DOCSLIB.ORG

ARCIMBOLDO FACE to FACE I Z Z I R E B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ARCIMBOLDO FACE to FACE I Z Z I R E B Mécène fondateur 29.05 PRESS RELEASE → A R 22.11.21 C I M B O L D O F A C E TOFACE # c e f a nt c e r e a p a r o c m i m p b i d o o l d u o - m e t z . f r M/M (PARIS) Giuseppe Arcimboldo, Les Quatre Saisons, Le Printemps , 1573 ; huile sur toile, 76 × 63,5 cm ; Paris, musée du Louvre, département des Peintures. Photo ©RMN-Grand Palais (musée du Louvre)/Jean-Gilles Berizzi ARCIMBOLDO FACE TO FACE CONTENTS 1. GENERAL PRESENTATION .................................................................5 2. GIUSEPPE ARCIMBOLDO ...................................................................8 3. ARCIMBOLDO FACE TO FACE ..........................................................11 4. EXHIBITION LAYOUT .......................................................................18 5. FORUM .............................................................................................24 6. LISTE OF ARTISTS ............................................................................26 7. LISTE OF LENDERS ..........................................................................28 8. CATALOGUE & PUBLICATIONS ..........................................................30 9. RELATED PROGRAMME ....................................................................33 10. YOUNG PEOPLE AND EDUCATIONAL ACTIVITIES ............................38 11. PARTNERS......................................................................................40 12. PRESS VISUALS .............................................................................46 3 ARCIMBOLDO FACE TO FACE Mario MERZ, The Other Side of the Moon or Table de Chagny, 1984 (fruit and vegetables) Steel, glass, brown stones from Burgundy (Buxy), white stones from Venice (Biancone), fruit and lead 70 x 900 x 350 cm Metz, 49 Nord 6 Est - Frac Lorraine © Adagp, Paris, 2021 4 ARCIMBOLDO FACE TO FACE 1. GENERAL PRESENTATION ARCIMBOLDO FACE TO FACE 29 May to 22 November 2021 Grande Nef You who roam the world, eager to see lofty and astounding wonders, come here and you will find... This inscription aimed at visitors walking around Just like Arcimboldo’s work, Mannerism, which the 16th-century Bomarzo garden could equally was a shared artistic language in Europe in the aptly be addressed to visitors to Arcimboldo Face 16th century, was forgotten – and scorned even – to Face, the exhibition at the Centre Pompidou- up until the beginning of the 20th century, when Metz that pays tribute to the Lombard painter. This this rich intellectual and artistic current became subjective portrait of Arcimboldo seen through the popular again. After being linked with degenerate eyes of other artists – chosen for the influence, art during the interwar period by Wilhelm Pinder, acknowledged, unconscious or fantasised he exerted it would come to symbolise the embodiment of a on them – has been put together like the fragment common European culture for people at the end of a story with a personal dimension. By comparing of the Second World War. Also seen as the first Arcimboldo’s works with those of James Ensor, anti-classical avant-garde1, Mannerism heralded, Hannah Höch, Pablo Picasso, René Magritte, Francis through its subversive potential, the multiple Bacon and Cindy Sherman, the exhibition reveals revolutions of modernism, from abstraction to how the artist’s thought enriched art history, past cubism. At the junction of these two analyses, the and present. complex figure of Arcimboldo, both the linking thread of his bountiful century and the early stages While developing into something unique, of modernity, embodied the multiple ruptures that Arcimboldo’s oeuvre was part of the Mannerism that will form the axes of the exhibition Arcimboldo shook the Renaissance. Without forming a veritable Face to Face. school, his contemporaries shared the same desire to abandon the rules of perspective, used glowing Inaugurating the programme of Chiara Parisi, who colours like Rosso Fiorentino and revelled in their has been director of the institution since December experiments at distorting bodies, which culminated, 2019, the project grew out of the exhibition The among other things, in Parmigianino’s self-portrait Arcimboldo Effect. The Transformations of the in a convex mirror and the diary of the troubled Face from the 16th to the 20th Century, mounted Pontormo. By gradually shifting the focus onto how by Pontus Hultén and Yasha David at the Palazzo the subject should be represented and how to be an Grassi in Venice in 1987, which was the first artist, they assigned importance above all to their monograph dedicated to the artist. This event conception of the execution of a work of art and in followed on from Alfred H. Barr Jr.’s exhibition the process wrote the first modern theory of art. organised at the Museum of Modern Art in 1936, Fantastic Art, Dada, Surrealism, which paved the way by showing Arcimboldo as a key precursor to the emergence of modernity. 1 Patricia FALGUIÈRES, Le Maniérisme, une avant-garde au XVIe siècle, Paris, Gallimard, 2004 5 ARCIMBOLDO FACE TO FACE Curators The Centre Pompidou-Metz exhibition continues this exploration of the contemporary relevance Chiara Parisi, director of the Centre Pompidou- of Arcimboldo’s vocabulary, which has crossed Metz, and Anne Horvath, research assistant centuries, with the question of the representation at the Centre Pompidou-Metz, in a fruitful of the body taken apart, mechanised, disfigured, dialogue with the artist Maurizio Cattelan, the transfigured and exploded. art historians Patricia Falguières and Antonio Pinelli, and the curator Yasha David. The exhibition has been enriched by the visionary spirit of Pontus Hultén, who regarded The Exhibition design Arcimboldo Effect as one of his most important exhibitions, and offers a synthesis of the multiple Berger&Berger facets of his vision of the museum as a medium, Laurent P. Berger and Cyrille Berger which he put into practice at the Centre Pompidou from 1977. Embracing awareness of the past and passion for the future, the exhibition Arcimboldo Face to Face sidesteps any concept of hierarchy of periods and generations, the exhibition Arcimboldo Face to Face. It is like a Museum of our Wishes2, featuring Arcimboldo and the artists who, through their visions, enrich our appreciation of his work. Lynda BENGLIS, Hills and Clouds, 2014 Cast polyurethane with phosphorescence and stainless steel, 305,2 cm × 548,9 cm × 549,3 cm Courtesy Pace Gallery, Thomas Dane Gallery, Blum & Poe, Xavier Hufkens et Mendes Wood DM © Adagp, Paris, 2021 © Photo Jonathan Nesturek, courtesy Pace Gallery 2 Pontus HULTÉN (ed.), The Museum of our wishes, exh. cat., Stockholm, Moderna Museet, 26 December 1963–16 February 1964 6 ARCIMBOLDO FACE TO FACE Giuseppe ARCIMBOLDO, The Four Seasons – Spring, 1563 Oil on oak panel, 66 x 50 cm Museo de la Real Academia de Bellas Artes de San Fernando. Madrid 7 ARCIMBOLDO FACE TO FACE 2. GIUSEPPE ARCIMBOLDO A popular icon thanks to his composite heads –which formed only a small part of his many activities– Giuseppe Arcimboldo was for a long time seen as a curiosity by art historians. Despite the success he enjoyed during his lifetime and the popularity of his composite portraits, as demonstrated by his numerous followers, his work was forgotten and was only rediscovered and seen in a new light at the dawn of modern art. Arcimboldo probably suffered from not having left behind an autobiography and to have been born too late to be part of Giorgio Vasari’s Lives, which established the reputations, in a subjective way, of the period’s leading painters, sculptors and architects for centuries to come. Yet the artist’s life (1526–1593) was a reflection of the Mannerist 16th century, which it spanned from beginning to end. After training with his father, a painter at the Duomo workshop in Milan, Arcimboldo was summoned to the Habsburg court in 1562, where he played a central role in the artistic, scientific and political endeavours of the emperors Ferdinand I, Maximilian II and Rudolf II. Carton de Giuseppe ARCIMBOLDO, made by the master glassmaker Corrado de Mochis Green mask with festoon of flowers, 1550 (?) Symbol of an open, cosmopolitan, culturally rich Glass, lead and grisaille, 48,5 x 60,5 cm Europe, Arcimboldo had an international career Milan, Veneranda Fabbrica del Duomo di Milano that took him from his native Lombard to Vienna and then Prague, before returning to Milan, where he was honoured with the prestigious title of Palatine count before he died. Official court painter, he painted his famous composite heads for the princes and played a key role in orchestrating major festivities and parades, as well as serving as an advisor on the imperial collections. One of his most important missions was to document the naturalia in the imperial cabinet of curiosities, drawing from life the most exotic species collected during distant expeditions. In addition, he considerably enriched the collections of mirabilia – the emperors were enthusiastic collectors, motivated by the desire to possess the rarest and most extraordinary items. 8 ARCIMBOLDO FACE TO FACE The cabinet of Rudolf II, a proto-museum to his glory where master canvases rubbed shoulders with natural oddities, offered Arcimboldo a formal and conceptual repertory that would enrich his own corpus of works. The cycles of the Seasons and the Elements captured the extraordinary richness of fauna and flora contained within the rooms of wonders. The paintings were allegories of abundance and plenitude, and of the eternal power of the Habsburgs, who ruled over the world
Load more

Recommended publications
  • Strömsholm Skokloster
    Strömsholm Skokloster On an islet in the Kolbäck River, Gustav Vasa Skokloster Castle, one of Europe´s best pre- built a fortress in the early 1550s, which was served baroque castles, lies in a scenic setting on largely dismantled in the late 1660s. At this the shores of Lake Mälaren, close to Arlanda time, Strömsholm was part of a cluster of Airport, and between Stockholm and Uppsala. properties at the disposal of Dowager Queen Skokloster Castle dates from the 17th century, Hedvig Eleonora. It was her idea to tear Sweden’s period as a great power in Europe. down the old fortress and build something The Castle is the largest private residence ever entirely new. Just as with Drottningholm, built in the country. The building was commis- the Dowager Queen consulted the architect sioned by Field Marshal, Count Carl Gustaf Nicodemus Tessin the Elder. Wrangel. The State Apartment is open for Strömsholm consists of a large edifice free flow, but you can also join a more extensive framed by four square towers. Facing the tour with a guide. Stroll through beautiful park, a central tower rises to a large dome. rooms with furniture, paintings and textiles. During the reign of Hedvig Eleonora, Guided tours end up in one of the largest some twenty buildings were erected on the and best preserved 17th century armouries in grounds. A large park, inspired by the French the world. In the Museum Shop you will find baroque, was also landscaped. books, postcards and souvenirs. Enjoy a break Open daily throughout the summer, when in the Castle Café under 17th century vaults, you can enjoy dining in the stone kitchen.
    [Show full text]
  • God and the Atom: Salvador Dalí's Mystical Manifesto and The
    ©Michael Taylor 2007 & 2016 God and the Atom: Salvador Dalí’s Mystical Manifesto and the Contested Origins of Nuclear Painting by Michael R. Taylor In December 1951, Salvador Dalí announced his newfound interest in the pictorial possibilities of nuclear physics and molecular chemistry at a press conference in London, where he declared himself to be the “First Painter of the Atomic Age” and dismissed all the works he had produced up until this point as “merely evolution.”1 The devastating destruction of the Japanese city of Hiroshima by a nuclear fission bomb with a yield of 15 kilotons – equivalent to the force of 15,000 tons of TNT - had forced Dalí to re-think both the subject matter and spatial complexities of his subsequent paintings. On August 6, 1945, at 8.15 am, a flash a thousand times brighter than the sun illuminated the sky above Hiroshima. It was immediately followed by a wave of incandescent heat and, a few minutes later, a ferocious hurricane that swept away everything in its path. The terrifying heat turned the city into a gigantic inferno, which in turn generated a violent wind followed by black rain. By mid-afternoon the entire city was destroyed. At least 80,000 people were killed in the explosion, and almost as many suffered serious, life-threatening injuries. In the weeks that followed many more were to die in terrible agony from the burns they had sustained after the initial blast, or from the effects of radiation, which caused internal bleeding, cancer, and leukemia.2 How could an artist like Salvador Dalí, whose work was based on an intuitive, paranoiac-critical understanding of the social and political events of his times, not be profoundly affected by the tragic events at Hiroshima, which had revealed the seemingly unlimited destructive capacity of nuclear weapons, as well as the near impossibility of protecting oneself against their pernicious effects, including the long-term consequences of ionizing radiation.
    [Show full text]
  • One of a Kind, Unique Artist's Books Heide
    ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P.
    [Show full text]
  • CAROLEE SCHNEEMANN B
    CAROLEE SCHNEEMANN b. 1939, Fox Chase, PA d. 2019, New Paltz, NY EDUCATION MFA, University of Illinois, Urbana, Illinois BA, Bard College, Annandale-On-Hudson, New York School of Painting and Sculpture, Columbia University, New York The New School for Social Research, New York La Universidad De Puebla, Mexico SOLO EXHIBITIONS 2022 Carolee Schneemann, Barbican Museum, London, UK (forthcoming) 2021 After Carolee: Tender and Fierce, Artpace, San Antonio, TX 2020 Liebeslust und Totentanz (Love’s Joy and Dance of Death), Bündner Kunstmuseum, Chur, Switzerland Off the Walls: Gifts from Professor John R. Robertson, Blanton Museum of Art, Austin, TX American Women: The Infinite Journey, La Patinoire Royale, galerie Valérie Bach, Saint-Gilles, Belgium All of Them Witches, curated by Dan Nadal and Laurie Simmons, Jeffrey Deitch, Los Angeles, CA Don’t Let this be Easy, Walker Art Center, Minneapolis, MN Barney, Scheemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan 2019 Carolee Schneeman, les Abattoirs, Toulouse, France Up to and Including Her Limits: After Carolee Schneemann, Museum Susch, Zernez, Switzerland Exhibition of Edition Works, Michele Didier, Paris, France Carolee Schneeman, mfc-michele Didier, Paris, France 2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany; MoMA PS 1, Long Island City, NY More Wrong Things, Hales Gallery, London, United Kingdom 2016 Further Evidence – Exhibit A, P·P·O·W, New York, NY Further Evidence – Exhibit B, Galerie Lelong, New York, NY 2015 Kinetic Painting, Museum der Moderne Salzburg, Salzburg,
    [Show full text]
  • Maurice Allemand OR HOW MODERN ART CAME to SAINT-ÉTIENNE (1947-1966) a Story of the Collections / Nov
    maurice allemand OR HOW MODERN ART CAME TO SAINT-ÉTIENNE (1947-1966) A STORY OF THE COLLECTIONS / NOV. 30TH 2019 - JAN. 3RD 2021 press kit PRESS CONTACT Lucas Martinet [email protected] Tél. + 33 (0)4 77 91 60 40 Agence anne samson communications Federica Forte [email protected] Tel. +33 (0)1 40 36 84 40 Clara Coustillac [email protected] Tél. +33 (0)1 40 36 84 35 USEFUL INFO MAMC+ Saint-étienne Métropole rue Fernand Léger 42270 Saint-Priest-en-Jarez Tél. +33 (0)4 77 79 52 52 mamc.saint-etienne.fr Maurice Allemand in 1960 in front of the Musée d’Art et d’Industrie de Saint-Étienne with Reclining Figure by Henry Moore (1958), temporary [email protected] exhibition One Hundred Sculptors from Daumier to the Present Day. Photo credit: Geneviève Allemand / MAMC+ OR HOW MODERN maurice allemand the Curator’s foreword ART CAME TO SAINT-ÉTIENNE (1947-1966) The foundations of the exceptional collection of modern art at the MAMC+ were laid after the Second World War A STORY OF THE COLLECTIONS by Maurice Allemand (1906-1979), director of the musée d’Art et d’Industrie from 1947 to 1966, at that time the NOV. 30TH 2019 - JAN. 3RD 2021 only museum in Saint-Étienne. This art collection is now part of the MAMC+, created in 1987, and a pioneer of regional modern art museums. The story recounting the genie of the institution is retraced from largely unpublished archives. They provide an alternative understanding of the founding of the collection and allow to rediscover, next to the masterpieces, artists who are little known today, and some one hundred works which have not been on display for twenty years.
    [Show full text]
  • Archaeology of Denmark and Sweden 23 – 30 September 2019 from £2295.00
    Archaeology of Denmark and Sweden 23 – 30 September 2019 from £2295.00 The neighbouring Nordic nations of Sweden and Denmark offer a host of archaeological and historical sites, from Neolithic megaliths to Viking forts, from fairytale castles to a magnificent royal warship. We begin in Uppsala in Sweden, with visits to the archaeological sites at Gamla Uppsala and Anundshög and the baroque Skokloster Castle. In Stockholm we tour the excellent Historical Museum and visit the Vasa Museum, which houses the heavily armed and richly decorated royal warship which sank on its maiden voyage in 1628. A relaxing high-speed rail journey follows as we travel from Stockholm to Malmö in the south of Sweden. Here we tour the Osterlen region, with visits to the megalithic monuments known as Ales Stenar before crossing the Öresund Bridge to Copenhagen. We have a day touring the Danish capital, including the renaissance castle of Rosenborg Slot, then transfer to Aarhus in mainland Denmark. From here we visit the Moesgård Viking Museum and the Viking Castle at Fyrkat, learning much about the real story behind those notorious Norsemen. We also come face to face with some former inhabitants of the region as we visit Silkeborg Museum, home to the ‘bog bodies’, the amazingly well-preserved remains of a man and woman who died here around 350BC. Itinerary Monday 23 September 2019 We depart this morning on a direct flight from Manchester to Stockholm Arlanda in Sweden (provisional times with SAS: 0945/1345). On arrival we transfer by coach to Uppsala and a visit to the archaeological site at Gamla Uppsala.
    [Show full text]
  • Plate 6 Epiphany by Marcus a Vincent 195641956 Oil on Panel 515111 X 20 1989 Courtesy Museum of Church History and Art
    plate 6 epiphany by marcus A vincent 195641956 oil on panel 515111 x 20 1989 courtesy museum of church history and art A woman in a moment of silent enlightenment begins to understand an eternal truth vincent paints the woman realisti- cally juxtaposing her mortality against an abstract background symbolizing the world of the spirit the paradox of silence in the arts and religion through paradoxical silences some artists convey their an- guish over heavens unresponsiveness in theracethefacethe facehace of evil but in religion silence often conveys gods presence and sorrow jon D green only by the form the pattern can words or music reach the stillness as a chinese jar still moves perpetually in its stillness T S eliot four quartets introduction T S eliotseliote stanza captures an essential ingredient in the theme of this essay the paradoxical relationship between the mute and the immutable between silence and stasis the jar is still silent and unmoving yet still moves us in its stillness qui- etude the word still suggests that both the mute and the motion- less have continuous being and silence is laden with messages that reach our emotions the simple paradox of silence is that what is not said can be more expressive than what is said this paradox of silence has universal applications in every culture and civilization silence weaves its way through gods com- municationmunication with his creations and throughout our attempt to communicate with the divine and with each other particularly through the arts for the purposes of this paper I1
    [Show full text]
  • Arcimboldo Challenge
    The Arcimboldo Challenge Giuseppe Arcimboldo, Earth, circa 1566, Private collection Giuseppe Arcimboldo, Vertumnus, 1591, Skokloster Castle, Sweden One wouldn’t normally describe Gari Melchers as a common garden-variety portrait painter, but compared to the portraits of the 16th century Italian portrait painter Giuseppe Arcimboldo (1526-1593), most modern portrait paintings are exceedingly dull. For those who have always loved pictorial puzzles and curiosities, Arcimboldo is appreciated for his witty and original grotesques. The mannerist painter possessed a singular imagination, churning out fantastical likenesses of his patrons from carefully orchestrated composite heads based on vegetal, fruit, animate and inanimate themes. Today his celebrated reputation is based entirely on only a dozen or so bizarre pictures. They serve as much more than just painted jokes or illusionism. While he may not have been in the same league as the master painters of his day, his art is a tour de force of the imagination, and his oil paintings are the highly accurate records of a consummate naturalist, incorporating an impressive range of identifiable sea life, botanicals and plants. We thought it might be great fun to see how inspiring his work might be for artists today, especially while we are already looking for something to do during the COVID-19 emergency. Giuseppe Arcimboldo, Spring, Royal Academy, Madrid Gari Melchers Home and Studio is issuing an Arcimboldo Challenge! Artists of all ages are invited to create and submit digital images of their own. Painted Arcimboldo-Style Portrait Or Arcimboldo-Style Portrait Constructed Out of Three- Dimensional Objects Here is what you need to do: Paint or construct your 2-D portrait out of any media, watercolor, acrylic, magazine clippings, etc.
    [Show full text]
  • Giuseppe Arcimboldo's Composite Portraits and The
    Giuseppe Arcimboldo’s Composite Portraits and the Alchemical Universe of the Early Modern Habsburg Court (1546-1612) By Rosalie Anne Nardelli A thesis submitted to the Graduate Program in Art History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada July, 2014 Copyright © Rosalie Anne Nardelli, 2014 Abstract At the Renaissance noble court, particularly in the principalities of the Holy Roman Empire, alchemical pursuits were wildly popular and encouraged. By the reign of Rudolf II in the late sixteenth century, Prague had become synonymous with the study of alchemy, as the emperor, renowned for his interest in natural magic, welcomed numerous influential alchemists from across Europe to his imperial residence and private laboratory. Given the prevalence of alchemical activities and the ubiquity of the occult at the Habsburg court, it seems plausible that the art growing out of this context would have been shaped by this unique intellectual climate. In 1562, Giuseppe Arcimboldo, a previously little-known designer of windows and frescoes from Milan, was summoned across the Alps by Ferdinand I to fulfil the role of court portraitist in Vienna. Over the span of a quarter-century, Arcimboldo continued to serve faithfully the Habsburg family, working in various capacities for Maximilian II and later for his successor, Rudolf II, in Prague. As Arcimboldo developed artistically at the Habsburg court, he gained tremendous recognition for his composite portraits, artworks for which he is most well- known today. Through a focused investigation of his Four Seasons, Four Elements, and Vertumnus, a portrait of Rudolf II under the guise of the god of seasons and transformation, an attempt will be made to reveal the alchemical undercurrents present in Arcimboldo’s work.
    [Show full text]
  • 4 January 2009 Tate Britain Teacher and Student Notes by Linda Bolton
    11 SEPTEMBER 2008 – 4 JANUARY 2009 TATE BRITAIN TEACHER AND STUDENT NOTES BY LINDA BOLTON INTRODUCTION Francis Bacon (1909–92) was one of the most important painters of the twentieth century and one of the very few British artists with a strong international reputation. He was a maverick who rejected the dominant practice of the time, abstraction, in favour of a distinctive and disturbing realism. This major exhibition displays Bacon’s work from his first masterpiece to works made shortly before his death. He was born in 1909 in Dublin to Anglo-Irish parents; his father was a racehorse trainer and his mother a steel and coal heiress. Bacon was a sickly child, he suffered from asthma and was allergic to the dogs and horses kept by his father. His lively and gregarious mother showed little interest in her son’s early sketches. Bacon’s closest childhood confidante was the family nursemaid, Jessie Lightfoot. They developed an intense bond and she lived with him at intervals long into Bacon’s adulthood, remaining one of his closest companions throughout his life. It was a peripatetic childhood as his family moved frequently between England and Ireland. The frequent upheavals he experienced as a result of this were to induce in Bacon a sense of displacement which is often referenced in his work. Bacon loved dressing up. As a shy child, his effeminate manner upset his father, who apparently had Bacon horsewhipped by their Irish groom, and banished him from the family home after finding his son dressed in his mother’s underwear, admiring himself in front of a mirror.
    [Show full text]
  • M I C H E L L E H a N D E L M
    M I c h e l l e H a n d e l m a n Guggenheim Fellow Born in Chicago, lives in New York Solo Exhibitions and Screenings 2016 Irma Vep, The Last Breath, screening & panel, International House, Philadelphia Beware The Lily Law, Site-specific film installation on transgender inmates, Eastern State Penitentiary, Philadelphia (on view since 2011) 2015 Irma Vep, The Last Breath, solo exhibition, The Henry Art Gallery, Seattle Irma Vep, The Last Breath, screening, Anthology Film Archives The Spectre of Musidora, Reading, Participant, Inc., New York The Spectre of Musidora, Live film and music performance with musician MV Carbon, Microscope Gallery, Brooklyn 2014 Irma Vep, The Last Breath, solo screening, Soho House, New York Triangle of Resistance, Live film and music performance with composer Miya Masaoka, Roulette, Brooklyn 2013 Irma Vep, The Last Breath, curated by Michael Rush, Broad Art Museum, Michigan 2012 Dorian, the wallpaper collection, Stephan Stoyanov Gallery, New York Dorian, a cinematic perfume, Dirty Looks Screening Series, Judson Church, New York Rehearsal for a Vamp, Momenta Art, Brooklyn, New York 2011 Dorian, a cinematic perfume, Arthouse at the Jones Center, Austin, Texas Dorian, a cinematic perfume, Art-Claims-Impulse, Berlin Beware the Lily Law, Eastern State Penitentiary, Philadelphia Personal Boundary, Flicker Lounge, Diverseworks, Houston 2009 Dorian, a cinematic perfume Participant, Inc, New York Dorian, a cinematic perfume Monkeytown, New York 2008 Inhalations, Inspirations, and Things I Forgot to Love, Issue Project
    [Show full text]
  • Masterpiece: Autumn, 1573 by Giuseppe Arcimboldo
    Masterpiece: Autumn, 1573 by Giuseppe Arcimboldo Pronounced: Gee-you-she-pay Ar-cheem bowl-doh Keywords: portrait, texture, collage Grade: Kindergarten Month: November Activity: You are what you eat… Meet the Artist: He was born in Italy in 1527 to an influential family.He eventually becoming well known for his paintings. Many famous and wealthy people paid him to paint their portraits, or pictures of themselves. With time, he became a very odd portraitist. He adopted an odd and short lived style called mannerism. This style was in insult to the High Renaissance painters of the day, but he still got work. He became particularly famous after his series called seasons. Summer is one of them. This series shows a man made up of whatever that season had to offer. So, in Autumn, the man is made up of fruit from the fall, such as apples, grapes, and pumpkins. In Winter, The man is made up of a tree that has shed all of it’s leaves. He chose specific textures in the plants to portray people. His work resembles modern art. It could easily be a collage, or a painting made up of pieces of paper, put together to create art. He lived a busy and full life, dying in 1593. Possible Questions: o What items can you identify in Autumn? o Does it look textured to you, does it look like you could feel the skins of the fruit and vegetables? o Does it look like a painting that is several of hundreds of years old, or does it look like it could be an illustration in one of your books? o Do you like it? Why? Why not? o Do you think it is creative? o Would you like a portrait made of you in this style? Masterpiece: Autumn, 1573 by Giuseppe Arcimboldo Activity: You are what you eat… Materials Needed: White paper, food color copies, scissors, pencils, glue sticks Process: 1.
    [Show full text]