Newsletter-November-2018
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Danmarks Kunstbibliotek the Danish National Art Library
Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk D 53.683 The Ehrich Galleries GDlö ilaøtrrø” (Exclusively) Danmarks Kunstbibliotek Examples French SpanS^^ Flemish Dutch PAINTINGS 463 and 465 Fifth Avenue At Fortieth Street N E W YO R K C IT Y Special Attention Given to the Expertising, Restoration and Framing o f “ (®li fHastrrii” EXHIBITION of CONTEMPORARY SCANDINAVIAN ART Held under the auspices of the AMERICAN-SCANDINAVIAN SOCIETY Introduction and Biographical Notes By CHRISTIAN BRINTON With the collaboration of Director KARL MADSEN Director JENS THUS, and CARL G. LAURIN The American Art Galleries New York December tenth to twenty-fifth inclusive 1912 SCANDINAVIAN ART EXHIBITION Under the Gracious Patronage of HIS MAJESTY GUSTAV V King of Sweden HIS MAJESTY CHRISTIAN X Copyright, 1912 King of Denmark By Christian Brinton [ First Impression HIS MAJESTY HAAKON VII 6,000 Copies King of Norway Held by the American-Scandinavian Society t 1912-1913 in NEW YORK, BUFFALO, TOLEDO, CHICAGO, AND BOSTON Redfield Brothers, Inc. New York INTRODUCTORY NOTE h e A m e r i c a n -Scandinavian So c ie t y was estab T lished primarily to cultivate closer relations be tween the people of the United States of America and the leading Scandinavian countries, to strengthen the bonds between Scandinavian Americans, and to advance the know ledge of Scandinavian culture among the American pub lic, particularly among the descendants of Scandinavians. -
Becoming Edvard Munch: Influence, Anxiety, and Myth
Janet Whitmore exhibition review of Becoming Edvard Munch: Influence, Anxiety, and Myth Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Citation: Janet Whitmore, exhibition review of “Becoming Edvard Munch: Influence, Anxiety, and Myth,” Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009), http://www.19thc- artworldwide.org/autumn09/becoming-edvard-munch-influence-anxiety-and-myth. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Whitmore: Becoming Edvard Munch: Influence, Anxiety, and Myth Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Becoming Edvard Munch, Influence, Anxiety and Myth The Art Institute of Chicago 14 February-26 April 2009 Catalogue: Becoming Edvard Munch, Influence, Anxiety and Myth Jay A. Clarke New Haven and London: Yale University Press, 2009. 232 pages; 245 color and 48 b/w illus; chronology, checklist of exhibition; bibliography; index of works. $50.00 ISBN: 978-0-300-11950-3 We all know the script: unstable artistic personality suffers through self-destructive life while producing tormented, but brilliant, artwork. It is the stuff of La Bohème, Lust for Life, and endless biographies of [pick one] Vincent van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Frida Kahlo, Jackson Pollack, Andy Warhol, etc., etc., etc. The cliché of the romantic suffering artist has become a signature trope of western art history as well as popular culture. -
Indledning Inledning
Indledning Inledning Skagen, som er Danmarks nordligste punkt, Skagen, som är Danmarks nordligaste punkt, har gennem årene tiltrukket mange kunstnere har genom åren dragit till sig många konstnä - på grund af de særlige lysforhold og de male - rer på grund av de säregna ljusforhållandena riske motiver i landskab og befolkning. I årene och de malerimässiga motiven i landskap och fra ca. 1875-1920 var her en ganske særlig pro - befolkning. Ungefär kring 1875-1920 fanns här duktiv og dygtig 'Kunstnerkoloni' og mange en helt enastående produktiv och duktig af disse malere er stadig populære og kendt konstnärskoloni, och många av de målare som verden over. ingick i den är fortfarande omtyckta och I Skagen fandt de mange malere og for - kända i hela varlden. fat tere, trods fælles motivkreds og inspiration, I Skagen finner de många målarna och hver sin stil og kolorit og skildrede forskellige for fattarna, trots gemensam motivkrets och nuancer af det farverige liv i det lille lokal- inspiration, var sin stil och kolorit. De skildrar samfund. Kunstnerkolonien blev en base med olika nyanser i det färgstarka livet bland orts - et fælles grundlag i arbejdet og diskussion- befolkningen och i konstnärskolonin, som blir erne om de nye strømninger indenfor kunst en gemensam grund för arbete och diskussio - og politik. Særligt gjorde impressionisterne – en ner med utgangspunkt från de nya ström ning - gruppe franske malere: Monet, Degas, Renoir, arna inom konsten och politiken. I synner het Sisley, Pissaro m.fl. et stort indtryk på bl.a. gör impressionisterna – en grupp franska må - Krøyer og Tuxen. Disse franskmænd gik imod lare: Monet, Degas, Renoir, Sisley, Pissarro det officielle kunstsyn og viste helt nye udtryk med flera, som opponerar sig mot den offici - både i motiver og farveanvendelse. -
Og Saa Kommer Vi Til Brevskriveren Selv, Jo Tak Hun Har Det Upaaklageligt»
«Og saa kommer vi til brevskriveren selv, jo tak hun har det upaaklageligt» Kitty Kiellands brev til Dagmar Skavlan, Eilif Peterssen og Arne Garborg Sofie Steensnæs Engedal NOR4395 Masteroppgave i nordisk, særlig norsk, litteraturvitenskap Institutt for lingvistiske og nordiske studier Det humanistiske fakultet UNIVERSITETET I OSLO Vår 2019 II «Og saa kommer vi til brevskriveren selv, jo tak hun har det upaaklageligt» Kitty Kiellands brev til Dagmar Skavlan, Eilif Peterssen og Arne Garborg Sofie Steensnæs Engedal Selvportrett 1887 Kitty L. Kielland/Eier: Nasjonalmuseet III IV © Sofie Steensnæs Engedal 2019 «Og saa kommer vi til brevskriveren selv, jo tak hun har det upaaklageligt». Kitty Kiellands brev til Dagmar Skavlan, Eilif Peterssen og Arne Garborg Sofie Steensnæs Engedal http://www.duo.uio.no Trykk: Reprosentralen, Universitetet i Oslo V VI VII Sammendrag Kitty Lange Kielland (1843–1914) var både en engasjert samfunnsdebattant og den første store norske kvinnelige landskapsmaleren. I denne masteroppgaven foretar jeg en tematisk analyse av brevene hennes til Dagmar Skavlan, Eilif Peterssen og Arne Garborg, ved å se på hvordan hun skriver om kropp, helse, sosialt liv, kunstarbeidet, vær, geografi, kvinnesaken og selve brevskrivingen. Den russiske litteraturviteren og filosofen Mikhail Bakhtin hevdet at ingen ytringer står isolerte, og dette kommer til syne i analysen min, som viser at hun er en svært selvbevisst brevskriver som forholder seg ulikt til de tre mottakerne og skriver forskjellig til søsteren, maleren og forfatteren. Ved å ta utgangspunkt i disse brevene viser jeg en større bredde hos Kitty Kielland som brevskriver enn det jeg mener har blitt lagt frem før. Til tross for å ha vært fremtredende på flere arenaer finner jeg at Kitty Kielland til stadighet i ettertidens fremstillinger blir satt i relasjon til menn, med spesielt en interesse for å grave i kjærlighetslivet hennes. -
Elenco Opere Da Dahl a Munch. Romanticismo, Realismo E Simbolismo Nella Pittura Di Paesaggio Norvegese
Elenco opere Da Dahl a Munch. Romanticismo, realismo e simbolismo nella pittura di paesaggio norvegese I. Romanticismo 1. Johan Christian Dahl Veduta da Pimonte nei pressi di Castellamare di Stabia, 1820 Olio su tela, cm 44 x 73,5 Firmato e datato in basso a sinistra: “JDahl d. 4-5 Septbr 1820” Oslo, Nasjonalgalleriet, NG. 766 2. Johan Christian Dahl Caserma a Pizzofalcone nei pressi di Napoli, 1820 Olio su carta applicata su tela, cm 29,5 x 44 Firmato e datato in basso a destra: “JDahl Neapel d. 27 Decbr. 1820” Oslo, Nasjonalgalleriet, NG. 773 3. Johan Christian Dahl Litorale nei pressi di Posillipo, 1821 Olio su carta applicata su tela, cm 23,5 x 35 Firmato e datato in basso a sinistra: “JDahl d. 14 Janr. 1821. Neapel” Oslo, Nasjonalgalleriet, NG. 372 4. Johan Christian Dahl Inverno nel fiordo di Sogn, 1827 Olio su tela, 61,5 x 75,5 Firmato e datato in basso a destra: “JDahl Febr 1827.” Oslo, Nasjonalgalleriet, NG. 3138 5. Johan Christian Dahl Velieri presso la costa di Bergen, 1827 Olio su tela, cm 45 x 68,5 Firmato e datato in basso a destra: “Dahl 1827”. Firenze, Appartamenti Reali di Palazzo Pitti, inv.OdA 1911 nr. 854. 6. Johan Christian Dahl La fattoria Miland nella valle di Vestfiordallen, 1829 Olio su tela, cm 45 x 68,5 Firmato e datato in basso a destra: “Dahl 1829” Firenze, Appartamenti Reali di Palazzo Pitti, inv.OdA 1911 nr. 853 7. Johan Christian Dahl Naufragio sulla costa norvegese, 1832 Olio su tela, cm 71,5 x 111 Firmato e datato in basso a sinistra: “JDahl 1832” Oslo, Nasjonalgalleriet, NG. -
Theodor Kittelsen: the People's Artist
The People’s Artist He may not have created the trolls, but he showed us what they looked like. By Mark Littlefield A detail of Kittelsen’s oil painting of Ashlad looking toward the Soria Moria castle — from 1900, 45,4 x 68,8 cm. 6 SCANDINAVIAN REVIEW AUTUMN 2018 AUTUMN 2018 SCANDINAVIAN REVIEW 7 Kittelsen painted this oil-on-canvas self-portrait in 1891. It measures 60 x 45.5 cm and is found at Norway’s National Gallery in Oslo. Opposite page: Inga and Theodor Kittelsen in a leisurely moment, ca. 1909. SK NORWEGIANS OF ANY age who is their favorite native artistA and the answer will most often be Theodor Kittelsen. Not the greatest artist, mind you, but the one closest to the hearts of his countrymen. For more than century, he has been familiar to virtually every Norwegian since childhood. His fanciful depictions of Norway’s ubiquitous trolls have enchanted, and frightened, many a child and implanted indelible memories that last through adulthood. Kittelsen was born in 1857 in the little town of Kragerø on the extremely rugged coast of southernmost Norway. Thus, his formative years coincided with Norway’s golden age of learning and creativity—in the arts, literature, music, science and exploration. His father died when he was very young, leaving his widow with eight children to raise under extremely difficult circumstances. Sadly, Theodor was born into poverty and never really managed to escape it. From an early age he showed an unusual talent for drawing, which his mother encouraged, and it wasn’t long before he would almost never again be seen without a pencil and paper. -
Nikolai Astrup and the Modernist Project Maryanne Stevens
Nikolai Astrup and the Modernist Project MaryAnne Stevens fig.1 To understand Astrup, one has to see his farm Sandal [Astruptunet], Astrup and his friends and supporters, historic photographic Panoramic photograph of Astruptunet, 2015 the houses, the sculpting of the terrain—the interior decorations of records and Astrup’s own pictorial accounts of the farmstead as the houses are reminiscent of nothing else in this rural community. well as interviews with surviving members of the artist’s family Astrup is a wizard! and friends. This rich and deep understanding of the develop- Ludvig Ravenstein ment of the property over a period of fifteen years permits Astrup’s life’s project to be recognised as the product of towering Thus Ludvig Ravenstein (1877–1958), artist, relation of Edvard ambition which delivered a landscape project of local, national Munch and friend of Nikolai Astrup, responded with awe to a and international significance. visit which he undertook to Sandalstrand in the company of Nikolai Astrup exhibited an early interest in plants and horti- Astrup’s long-time friend and supporter, the distinguished author culture which makes his ultimate engagement with the horticul- Hans J Kinck (1865–1926), in the first part of July, 1922. What they tural challenges of Sandalstrand a logical outcome. Scattered experienced was a miracle of transformation undertaken over throughout three notebooks recording potential motifs for paint- the preceding decade by Astrup. A wholly unpromising parcel of ings, kept between 1898 and 1909, Astrup had demonstrated land had become a beautifully crafted terrain and productive intense interest in, sensitivity to and an intimate knowledge of farmstead which Astrup was to refer to as ‘paradise’. -
Downloaden Download
Brian Dudley Barrett Yankee Artists at Skagen in 1882 nyone acquainted with the history of European art in the late nineteenth century will be aware of the invasion of Anorthern France by American enthusiasts, both of the Left Bank and in the many artists’ villages that were beginning to spring up around the periphery of Brittany, Normandy and the Forest of Fontainebleau, especially after the success of the School of Barbi- zon.1 Less familiar, yet substantial in number, was their artistic ‘colonisation’ northwards at least as far as Amsterdam. Approxi- mately one quarter of all participants in the many Dutch rural artists’ colonies were American, seen in the popularity of villages such as Katwijk-aan-zee, Laren and Volendam. This percentage in- creased with the formation of ‘summer-schools’ in hamlets such as Rijksoord and Egmond-aan-zee, set in the North Sea sand-dunes.2 Egmond appeared to be the most northerly limit of such Yankee group migrations, until now. Less well-known, if at all, is one single incursion into that 1 Sellin, David, American Artists in Brittany and Normandy, 1860-1910 (Phoenix: Phoenix Art Museum, 1982). Pont-Aven and Concarneau had particularly high concentrations of American painters, yet, as early as 1850, a surprising number lived and worked in Barbizon. 2 Stott, Annette, Hollandgekte – de onbekende Nederlandse periode in de Amerikaanse kunst en cultuur (Amsterdam: Olifant, 1998). © TijdSchrift voor Skandinavistiek vol. 30 (2009), nr. 2 [ISSN: 0168-2148] 256 TijdSchrift voor Skandinavistiek quintessential Nordic artists’ colony at Skagen, what Holger Drachmann called an ‘El Dorado for artists.’3 What is particularly remarkable, and not publicly noted before, is that not only did a trio of Yankee painters lodge there, in the famous Brøndum’s Hotel, but they visited it at the very moment of Skagen’s greatest artistic blossoming, the autumn of 1882, when P.S.Krøyer, the modern ‘Aladdin’, arrived to boost the group’s core formation of painters Christian Krohg, Viggo Johansen, Karl Madsen, and newly-weds Anna and Michael Ancher. -
The Critic's Notebook
Dispatch April 27, 2021 09:31 am The Critic’s Notebook by The Editors This week: On art at the Frick, John Lees, Wilton House & more. John Lees, House in Denville, 1976–2020, Oil on canvas, Betty Cuningham Gallery. Art: The Sleeve Should Be Illegal & Other Reflections on Art at the Frick(DelMonico Books/The Frick Collection): At its new home on Madison Avenue or its true home on Fifth, The Frick Collection promotes an intimate engagement with some of the greatest works of art. Whether that intimacy should be shared with others is the question posed by The Sleeve Should be Illegal & Other Reflections on Art at the Frick. Edited by Michaelyn Mitchell, with an introduction by Adam Gopnik, the new book brings together sixty-two contributors waxing ekphrastic on Frick masterpieces from Bellini’s to Whistler’s. We do not live in a golden age for ekphrasis, at least judging by many of the contributions here. Do I need to know about Lena Dunham’s infrequent showering schedule in reading about Greuze, or where Jonathan Letham went to “blow joints on boulders” before gazing at Holbein’s Sir Thomas More? Matched with fine illustrations, the book’s often desultory observations at least give us license to indulge in our own visual reveries. After all, when it comes to art, there are no stupid questions. When it comes to writers, well, that’s another matter. —JP John Lees, Pond, 1991–1993; 2011–2012, Oil on Canvas, Betty Cuningham Gallery. “John Lees: New Work,” at Betty Cuningham Gallery (through May 22): Looking as if they’ve been painted up, sanded down, rubbed into, scraped away, tossed about, kicked around, and painted up again (and again and again), John Lees’s paintings, on view now at Betty Cuningham Gallery on the Lower East Side, are unkempt to the extreme. -
Anders Zorn: a European Artist Seduces America, Exhibition
Modern Impressionist or Idyllic Genre Painter? Zorn’s European Fame from an Italian Perspective ALEXANDER AUF DER HEYDE IN 1887, WHEN THE DIRECTORS OF THE UFFIZI GALLERY IN FLORENCE decided to enlarge their collection of self-portraits with the most representative faces of modern Scandinavian art, they asked the Italian Consulate in Stockholm to compile the names of the best-known living painters in Sweden and Norway.1 Eilif Peterssen and Anders Zorn were chosen to represent their countries together with the Danish painter Peder Severin Krøyer. Zorn’s dominant position in the contemporary Swedish art world had recently been acknowledged by the government, as we can see from the purchase of his watercolor Our Daily Bread (fig. 15), a naturalistic scene of peasants, for the Nationalmuseum in Stockholm. Zorn was asked by the Uffizi directors to execute a portrait of himself, which he eventually completed in 1889. But even by this time Italians were not familiar with the body of artwork behind this face. They did not know much more in 1891, when the artist was described as the “victor of the day among young Scandinavian painters” in the Milan journal Cronaca d’Arte.2 We can regard the Self-Portrait in the Uffizi, then, as something of a curiosity, an incubating seed of what was to become Zorn’s early European fame (cat. 15 and fig. 13). It was not until 1895—on the occasion of the first Biennale in Venice—that the Italian public was able truly to confront Zorn and Swedish painting. But before discussing this Italian chapter of the artist’s critical reception, we must pause to take a look at his reputation in France, Germany, and Austria, something that has not been undertaken before. -
Lives in Painting
LIVES IN PAINTING John Scales Avery March 5, 2020 2 Contents 1 PREHISTORIC PAINTING 9 1.1 Out of Africa . .9 1.2 Cave painting . .9 2 PAINTING IN ANCIENT EGYPT 17 2.1 The religion of ancient Egypt . 17 2.2 Some examples of ancient Egyptian painting . 18 3 PAINTING IN ANCIENT ROME 23 3.1 Pompeii . 23 3.2 Frescos and portraits . 23 4 CHINESE LANDSCAPE PAINTING 29 4.1 Some examples of traditional Chinese painting . 29 4.2 Calligraphy as an art-form . 33 5 PERSIAN AND MUGHAL PAINTING 37 5.1 Persian miniatures . 37 5.2 The Mughal Empire . 41 5.3 Mughal painting . 41 6 RUSSIAN RELIGIOUS ART 47 6.1 Saint Andrei Rublev . 47 6.2 Russian icons . 51 7 THE ITALIAN RENAISSANCE 55 7.1 Giotto . 55 7.2 Botticelli . 58 7.3 Leonardo da Vinci . 62 7.4 Michelangelo . 66 7.5 Raphael . 69 3 4 CONTENTS 8 THE NORTHERN EUROPEAN RENAISSANCE 75 8.1 D¨urer . 75 8.2 Bruegel, father and son . 80 8.3 Holbein . 84 8.4 Rubens . 88 8.5 Vermeer . 92 8.6 Rembrandt . 96 9 JAPANESE WOODBLOCK PRINTS 103 9.1 Hiroshige and Hokusai . 103 9.2 Influence on French painting . 108 10 IMPRESSIONISM 109 10.1 Manet . 109 10.2 Monet . 114 10.3 Renoir . 119 10.4 Degas . 123 10.5 Morisot . 127 11 POST-IMPRESSIONISTS, FAUVES AND CUBISTS 131 11.1 Gauguin . 131 11.2 Van Gogh . 135 11.3 C´ezanne . 143 11.4 Matisse . 148 11.5 Toulouse-Lautrec . 153 11.6 Picasso . -
University of Copenhagen
Crazy about Japan Japonisme in Nordic Art and Design on Display Borggreen, Gunhild Published in: Orientaliska Studier Publication date: 2016 Document version Publisher's PDF, also known as Version of record Citation for published version (APA): Borggreen, G. (2016). Crazy about Japan: Japonisme in Nordic Art and Design on Display. Orientaliska Studier, 147, 171-186. Download date: 27. sep.. 2021 Gunhild Borggreen Crazy about Japan Japonisme in Nordic Art and Design on Display Keywords: Japonisme, Nordic, art, design The large-scale art exhibition entitled Japanomania in the North 1875- 1918: The Influence of Japan on Nordic Art and Design is touring three Nordic countries during 2016 and 2017.1 The exhibition focuses on Nordic Japonisme, that is, how Nordic art and design was influenced by Japanese art. The title indicates that the Nordic countries were under the spell of a craze about things Japanese in the last part of the 19th century and the first decades of the 20th century. Acknowledging the multiple artistic influences from a number of various sources in this period, the exhibition curators nevertheless argue that no other revivalist style or outside influence has contributed to the formation of European visual arts in the nineteenth century as much as the impact of Japonisme. The American expert in Japonisme Gabriel P. Weisberg is credited as the Chief Curator for the exhibition, and the show is curated by the Ateneum Art Museum, Finnish National Gallery in Helsinki, the National Museum of Art, Architecture and Design in Oslo in collabo- ration with the Statens Museum for Kunst (National Gallery of Den- mark) in Copenhagen.