIQUETA FRONTERA ZUNZUNEGUI DIRECTORES: DR. JOSÉ ANTONIO FRÍAS MONTOYA DRA. MATILDE OLARTE MARTÍNEZ Salamanca, 2014 UNIVERSIDAD DE SALAMANCA Departamento de Biblioteconomía y Documentación TESIS DOCTORAL UNA FIGURA SEÑERA EN EL CAMPO DE LA MÚSICA TRADICIONAL ESPAÑOLA EN EL PRIMER TERCIO DEL SIGLO XX: El POLIFACÉTICO MÚSICO ALEMÁN KURT SCHINDLER (1882-1935) MARÍA ENRIQUETA FRONTERA ZUNZUNEGUI Vº Bº De LOS DIRECTORES DE LA TESIS DE DOCTORADO: DR. JOSÉ ANTONIO FRÍAS MONTOYA DRA. MATILDE OLARTE MARTÍNEZ Salamanca, 2014 2 A mis padres, les debo todo 3 Agradecimientos Esta tesis es, en parte, fruto del azar y la amistad, ya que fue degustando un té vespertino, al regreso de uno de sus frecuentes viajes a los Estados Unidos, cuando Matilde Olarte, entusiasmada, me comentó sus últimos hallazgos en el archivo personal de Kurt Schindler, lamentándose al mismo tiempo del calamitoso estado del mismo, y de que no hubiese en marcha ningún trabajo de investigación riguroso y completo sobre tal personaje y su obra. He de confesar que Matilde fue muy hábil, pues supo despertar mi interés profesional ante ese cúmulo de documentos tan maltratados, de ahí que, si bien en un principio rechacé su sugerencia de emprender una investigación de este calado sobre Schindler y su legado, pronto, el atractivo de un personaje tan polifacético, con tantas aristas y tal trayectoria profesional, fueron venciendo mi resistencia, a ello ayudó el marco cultural en que se desenvolvió Schindler en España, la llamada Edad de Plata, etapa por la que siempre he sentido una predilección especial, dada su fecundidad en todos los terrenos culturales. -
Contemporary American Painting and Sculpture
PiillilfBllijIillllllif '^WMmm UiMiVLKSlTY Zr ILLINOIS LieRAnv AT URSANA-CHJLV.^AIwl BICKER UBRARY A! CHITECTDRt UNIVERSITY Of ILIIN' NOTICE: Return or renew all Library Malerialsl The Minimum Fee lor each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or betore the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center. 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAIUIPAIGN FEB i\ m L16I—O-1096 % mm Cover Design From Painting By Rolph Scarlett ILLINOIS I OF »PESS 11 I BEHOLD . MAN Umberto Romano UNIVERSITY OF ILLINOIS EXHIBITION OF CONTEMPORARY AMERICAN PAINTING College of Fine and Applied Arts LIrbana, Illinois Architecture Building Sunday, February 27 through Sunday, Ajirii !?, 1949 THE LIDRARY OF THE MAR 3 - 1949 ARCHITECTURI BICKER LIBRARY JUNIVtKSITY Of ILi-ir.OIS UNIVERSITY OF ILLINOIS EXHIBITION OF CONTEMPORARY AMERICAN PAINTING GEORGE D. STODDARD President of the University DEAN REXFORD NEWCOMB (Chairman, Festival of Contemporary Arts OPERATING COMMITTEE " N. Britsky H. A. Schultz j C. V. Donovan A. S. Weller \ W. F. Doolittle, Jr. J. D. Hogan, Chairman L. F. Bailey D. J. Newman ; C. E. Bradbury K. K. Post C. W. Briggs A. J. Pulos t J. Burke E. C. Rae i 1 C A. Dieteniann J. W. Raushenberger 1 R. L. Drummond F. J. Roos R. E. Eckerstrom L. B. Segedin G. N. Foster J. R. Shipley J. R. Frintz M. A. Sprague R. -
OFFICE Copy R
. OFFICE COpy r • ~''''. / / ' ~tT A'/f,~1rars PAINTIN G AND SCULPl·tJ!tff-------------- BY LIVING AMERICANS MoMAExh_0009_MasterChecklist NINTH LOAN EXHIBITION DECEMBER s, 1930 TO JANUARY 20,1931 MUSEUM OF MODERN ART NEW YORK ) , PAINTINGS An asterisk before a number indicates that the work is illustrated by a plate bearing the same number. GIFFORD BEAL BOTn in New Y or~ in 1879. Pupil of Chase at Shinnecoc~ and of Ranger at the Art Students' League. Lives in New Yor~ City *1 FISHERMAN'S DAUGHTER, '900 Collection Kraushaar Galleries, New York 2 THE POLKA FROM DIE FLEDERMAUS, 1900 Collection Kraushaar Galleries, New York MoMAExh_0009_MasterChecklist o ROCKPORT QUARRY, '900 Collection Kraushaar Galleries, New York PAUL BURLIN Born in New Yor~ in r886. Studied in England and Paris. Spent much time in the South West of the United States. Has lived since 1921 in Paris 4 FLOWERS, '927 Collection Dr. F. H. Hirschland, New York *, HORSES IN STABLE, about 1928 Collection Mrs. M. deSi!ver, New York 6 HILLS AND HOUSES Collection Jacques Seligmann and Company, New York and Paris VINCENT CANADE Born in Alvenese, Italy, in r879. Largely self taught. Lives in N.ew Yor~ 7 DOUBLE SELF-PORTRAIT, about '9'9 Private Collection E. Weyhe, New York *8 THE ARTISTS FAMILY, about 1924 Collection Weyhe Gallery, New York 9 I , I I _............_----------~ 9 ROOF TOPS, 1927 Collection Weyhe Gallery, New York ARTHUR CARLES Born in Philadelphia in 1882. Studied at Pennsylvania Academy of Fine Arts. Lues in Philadelphia 10 LANDSCAPE, 1912 Collection Maurice J. Speiser, Philadelphia II NUDE, '922 Collection Herbert A. -
Paul Burlin (1886 - 1969) December 1 - January 30, 1971
WALL LABEL PAUL BURLIN (1886 - 1969) DECEMBER 1 - JANUARY 30, 1971 My point of departure is a step by step organization of shape and color into a unity of design. And these shapes and colors are like floats on a limitless space because I preoccupy myself with making them exist in a two-dimensional world —not in a world of perspective, but in an infinity of space. What Paul Burlin wrote in 1949 applies almost prophetically to the Series of 9, which he painted in 1969 during the five weeks before his death at the age of 82. This exhibition shows, for the first time, seven from this series, which evolved out of, but extends far beyond, Burlin's work of the preceding decade. The paintings of the 1960s, already concerned with the pictorial rendering of limitless space, were charged with surface energy generated by the opposition of open, angular forms and the fluctuation of juxtaposed pure colors. In this last Series of 9, Burlin has calmed the turbulent surfaces and moved toward a new openness, simplicity, and serenity. The window shape—the primary pictorial element repeated throughout the series—may in this context have ideological and symbolic significance as well. The artist's canvas is in a metaphorical sense his "window" onto the world. It is as if Burlin saw the essence of spatial infinity through his canvas and was thus able to achieve on its surface the climactic and authoritative synthesis of his life's work. Burlin's somewhat enigmatic career embraced the artistic developments of the twentieth century.