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Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
Zeller Int All 6P V2.Indd 1 11/4/16 12:23 PM the FIGURATIVE ARTIST’S HANDBOOK
zeller_int_all_6p_v2.indd 1 11/4/16 12:23 PM THE FIGURATIVE ARTIST’S HANDBOOK A CONTEMPORARY GUIDE TO FIGURE DRAWING, PAINTING, AND COMPOSITION ROBERT ZELLER FOREWORD BY PETER TRIPPI AFTERWORD BY KURT KAUPER MONACELLI STUDIO zeller_int_all_6p_v2.indd 2-3 11/4/16 12:23 PM Copyright © 2016 ROBERT ZELLER and THE MONACELLI PRESS Illustrations copyright © 2016 ROBERT ZELLER unless otherwise noted Text copyright © 2016 ROBERT ZELLER Published in the United States by MONACELLI STUDIO, an imprint of THE MONACELLI PRESS All rights reserved. Library of Congress Cataloging-in-Publication Data Names: Zeller, Robert, 1966– author. Title: The figurative artist’s handbook : a contemporary guide to figure drawing, painting, and composition / Robert Zeller. Description: First edition. | New York, New York : Monacelli Studio, 2016. Identifiers: LCCN 2016007845 | ISBN 9781580934527 (hardback) Subjects: LCSH: Figurative drawing. | Figurative painting. | Human figure in art. | Composition (Art) | BISAC: ART / Techniques / Life Drawing. | ART / Techniques / Drawing. | ART / Subjects & Themes / Human Figure. Classification: LCC NC765 .Z43 2016 | DDC 743.4--dc23 LC record available at https://lccn.loc.gov/2016007845 ISBN 978-1-58093-452-7 Printed in China Design by JENNIFER K. BEAL DAVIS Cover design by JENNIFER K. BEAL DAVIS Cover illustrations by ROBERT ZELLER Illustration credits appear on page 300. 10 9 8 7 6 5 4 3 2 1 This book is dedicated to my daughter, Emalyn. First Edition This book was inspired by Kenneth Clark's The Nude and Andrew Loomis's Figure Drawing for All It's Worth. MONACELLI STUDIO This book would not have been possible without the help of some important peo- THE MONACELLI PRESS 236 West 27th Street ple. -
Rose Art Museum's Sam Hunter Emerging Artists Fund Committee
FOR IMMEDIATE RELEASE Contact: Nina J. Berger, [email protected] 617.543.1595 High-resolution images available on request ROSE ART MUSEUM’S SAM HUNTER EMERGING ARTISTS FUND COMMITTEE SELECTS TWO WORKS BY B. INGRID OLSON TO ENTER THE COLLECTION (Waltham, MA) –The Rose Art Museum has announced that work by B. Ingrid Olson has been selected for acquisition by the Sam Hunter Emerging Artists Acquisition Fund Committee. Inspired by the legacy of the Rose’s founding director, Sam Hunter, the fund is generated annually and administered by a committee that aims to collect the work of promising artists on the cusp of recognition. Two works by Chicago-based Olson–Arched fold, bent of another movement, 2017 and Firing distance, scission, 2017–have been acquired for the Rose Art Museum’s collection. Straddling sculpture and photography, Olson’s work plays fascinating games with perception and vision. Olson was recently featured in a two-person exhibition at The Renaissance Society in Chicago, and her first solo museum show will open at the Albright-Knox Art Gallery in March 2018. Her work will also be included in Being: New Photography 2018, at the Museum of Modern Art, New York (March 2018) and in a group show at the MCA Chicago, Picture Fiction: Kenneth Josephson and Contemporary Photography (April 28– December 30, 2018). “Ingrid is an extraordinary photographer, pushing the bounds of the medium while engaging with pressing issues of gender identity and representation,” say Leslie Aronzon, a member of this year’s committee. “Her work fits in well with the Rose collection, and we are so excited to add her impressive and fresh works to our permanent collection.” Joining Aronzon on this year’s committee are Kim Allen-Niesen, Steven Bunson, Tory Fair, Betsy Pfau, and Lisa Wyett. -
The Secrets of Pangaea Paintings by James Waller
THE SECRETS OF PANGAEA PAINTINGS BY JAMES WALLER THE SECRETS OF PANGAEA PAINTINGS BY JAMES WALLER THE LOFT GALLERY CLONAKILTY 5 JULY - 4 AUGUST 2018 ORIGIN AND MYTH The Secrets of Pangaea is essentially an exploration of the figure in the landscape and marks James Waller’s first foray into large-scale narrative oil painting, a journey inspired, in large part by the Norwegian master Odd Nerdrum, whom he stud- ied with in August and September 2017. The series revolves around two major compositions, The Children of Lir and The Secrets of Pangaea, and includes smaller works created whilst studying in Norway. The starting points for the major compositions are found in Greek and Irish mythology and include figures in states of both dramatic tension and Arcadian repose. The Secrets of Pangaea recalls the Tahitian paintings of Paul Gauguin, Waller’s first love as a young painter. The brooding sense of melancholy and langour, and the playing of music are symbiotic with Gauguin’s world. The approach to tone and colour, however, are very much informed by his immersion in Odd Nerdrum’s work and the Classical figurative approach. Several other pieces, such as Boy and Moon, Reverie and The Song of Pan- gaea are either derived from or studies for Secrets. Where Secrets only tangentially references Greek figures such as Pan and the Mino- taur, The Children of Lir explicitly references the famous Irish tale of the same name. It does not attempt to illustrate the story, but rather presents both bird and human form together, the human figures in a state of transformative tension, the swans in a state of lateral collapse (death?) and purposeful movement. -
David Smith Sculpture on View
FOR RELEASE Wednesday, Sept. 11, 1957 Press preview: THE MUSEUM OF MODERN ART Tuesday, Sept. 10, 1957 11 WEST 53 STREET, NEW YORK 19, N. Y. 11 a.m. - h p.m. TELEPHONE: CIRCLE 5-8900 No. 8^ SCULPTURE BY DAVID SMITH ON VIEW AT MUSEUM Ihe first one-nan exhibition of the sculpture of David Smith will be on view at the Museum of Modern Art, 11 West 53 Street, from September 11 through October 20. Or ganized and installed by Sam Hunter, Associate Curator of the Department of Painting and Sculpture, it includes J>k sculptures and a limited number of paintings and draw ings. Nine sculptures in the show have never before been exhibited: Chicago II and The Five Spring of 1956; and Sentinel III, Sentinel IV, 0 Drawing, Pilgrim, Portrait of a Lady Painter, Detroit Queen and Personage of May, all from 1957• Covering the period from 1936 to the present, but concentrating on the last decade of the artist's activity, the exhibition is part of a series devoted to middle-generation artists in America and Europe, entitled "Artists in Mid-Career." Now 51, David Smith has been one of the important innovators in contemr porary American sculpture, and a pioneer in welded iron and steel constructions. His first iron sculpture was made in 1933. Mr. Hunter says in the catalog* accompanying the exhibition that in his use of metals, "Smith is distinguished from his American contemporaries...by an adherence to strict forms, by his almost exclusive use of the more obdurate materials, iron and steel, and by a basically constructivist esthetic, which is re lieved -
Laurence Des Cars
Laurence des Cars (born in 1966) general heritage curator, was appointed President of the Public Establishment of the Musée d’Orsay et de l’Orangerie in March 2017 by the President of the French Republic, at the proposal of the Minister of Culture. From 1994 to 2007, Laurence des Cars was a curator at the musée d’Orsay, then from 2007 to 2014, she was Scientific Director of Agence France-Muséums, the French operator in charge of developing the Louvre Abu Dhabi. In January 2014, Laurence des Cars was appointed Director of the Musée de l’Orangerie. A specialist in 19 th and early 20 th century art, Laurence des Cars curated many exhibitions including Édouard Vuillard (Washington, National Gallery of Art; Montreal, Museum of Fine Arts; Paris, Galeries nationales du Grand Palais, London, Royal Academy of Art, 2003-2004); Gustave Courbet (Paris, Galeries nationales du Grand Palais; New York, The Metropolitan Museum of Art; Montpellier; Musée Fabre, 2007-2008); Jean-Léon Gérôme (Los Angeles, Getty Museum; Paris, Musée d’Orsay; Madrid, Museo Thyssen, 2010-2011); Louvre Abu Dhabi. Birth of a Museum (Paris, Musée du Louvre; Abu Dhabi, Saadiyat Al Manarat, 2014); Sade. Attacking the Sun (Paris, Musée d’Orsay, 2014-2015); Apollinaire. The Eyes of the Poet (Paris, Musée de l’Orangerie, 2016). She published Nineteenth Century French Art (1819-1905) (Flammarion, 2006), edited by Henri Loyrette, former President-Director of the Musée du Louvre, and in collaboration with Sébastien Allard, Director of Paintings at the Musée du Louvre. She edited the book “Louvre Abu Dhabi, Birth of a Museum” (Flammarion, Musée du Louvre, 2013), and was one of the curators for the “Louvre Abu Dhabi, Birth of a Museum” exhibition presented at the Musée du Louvre from April to July 2014. -
The Theories of Hans Hofmann and Their Influence on His
THE THEORIES OF HANS HOFMANN AND THEIR INFLUENCE ON HIS WEST-COAST CANADIAN STUDENTS by ROGER LEE B.A., University of British Columbia, 1964 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Fine Arts We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1966 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission. Department of ^IXSL r\ V \<, The University of British Columbia Vancouver 8, Canada Date f\^il *3 j -13 66 TABLE OF CONTENTS CHAPTER PAGE I. HANS HOFMANN, A SHORT BIOGRAPHICAL STUDY . 1 II. THE THEORIES OF HANS HOFMANN 8 III. THE WEST-COAST CANADIAN STUDENTS OF THE HANS HOFMANN SCHOOL OF ART 91 ILLUSTRATIONS 127 BIBLIOGRAPHY 131 ABSTRACT The topic of my thesis is an analysis of Hans Hofmann's theoretical writings on art and their possible influence on his West-Coast Canadian students. I have included a short biography of Hofmann in order that the reader may become aware of the events that led up t o his theoretical development. Through all available published material on and by Hans Hofmann, I have endeavoured to analyze and to explain his theories which are often quoted but seldom understood. -
Figurative Realism and Workaday Culture. Perry Walter Johnson East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2007 And This, Our Measure: Figurative Realism and Workaday Culture. Perry Walter Johnson East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art Practice Commons, and the Fine Arts Commons Recommended Citation Johnson, Perry Walter, "And This, Our Measure: Figurative Realism and Workaday Culture." (2007). Electronic Theses and Dissertations. Paper 2151. https://dc.etsu.edu/etd/2151 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. And This, Our Measure Figurative Realism and Workaday Culture A thesis presented to the faculty of the Department of Art and Design East Tennessee State University In partial fulfillment of the requirements for the degree Master of Fine Arts by Perry Johnson December 2006 M. Wayne Dyer, Chair Ralph Slatton David Dixon Keywords: painting, alienation, conformity, machine, figurative ABSTRACT And This, Our Measure Figurative Realism and Workaday Culture by Perry Johnson Man has created vast and powerful systems. These systems and their associated protocols, dogmas, and conventions tend to limit rather than liberate. Evaluation based on homogeneity threatens the devaluation of our humanity. This paper and the artwork it supports examine contemporary culture and its failings in the stewardship of the humanist ideal. -
Les Préraphaélites, Modernistes Et Réactionnaires Muriel Pécastaing-Boissière Maître De Conférence En Civilisation Britannique À L’Université De Paris IV-Sorbonne
Les Préraphaélites, modernistes et réactionnaires Muriel Pécastaing-Boissière Maître de conférence en civilisation britannique à l’université de Paris IV-Sorbonne En septembre 1848, alors que l'Europe était en pleine effervescence révolutionnaire, sept jeunes gens farouchement opposés aux conventions de la Royal Academy de Londres fondèrent la Confrérie Préraphaélite. Parmi eux se trouvaient John Everett Millais, William Holman Hunt et Dante Gabriel Rossetti, bientôt rejoints par William Morris et Edward Burne-Jones. Influencés par le Gothic Revival et les théories esthétiques de John Ruskin ainsi que par les réflexions morales et religieuses de leur temps, les Préraphaélites choisirent de renouveler la peinture britannique en s'inspirant d'un art médiéval idéalisé. Ils rejetèrent en effet l'enseignement de Raphaël et les règles de la représentation nées de la Renaissance pour leur préférer les primitifs italiens – d'où leur nom – et le naturalisme. Nous avons demandé à Muriel Pécastaing-Boissière en quoi ce mouvement qui semblait réactionnaire put scandaliser et bouleverser les milieux victoriens. Réalisme archaïsant et néogothique Dans les années 1830 et 1840, la peinture victorienne était fortement influencée par l'art du roman et les toiles narratives, moralisatrices et souvent mièvres de David Wilkie, William Mulready ou William Powell Frith rencontraient un immense succès. Prisonnier des conventions, répétitif et victime d'un enseignement académique, l'art pictural était dans l'impasse. Cependant, deux événements artistiques annoncèrent bientôt la révolte préraphaélite. Déjà, nombre d'artistes et d'intellectuels victoriens plaidaient pour un renouveau gothique, l'art médiéval étant perçu comme un modèle de sincérité et de liberté. Après l'incendie des Maisons du Parlement de 1834, le choix des peintres chargés de la réalisation des fresques intérieures fut confié à une commission présidée par le Prince Albert, d'origine germanique et grand collectionneur de Primitifs italiens. -
Jericho and the Pre-Raphaelites
1 Jericho and the Pre-Raphaelites John William Waterhouse, The Lady of Shallot The past is not dead, it is living in us, and will be alive in the future which we are now helping to make. William Morris Few people are aware that the area of Oxford known as Jericho has a number of striking connections with the Pre-Raphaelite Brotherhood which, as well as being the only British art movement to take on international significance, has claims to being the best-loved art movement of all. The Pre-Raphaelites' patron Thomas Combe, in company with his wife Martha, presided over what became a kind of "good-humoured salon" [Jon Whiteley, 'Oxford and the Pre-Raphaelites', Oxford: Ashmolean Museum, 1989, p. 26] in Jericho at the Combe's residence in Walton Street and the existence of this Jericho base led to the creation of a series of memorable paintings which were first of all painted, then hung and exhibited in Jericho. In 1850 Combe, who was then printer to the university, came across John Everett 2 Millais in Botley Wood where, together with Charles Collins - Wilkie's brother - he was engaged in painting. Combe took an interest in what they were both doing and invited them back to Jericho for lunch. Millais and Collins declined the invitation on the grounds that they were too busy. However, undeterred, Combe sent them over a hamper of food on his return and this was how the relationship began - one which would establish Jericho as a stamping-ground for Collins and Millais, later to be followed by other members of the Pre-Raphaelite Brotherhood. -
The Artist As Social Critic
THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON by Andrea Tarantino A Thesis/Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Masters of Social Science Emphasis in American History May, 2005 THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON by Andrea Tarantino Approved by the Master’s Thesis Committee: Rodney Sievers, Major Advisor Date Gayle Olson-Raymer, Committee Member Date Delores McBroome, Committee Member Date Delores McBroome, Graduate Coordinator, MASS – Teaching American History Cohort Date Donna E. Schafer, Dean for Research and Graduate Studies Date ABSTRACT Artistic expression reflects and influences the time, place and culture from which it springs. Many artists were inspired by the revolutionary optimism prevalent in the early twentieth century and viewed their art as a tool for changing society. In this study I plan to show how some artists have been politically active, chronicling their times and presenting a vision for a better, reformed America. This project focuses on two artists who represented the American experience during the first half of the twentieth century. Both had long careers and all were concerned with the social and economic issues of their day. John Sloan was a member of the so called Ashcan school of art. He portrayed the life of the common worker at the turn of the century. Sloan’s illustrations for the radical journal The Masses were among the most expressive pieces of political propaganda ever made in this country. Thomas Hart Benton was primarily concerned with the social and economic struggles of the working class person, especially during the Great Depression and New Deal era. -
Laurence Des Cars Kaywin Feldman
Laurence Des Cars President, Musée d’Orsay and Musée de l'Orangerie, France English Laurence des Cars (born in 1966) general heritage curator, was appointed President of the Public Establishment of the Musée d’Orsay et de l’Orangerie in March 2017. A specialist in 19th and early 20th century art, Laurence des Cars was a curator at the Musée d’Orsay from 1994 to 2007; from 2007 to 2014, she was Scientific Director of Agence France-Muséums. In January 2014, Laurence des Cars was appointed Director of the Musée de l’Orangerie. She published Nineteenth Century French Art (1819-1905) (Flammarion, 2006), edited by Henri Loyrette and in collaboration with Sébastien Allard. She edited Louvre Abu Dhabi, Birth of a Museum (Flammarion, 2013), and was one of the curators for the “Louvre Abu Dhabi, Birth of a Museum” exhibition presented at the Musée du Louvre in 2014. Since 2017, Laurence des Cars has completely renewed and revitalised the world-class Impressionism and Post-Impressionism collections of the Musées d’Orsay et de l’Orangerie, rolling out a programme of exhibitions, live shows and a new presentation of the works oriented towards all audiences, and open to the artists of today. Laurence des Cars is a Chevalier de la Légion d’Honneur, Chevalier of the National Order of Merit and Officer of Arts and Letters. Kaywin Feldman Director, National Gallery of Art, Washington, D.C., USA English Kaywin Feldman Director, National Gallery of Art Kaywin Feldman (b. 1966, Boston, MA, USA) has an MA in Art History from the Courtauld Institute of Art, University of London, an MA in Museum Studies from the Institute of Archaeology at the University of London, and a BA, Summa cum laude, in Classical Archaeology from the University of Michigan.