DOCSLIB.ORG

Self Portraits “Joseph Stella” What Kind of Emotions Do You See?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Self Portraits “Joseph Stella” What Kind of Emotions Do You See? Self portraits “Joseph Stella” . What kind of emotions do you see? Italy Joseph Stella was born in a small Rome mountain village by the name of Muro Lucano near Naples, Italy on June 13, 1877. Naples Muro Lucano Stella displayed a natural ability to draw. He studied at the Art Students League in 1897 and later at the New York School of Art. Charcoal Drawing of Steel Mill in Pittsburgh This was one of many commissioned drawings of Pittsburgh steel mill workers and miners for The Survey (1909-14). The working class was a subject he took great interest in. One example was when he was sent out to illustrate a mine disaster in Monongah, West Virginia where he was troubled by the devastation of human life. His drawings help bring to light the need for better mining safety laws. “As Men See America I” “Painters Row” Spring 1908 The “Hole In The Wall” A miners or steel workers living conditions. “Italian Leader” “Smoke Stack” 1935-36 “Battle of Lights, Coney Island” “Old Brooklyn Bridge” c.1913-14 Stella was fascinated with the modern technology A depiction of modern American of New York City. His favorite was the Brooklyn culture and painting of the jazz scene. Bridge with its sweeping cables, glittering lights, and grand views. Stella made six paintings of this bridge. In 1909 Stella returned to Europe and was exposed to the influential Modern art of the Cubist and Futurist. The Brooklyn Bridge (The Bridge), Battle of Lights, Mardi Gras, Coney Island from Voice of the City of New York 1913-14 Interpreted, 1920-1922 Gift Collection Societe Anonyme 1941-689 Stella is most famous for New York Joseph Stella-”I used the intact purity of Interpreted, a five-paneled work patterned the vermillion to accentuate the carnal after a religious alter piece. It depicts bridges frenzy of the new bacchanal and all the and skyscrapers instead of saints. This art acidity of the lemon yellow for the dazzling work reflects the belief that industry was lights storming all around.” ejecting religion as the center of modern life. Joseph Stella, “Factories” Joseph Stella “Smoke Stacks” 1935 Why do you think he uses these colors? What colors does Stella use in Flowers? What effect does this give? Can you point out repeated What about lines? birds? Stella uses Do you see symmetry hidden in the painting. objects? what is symmetry and how does he do this? Flowers By Joseph Stella, Italy, 1931 Oil on canvas, 75”X 75” Phoenix Art Museum “Dance of Spring” 1924 “The Red Hat” 1924 Oil on Canvas 9 ¾ X 12 in. Stella is most known for his American Futurist paintings and his interpretations of modern twentieth-century life. In his quest for artistic freedom however, he did not limit himself to just one style of expression. Mountain Landscape of Muro Lucano, Italy Serenade, A Christmas Fantasy The Little Lake, 1931 Joseph Stella’s most famous quote is: “I have see the future and it is good. We will wipe away the religions of old and start anew.” .
Load more

Recommended publications
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • Cubism in America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
    [Show full text]
  • Plastic Dynamism in Pastel Modernism: Joseph Stella's
    PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION by MEREDITH LEIGH MASSAR Bachelor of Arts, 2007 Baylor University Waco, Texas Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2010 ! ""! PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION Thesis approved: ___________________________________________________________________________ Dr. Mark Thistlethwaite, Major Professor ___________________________________________________________________________ Dr. Frances Colpitt ___________________________________________________________________________ Rebecca Lawton, Curator, Amon Carter Museum ___________________________________________________________________________ H. Joseph Butler, Graduate Studies Representative For the College of Fine Arts ! """! Copyright © 2009 by Meredith Massar. All rights reserved ! "#! ACKNOWLEDGMENTS I am grateful to all those who have assisted me throughout my graduate studies at Texas Christian University. Thank you to my professors at both TCU and Baylor who have imparted knowledge and guidance with great enthusiasm to me and demonstrated the academic excellence that I hope to emulate in my future career. In particular I would like to recognize Dr. Mark Thistlethwaite for his invaluable help and direction with this thesis and the entire graduate school experience. Many thanks also to Dr. Frances Colpitt and Rebecca Lawton for their wisdom, suggestions, and service on my thesis committee. Thank you to Chris for the constant patience, understanding, and peace given throughout this entire process. To Adrianna, Sarah, Coleen, and Martha, you all have truly made this experience a joy for me. I consider myself lucky to have gone through this with all of you. Thank you to my brothers, Matt and Patrick, for providing me with an unending supply of laughter and support.
    [Show full text]
  • Art Masterpiece: “The Brooklyn Bridge” - Joseph Stella
    Art Masterpiece: “The Brooklyn Bridge” - Joseph Stella Keywords: Line, Symmetrical Balance, Point of View, Futurist Grade: 4th - 6th Activity: Mixed Media Lines Meet the Artist: Joseph Stella (1879 –1946) was born in the mountain village of Muro Lucano, Italy. He had a keen interest in art at an early age and drew everything that interested him, including his classmates at school. When he was 19 yrs. old, Stella immigrated to the U.S. and settled in New York. After studying medicine for a year, he decided to pursue his dream of becoming an artist. Many of his early paintings were realistic portraits of immigrants, miners and steelworkers, and reflected life and machinery of the modern industrial world. The Brooklyn Bridge was one of his favorite subjects. It awed him and he considered it a modern cathedral. He loved to walk along it at night. He painted 6 different pictures of it. Stella loved geometric shapes, lines and mixed media (any combination of art materials, such as paint, crayons, collage, colored pencils). Stella considered himself a Futurist (see definition below). Meet the Artwork: “The Brooklyn Bridge” is Stella’s signature image – he photographed its maze of wires and cables, the granite piers, Gothic arches & pedestrian walkway as an abstract pattern of line, form and color. He was inspired to paint the bridge late one night as he stood alone on the promenade listening to the noises of the city. He saw the bridge as a force of inspiration and every aspect of it was magnificent in a way that words could not describe.
    [Show full text]
  • Joseph Stella [1877–1946]
    JOSEPH STELLA [1877–1946] Brooklyn Bridge c. 1919–1920 Joseph Stella ca. 1940, ~age 63 Self-Portrait Early Life • On June 13, 1877, Giuseppe Michele Stella was born in a mountain village near Naples, Italy. Early Life • At the age of 18, he arrived at Ellis Island and assimilated the English version of his name, Joseph Stella. • This was at a time of unprecedented urban growth and social change in America. (Machine Age) • His older brother, Antonio Stella, had immigrated to New York years earlier and was a successful physician who hoped his younger brother would follow in his footsteps. Early Life • However, after a year at medical school, followed by another year at pharmacy school, Joseph Stella found his true passion - the arts. • By the end of his first year of pharmacy school, he had given up on his family’s hopes to becoming a physician. • Instead, he sought after his own dream, and enrolled at the New York School of Art. Early Art Career •In 1903, the young Stella soon turned to illustrating subjects of New York’s immigrant population to which he, himself, belonged. •While working as an illustrator, Stella was also making a name for himself as a painter. – In 1906, his painting The Old Man was exhibited at an exhibition of the Society of American Artists in New York. Artistic Influences • In 1909, he sailed for Europe because he was homesick. • During his extended stay in Paris, he witnessed, for the first time, Cubist and Futurist. He met Henri Matisse & Pablo Picasso. • Influenced by the Italian Futurists, Stella adopted the group’s claim: “The modern artist should not look to the past for material; instead, the modern artist must endeavor to express the civilization of his or her own era.” Pablo Picasso Pieces Henry Matisse American Futurist Artist • Stella returned to New York in the fall of 1912.
    [Show full text]
  • ART a Tj WEST 53RD STREET, NEW YORK 19, N
    THE MUSEUM OF MODERN ART A tj WEST 53RD STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 47401-13 FOR IMMEDIATE RELEASE EXHIBITION OF LARGE SCALE MODERN PAINTINGS OPENS AT THE MUSEUM OF MODERN ART Twenty canvases, the smallest of whioh Is over six feet long, comprise an exhibition of large scale painting in the twentieth century which opens at the Museum of Modern Art, 11 West 53 Street, on Wednesday, April 2. The exhibition will remain on view in the third floor galleries through May 4 and was directed by Margaret Miller of the Museum staff* Artists from Europe, Latin America and the United States are represented in the exhibition which includes paintings by Picasso, Bonnard, Stella, Leger, Matisse, Siqueiros, Chagall, Miro, Beekmann and Ben Shahn» In spite of the shrinkage of modern living space, which would seem to make large paintings an anachronism, twentieth century artists have continued to paint uncommissioned canvases of murrl scale as well as commissioned large scale oils or wall painting for specific private houses or public buildings. The exhibition will examine the function, purpose and possibil­ ities of these large scale paintings in contemporary culture. It will emphasize the uwKwncAssioned painting, undertaken with­ out thought of its eventual destination. Extremes have been chosen in the selection of the paintings showing the artists at their freest and most daring, or most disciplined, austere and uncompromising. Commenting on large scale modern painting, Miss Miller says: "Big pictures at their best are assertions of the' artist1s self-confidence and esthetic conviction, affirmations of'his belief in the importance of painting itself, wThe exhibition is intended to show some of the' functions which large scale paintings may fill, some of the styles in which they have been paint­ ed, some of the kinds of experiences or subjeots which they incorporate.
    [Show full text]
  • Joseph Stella Immigrated to the United States from Italy When He Was Eighteen Years Old
    Description of the Artwork The central figure is a woman wearing a long, blue, hooded veil that cascades over her shoulders to the base of the composition. A white halo frames her head from behind. Her face is turned slightly to the side. She has smooth, luminous skin, and her eyes are cast gently downward. Her head and long, slender neck are enveloped by a pale purple robe punctuated by a brilliant red flower at the base of her throat. Her open palms rest gently on her chest. A dense array of flowers decorates the veil and robe, while leafy green stems and delicate buds meander along the contours of her hands and fingers. A canopy of vibrantly colored birds, fruits, and flowers curves above and around the figure. In the background sailboats glide across the water near the shores of a distant city. Background Information The artist Joseph Stella immigrated to the United States from Italy when he was eighteen years old. While this painting uses the vibrant palette and high contrast characteristic of his New York scenes, Joseph Stella the balanced composition and religious subject (the Virgin Mary) (American, born Italy, recall early Italian Renaissance paintings. 1877–1946) The Virgin, 1926 Oil on canvas, 3911/16 x 383/4 in. (100.8 x 98.4 cm). Brooklyn Museum, Gift of Adolph Lewisohn, 28.207 Questions for Viewing Activity What area of the painting is your eye drawn to first? Why? Divide a sheet of paper into two columns. Label one column “I See” and the other, “I Think.” Look closely at the painting.
    [Show full text]
  • Jeudi 16 Et Vendredi 17 Mai 2013 Paris Drouot
    exp er t claude oterelo JEUDI 16 ET VENDREDI 17 MAI 2013 PARIS DROUOT JEUDI 16 MAI 2013 À 14H15 du n°1 au n°294 VENDREDI 17 MAI 2013 À 14H15 du n°296 au n°594 Exposition privée Etude Binoche et Giquello 5 rue La Boétie - 75008 Paris Lundi 13 mai 2013 de 11h à 18h et mardi 14 mai 2013 de 11h à 16h Tél . 01 47 42 78 01 Exposition publique à l’Hôtel Drouot Mercredi 15 mai 2013 de 11h à 18 heures Jeudi 16 et vendredi 17 mai 2013 de 11h à 12 heures Téléphone pendant l’exposition 01 48 00 20 09 PARIS - HÔTEL DROUOT - SALLE 9 COLLECTION D’UN HISTORIEN D’ART EUROPÉEN QUATRIÈME PARTIE ET À DIVERS IMPORTANT ENSEMBLE CONCERNANT VICTOR BRAUNER AVANT-GARDES DU XXE SIÈCLE ÉDITIONS ORIGINALES - LIVRES ILLUSTRÉS - REVUES MANUSCRITS - LETTRES AUTOGRAPHES PHOTOGRAPHIES - DESSINS - TABLEAUX Claude Oterelo Expert Membre de la Chambre Nationale des Experts Spécialisés 5, rue La Boétie - 75008 Paris Tél. : 06 84 36 35 39 [email protected] 5, rue La Boétie - 75008 Paris - tél. 33 (0)1 47 70 48 90 - fax. 33 (0) 1 47 42 87 55 [email protected] - www.binocheetgiquello.com Jean-Claude Binoche - Alexandre Giquello - Commissaires-priseurs judiciaires s.v.v. agrément n°2002 389 Commissaire-priseur habilité pour la vente : Alexandre Giquello Les lots 9 à 11 sont présentés par Antoine ROMAND - Tel. 06 07 14 40 49 - [email protected] 4 Jeudi 16 mai 2013 14h15 1. ARAGON Louis. TRAITÉ DU STYLE. Paris, Editions de la N.R.F., 1928.
    [Show full text]
  • The Bridge As Icon
    The Bridge As Icon Lewis Kachur from The Great East River Bridge, 1883–1983 (New York: Brooklyn Museum, 1983) Heralding the dawn of the Technological Age, signifying the linking of East and West, encompassing both Old World tradition and New World innovation in its combination of stone Gothic towers and steel cables, the Brooklyn Bridge has seized the imagination of a multitude of artists as the quintessential American emblem. The painter Joseph Stella put it this way: “Seen for the first time, as a weird metallic Apparition under a metallic sky, out of proportion with the winged lightness of its arch, traced for the conjunction of WORLDS… it impressed me as the shrine containing all the efforts of the new civilization of AMERICA.” 1 In countless icons ranging from the representational to the surrealistic to the abstract, the Bridge has symbolized what the architectural critic Lewis Mumford called “both a fulfillment and a prophecy.” The elements of this dialectical symbolism are, of course, manifest in the Bridge itself. As Mumford wrote, “The stone plays against the steel: the heavy granite in compression, the spidery steel in tension. In this structure, the architecture of the past, massive and protective, meets the architecture of the future, light, aerial, open to sunlight, an architecture of voids rather than of solids.” 2 Thus, on the one hand, the Bridge’s masonry has suggested to some artists an analogy to the great cathedrals of Europe. (The French painter Albert Gleizes once observed, “the genius who built the Brooklyn Bridge is to be classed alongside the genius who built Notre Dame de Paris.” 3) On the other hand, the Bridge’s openness and lack of ornamentation has led many to celebrate its machinelike crispness.
    [Show full text]
  • Selected Works Selected Works Works Selected
    Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 SELECTED WORKS SELECTED WORKS S Snite Museum of Art nite University of Notre Dame M useum of Art SELECTED WORKS SELECTED WORKS Celebrating Twenty-five Years in the Snite Museum of Art: 1980–2005 S nite M useum of Art Snite Museum of Art University of Notre Dame SELECTED WORKS Snite Museum of Art University of Notre Dame Published in commemoration of the 25th anniversary of the opening of the Snite Museum of Art building. Dedicated to Rev. Anthony J. Lauck, C.S.C., and Dean A. Porter Second Edition Copyright © 2005 University of Notre Dame ISBN 978-0-9753984-1-8 CONTENTS 5 Foreword 8 Benefactors 11 Authors 12 Pre-Columbian and Spanish Colonial Art 68 Native North American Art 86 African Art 100 Western Arts 264 Photography FOREWORD From its earliest years, the University of Notre Dame has understood the importance of the visual arts to the academy. In 1874 Notre Dame’s founder, Rev. Edward Sorin, C.S.C., brought Vatican artist Luigi Gregori to campus. For the next seventeen years, Gregori beautified the school’s interiors––painting scenes on the interior of the Golden Dome and the Columbus murals within the Main Building, as well as creating murals and the Stations of the Cross for the Basilica of the Sacred Heart. In 1875 the Bishops Gallery and the Museum of Indian Antiquities opened in the Main Building. The Bishops Gallery featured sixty portraits of bishops painted by Gregori. In 1899 Rev. Edward W. J.
    [Show full text]
  • Paintings by Streeter Blair (January 12–February 7)
    1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.
    [Show full text]
  • 20Th Century Painters
    20TH CENTURY PAINTERS A Special Exhibition of Oils, Water Colors and Drawings Selected from the Collections of American Art in the Metropolitan Museum JUNE 16,1950 THE METROPOLITAN MUSEUM OF ART In this exhibition of works by twentieth century American painters drawn from its own collections, the Metropolitan Museum presents for the first time an extensive selection from the Alfred Stieglitz Collection, given to the Museum in 1949 by his executrix, Georgia O'Keeffe. 20TH CENTURY PAINTERS PAINTINGS IN OIL, UNLESS OTHERWISE NOTED EDWIN AUSTIN ABBEY. 1852-1911 King Lear's Daughters. Dated 1898. Gift of George A. Hearn, 1913 IVAN LE LORRAINE ALBRIGHT. 1897- Fleeting Time, Thou Hast Left Me Old. Painted in 1929-1930. George A. Hearn Fund, 1950 JOHN WHITE ALEXANDER. 1856-1915 Study in Black and Green. Painted about 1900. George A. Hearn Fund, 1908 DARREL AUSTIN. 1907- The Tightrope. Painted in 1941. George A. Hearn Fund, 1941 WILLIAM BAZIOTES. 1912- Dragon. Dated 1950. Arthur H. Hearn Fund, 1950 GIFFORD BEAL. 1879- The Albany Boat. Dated 1915. George A. Hearn Fund, 1917 GEORGE WESLEY BELLOWS. 1882-1925 Up the Hudson. Painted in 1908. Gift of Hugo Reisinger, 1911 THOMAS HART BENTON. 1889- Roasting Ears. Egg tempera and oil. Painted in 1938-1939. Arthur H. Hearn Fund, 1939 July Hay. Egg tempera on masonite. Dated 1943. George A. Hearn Fund, 1943 EUGENE BERMAN. 1899- The Muse of the Western World. Dated 1942. George A. Hearn Fund, 1943 GEORGE BIDDLE. 1885- A Woman with a Letter. Painted in 1933. Arthur H. Hearn Fund, 1937 ISABEL BISHOP. 1902- Tvoo Girls.
    [Show full text]