The Louvre's Big Move

Total Page:16

File Type:pdf, Size:1020Kb

The Louvre's Big Move Asian Art hires logo 15/8/05 8:34 am Page 1 ASIAN ART The newspaper for collectors, dealers, museums and galleries june 2005 £5.00/US$8/€10 THE LOUVRE’S BIG MOVE Te Louvre has got a march on the history of the museum swung climate change. Te museum is into action. Te cost of the project is located by the Seine, in Paris, in a covered by the Louvre Endowment zone prone to fooding – and, since Fund, with the total price projected 2002, the Paris Prefecture, within to be about Euro 60 million. Te the framework of the food risk answer to the problem was Te protection plan (PPRI), has warned Louvre Conservation Centre, located the Louvre of the risks centennial in Liévin, near Lens, in northern fooding could pose to the museum’s France. Completed in 2019, the collections. Around a quarter of a semi-submerged building stands million works are currently stored in next to the Louvre-Lens Museum, more than 60 diferent locations, which itself was completed in 2012. both within the Louvre palace Te conservation centre makes it (mainly in food-risk zones), and possible to store the reserve elsewhere in temporary storage collections together in a single, spaces – all waiting to be moved to functional, space and allows for the new storage location. optimal conservation conditions. It In 2016, this risk was emphasised also improves access for the scientifc when the Seine fooded its banks, community, researchers, and and the rise in water levels was so conservationists. Te project gave the severe that museum staf had to museum freedom not only to plan, trigger the emergency plan: a 24- but also to have the opportunity to The Musée du Louvre, in Paris, is in the middle of moving its reserve collections to northern France, away from the flood plain hour operation to wrap, pack and modernise the conservation, study, take thousands of objects out of the and work conditions, as well as Lens Museum, a special interpretation at any one time. Tere are around that year to transport the 250,000 risk areas and up to higher ground reconsider how the reserve collections programme that allows visitors to 35,000 works housed in other objects in the reserve collections to away from the potentially damaging are organised. visit the storage space and artwork institutions and about 3,000 are on the new space. Work on the project is fooding. Around 250,000 works Te project runs parallel to the plan treatment workshops. Te new loan for temporary exhibitions. Te still continuing – currently over were stored in more than 60 diferent to create food-proof storerooms for research and study facility, one of the bulk of the works of art are part of 100,000 works of art having been locations, both within the Louvre each department in the Louvre itself biggest in Europe, will support and the ongoing project and are currently moved, including paintings, carpets, palace, mainly in food-risk zones, (for works in transit, loan replacement help broaden the scientifc reach of in the process of being moved to the tapestries, sculpture, objets d’art, and elsewhere in temporary storage works, etc), as well as study galleries France, regionally and locally. centre in Liévin. furniture and other decorative spaces until a permanent solution in the permanent collections. Currently, Te Louvre houses Te new conservation building was objects. Te transfer of all the works was found. Additionally, this will give the public 620,000 works of art, of which completed in the summer of 2019 is hoped to be completed by early So, the most ambitious move in access by ofering, via the Louvre- 35,000 are on display in the museum and work began in the second half of 2024. NEWS IN BRIEF Inside 2 Profile: the artist WORLD RECORDS FOR INDIAN Vivien Zhang PAINTINGS AT AUCTION 5 Diversity in Edo-period Mallams Te online auction on 13 March, at Safronarts in kabuki prints 1788 Mumbai, achieved two world auction records for 6 Abstraction and calligraphy, Indian artists. VS Gaitonde achieved INR 39.98 on show in Abu Dhabi crore (US$ 5.5 million) for an untitled oil on canvas 8 Epic Iran is the latest from 1961. In the early 1960s, Indian modernist V S blockbuster exhibition due to Gaitonde was working out of a small studio at the open soon in London Bhulabhai Desai Memorial Institute in then Bombay 10 Chinese Art from the Florence - a multi-faceted institution that encouraged the and Herbert Irving Collection, interaction of various visual and performing arts, and in New York where the present lot was frst acquired from the 12 A history of the luxurious artist. It was at this time that the reclusive Gaitonde, Chinese export wallpapers known for his serene, ‘non-objective’ paintings, began 14 The Way We Eat: looking at experimenting with the layering of pigment and the how East Asia has engaged manipulation of light and texture. Infuenced by Zen with food over the centuries philosophy and the principles of minimalism, 16 From the Archive: Gaitonde’s works from this period pulsate with an Encompassing the Globe, innate lyricism as well as a sense of mystery. Te Portugal and the World in the second artist to achieve a world record was a 1991 16th and 17th Centuries work by NS Bendre, Untitled (Krishna on Kaliya) 18 Burmese modern art, depicting a mythological story about an eponymous Bagyi Aung Soe, in Paris deity, which sold for INR 1.98 crore (US$ 175,000). 20 Exhibitions in Japan, France, S H Raza’s Jaipur (1976), an acrylic on canvas work, Monaco and the US sold for INR 5.62 crores (US$ 780,000), and F N 22 Auction previews in London Chinese, Japanese and Hong Kong; gallery show, Souza’s Figure on Red and Green Background (1957) sold for INR 2.76 crores (US$ 384,000). Hiroshi Sugimoto in Paris & Islamic Art 23 Islamic Arts Diary LOS ANGELES COUNTY 23rd & 24th June 2021 MUSEUM OF ART REOPENS Next issue CHELTENHAM Te Los Angeles County Museum of Art reopens on 1 April after a year-long closure. Te museum is May 2021 allowed to reopen, as it has moved into the state’s red CONSIGNMENTS INVITED tier, which means all museums are allowed to reopen indoor spaces at 25% capacity with safety protocols in Scan me place. Out of the six new exhibitions on view, one is To visit our home Asian: a retrospective of the Japanese artist page. For contact Yoshitomo Nara. Exhibitions that have been details see page 2 Continued on page 2 A pair of Yongzheng (1723 – 1735) mark and period Enquiries – Robin Fisher jardinières. Provenance – Acquired in Peking in the 01242 235712 1930s by the vendor’s grandfather whilst working as robin.fi[email protected] a junior diplomat. Estimate £20,000 – 30,000 www.mallams.co.uk asianartnewspaper.com #AsianArtPaper | asianartnewspaper | asianartnewspaper | Asian Art Newspaper 2 People People 3 CONTACT US and that, in essence, is what the studio on a daily basis, but there are The Asian Art Newspaper manifesto is about. two elements in the motives that I Vol 24 Issue 4 pick and concentrate on. Te frst Published by AAN: How does the second Manifesto one is that the motives not only have Asian Art Newspaper Ltd, VIVIEN ZHANG differ from the first? a duality within themselves, but have London VZ: In 2019, I launched a second and also traversed through diferent EDITOR/PUBLISHER longer version of the Manifesto. contexts. One example is the kilim, Sarah Callaghan I added more thoughts, verses, and the Central-Asian rug. I feel there is The Asian Art Newspaper causes to it, while keeping half of a duality in this object as the kilim PO Box 22521, the original text. Over time, it will has many patterns, but they are never London W8 4GT, UK by Olivia Sand sarah.callaghan@ be interesting to see how it develops named according to national asianartnewspaper.com and to archive diferent stages of boundaries. In Afghanistan and tel +44 (0)20 7229 6040 Vivien Zhang (b 1990) is part of it, putting them next to each other. Pakistan, for example, they do not a generation of artists, who is I want to make a point, so the have diferent names for a particular ADVERTISING exploring new avenues for the Manifesto needs to refect the pattern, because the pattern is used Kelvin McManus immediate, the ‘now’. In the course by nomadic tribes, who just travel Commerical Manager medium of painting, without of diferent exhibitions, maybe a and the patterns evolve within the Echo Complex (2020), tel +44 (0)7877 866692 being reluctant to integrate acrylic and oil on canvas, [email protected] new policy, or a new way of looking tribe. In a way, the kilim presents a elements refecting our 220 x 190 cm. Courtesy of the artist, technological age. Finding at the world’s latest technological boundary-breaking element, which SEND ADVERTISING TO gadgets, will have come up which I also look for in my work. As a Long March Space and Asian Art Newspaper herself at a challenging Pilar Corrias Gallery crossroads, she is drawing her afects our way of understanding third-culture individual, I feel it PO Box 22521 and reacting to the world. I refects my own identity, an identity London W8 4GT inspiration from a variety of emphasised these aspects in the of many people today. Te other [email protected] sources, presenting in her work an tel +44 (0)20 7229 6040 Manifesto, as I want people to see example is the spiral pillar in baroque assemblage of references and that it evolves with our time.
Recommended publications
  • Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler a Dissertati
    Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Sasha Su-Ling Welland, Chair Ann Anagnost Stevan Harrell Danny Hoffman Program Authorized to Offer Degree: Anthropology ©Copyright 2018 Darren T. Byler University of Washington Abstract Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler Chair of the Supervisory Committee: Sasha Su-Ling Welland, Department of Gender, Women, and Sexuality Studies This study argues that Uyghurs, a Turkic-Muslim group in contemporary Northwest China, and the city of Ürümchi have become the object of what the study names “terror capitalism.” This argument is supported by evidence of both the way state-directed economic investment and security infrastructures (pass-book systems, webs of technological surveillance, urban cleansing processes and mass internment camps) have shaped self-representation among Uyghur migrants and Han settlers in the city. It analyzes these human engineering and urban planning projects and the way their effects are contested in new media, film, television, photography and literature. It finds that this form of capitalist production utilizes the discourse of terror to justify state investment in a wide array of policing and social engineering systems that employs millions of state security workers. The project also presents a theoretical model for understanding how Uyghurs use cultural production to both build and refuse the development of this new economic formation and accompanying forms of gendered, ethno-racial violence.
    [Show full text]
  • Judit Reigl: Artist Biography by Janos Gat
    Judit Reigl: Artist Biography by Janos Gat Upon seeing works from Judit Reigl’s Center of Dominance series (1958–59), the great violist, Yossi Gutmann, exclaimed, “Here is someone who paints exactly the way I play. I don’t produce the sound; the sound carries me. I don’t change the tonality; the tonality changes me.” Judit Reigl, who often applies musical terms to painting, said she could not have put it better, explaining, “Time is given to us as a present that demands equal return. When I paint, fully present in every moment, I can live every moment in the present. What I do, anyone could do, but nobody does. I turn into my own instrument. Destroying as I make, taking from what I add, I erase my traces. I intervene in order to simplify. The control I exercise in each stroke of paint is like the pianist’s when touching a key. You are one with the key, the hammer and the wire. You are in a knot with the composer and the listener, forever unraveling. The chord matches your state and the sound your existence.”1 The flux motif is paramount in the Reigl Saga. According to family lore, Reigl’s father’s ancestors were aristocratic refugees from revolutionary France, sheltered on the princely estate of Eszterháza. Her mother came from a Saxon settlement in northeastern Hungary that kept its German language and culture intact over eight centuries. At the start of World War I, Judit’s father, entombed for three days beneath the rubble of an explosion at Przemysl, miraculously rose from the dead.2 A prisoner of war in Siberia for six years after his resurrection, he escaped repeatedly and fought his way home through civil-war-torn Russia.
    [Show full text]
  • You May View It Or Download a .Pdf Here
    “I put my trust in God” (“Tawakkaltu ‘ala ’illah”) Word 2012 —Arabic calligraphy in nasta’liq script on an ivy leaf 42976araD1R1.indd 1 11/1/11 11:37 PM Geometry of the Spirit WRITTEN BY DAVID JAMES alligraphy is without doubt the most original con- As well, there were regional varieties. From Kufic, Islamic few are the buildings that lack Hijazi tribution of Islam to the visual arts. For Muslim cal- Spain and North Africa developed andalusi and maghribi, calligraphy as ornament. Usu- Cligraphers, the act of writing—particularly the act of respectively. Iran and Ottoman Turkey both produced varie- ally these inscriptions were writing the Qur’an—is primarily a religious experience. Most ties of scripts, and these gained acceptance far beyond their first written on paper and then western non-Muslims, on the other hand, appreciate the line, places of origin. Perhaps the most important was nasta‘liq, transferred to ceramic tiles for Kufic form, flow and shape of the Arabic words. Many recognize which was developed in 15th-century Iran and reached a firing and glazing, or they were that what they see is more than a display of skill: Calligraphy zenith of perfection in the 16th century. Unlike all earlier copied onto stone and carved is a geometry of the spirit. hands, nasta‘liq was devised to write Persian, not Arabic. by masons. In Turkey and Per- The sacred nature of the Qur’an as the revealed word of In the 19th century, during the Qajar Dynasty, Iranian sia they were often signed by Maghribıi God gave initial impetus to the great creative outburst of cal- calligraphers developed from nasta‘liq the highly ornamental the master, but in most other ligraphy that began at the start of the Islamic era in the sev- shikastah, in which the script became incredibly complex, con- places we rarely know who enth century CE and has continued to the present.
    [Show full text]
  • Kuo-Sung Liu Rebel As Creator
    The Art of Liu Kuo-sung and His Students RebelRebel asas CreatorCreator Contents Director’s Preface 5 Rebel as Creator: The Artistic Innovations of Liu Kuo-sung 7 Julia F. Andrews and Kuiyi Shen Liu Kuo-sung: A Master Artist and Art Educator 9 Chun-yi Lee Innovation through Challenge: the Creation of My Landscapes 11 Liu Kuo-sung Plates Liu Kuo-sung 19 Chen Yifen 25 Chiang LiHsiang 28 Lien Yu 31 Lin Shaingyuan 34 3 Luo Zhiying 37 Wu Peihua 40 Xu Xiulan 43 Zhang Meixiang 46 Director’s Preface NanHai Art is proud to present the exhibition Rebel as Creator: The Art of Liu Kuo-sung and His Students for the first time in the San Francisco Bay Area. It has taken NanHai and exhibiting artists more than one year to prepare for this exhibition, not to mention the energy and cost involved in international communication and logistics. Why did we spend so much time and effort to present Liu Kuo-sung? It can be traced back to when NanHai underwent the soul-searching process to reconfirm its mission. At that time, the first name that came to my mind was Liu Kuo-sung. As one of the earliest and most important advocates and practitioners of modernist Chinese painting, Liu has perfectly transcended Eastern and Western, tradition and modernity, established a new tradition of Chinese ink painting and successfully brought it to the center of the international art scene. Liu’s groundbreaking body of work best echoes NanHai’s commitment to present artworks that reflect the unique aesthetics of Chinese art while transcending cultural and artistic boundaries with a contemporary sensibility.
    [Show full text]
  • 7386 Toko Shinoda Sakuhin (Work) Ink and Colour on Silver Leaf Signed to to Lower Right
    7386 Toko Shinoda sakuhin (work) ink and colour on silver leaf signed To to lower right H. 17¾" x W. 12" (45cm x 30cm) accompanied by a certificate of registration from Shinoda Toko Kantei Iinkai (Toko Shinoda Appraisal Committee) No.STK16-022 Toko Shinoda (b.1913) was born in Manchuria and moved with her family to Tokyo in 1914. Her father was a keen calligrapher and his interest encouraged Shinoda to practise calligraphy from the age of six years old. By her early twenties she was an independent calligraphy teacher and against her father's wishes decided not to marry but to pursue a career as an artist instead. Shinoda had her first solo calligraphy exhibition in 1936 at Kyukyodo Gallery, Tokyo, and by 1945 she was producing work which departed significantly from the rigid forms of traditional brushwork. Following numerous solo exhibitions of calligraphy her work started to change and in her early forties the focus moved to compositions consisting mainly of thin freely applied brushstrokes. Having a strong-willed character and a desire to develop her creativity beyond the limitations of classical calligraphy and its restrains, Shinoda decided to break away and begun to produce abstract works using traditional materials. This development received severe criticism from the established calligraphy circles of Japan, however her work was recognised by major international art institutions and she was included in two exhibitions at the Museum of Modern Art, New York in 1953 and 1954 respectively. In 1956 Shinoda moved to New York where she would be free to further develop her artistic expression and mingle with people who believed in and supported her work such as the painter Franz Kline (1910-1962) and long-term dealer and friend Norman Tolman.
    [Show full text]
  • Working Paper Series
    LEMLEM WORKING PAPER SERIES Art Return Rates from Old Master Paintings to Contemporary Art Federico Etro a Elena Stepanova b a Economics Department, University of Florence, Italy. b Institute of Economics, Scuola Superiore Sant’Anna, Pisa, Italy. 2020/30 October 2020 ISSN(ONLINE) 2284-0400 Art Return Rates from Old Master Paintings to Contemporary Art Federico Etro1 Elena Stepanova2∗ September 2020 Abstract We study return rates on art investment using a complete dataset on repeated sales for Old Master Paintings, Modern art and Contemporary art auctioned worldwide at Christie's and Sotheby's from 2000 to 2018. We show that return rates do not depend systematically on past prices or the place of sale, but we emphasize substantial differences in returns across sectors. We also control for changes in transaction costs (buyers' premiums and artists' resale rights), characteristics of the sale (evening sales, price guarantees and past bought-ins) and news on the lots (changed attributions, public exhibitions or death of the author) that appear reflected in art returns. We confirm the absence of masterpiece effects in American, Chinese and Ethnic art. Finally, using historical data on prices during Renaissance, Baroque and Neoclassical periods, we find evidence that price changes are independent from initial prices also in the long run. Keywords: Art market, Mei-Moses index, Masterpiece effect, Contemporary art JEL Classification: C23, Z11 1University of Florence, Economics Department, via delle Pandette 32, 50127 Florence, Italy Email: federico.etro@unifi.it 2Scuola Superiore Sant'Anna, Institute of Economics, Piazza Martiri della Libert`a33, 56127 Pisa, Italy. Email: [email protected] ∗Acknowledgements: We would like to thank the Editor Scott Adams, Alan Beggs, Lapo Filistrucchi, Gi- anna Claudia Giannelli, Thorsten Beck, Hans-Joachim Voth, three anonymous referees for important comments and seminar participants for insightful discussions.
    [Show full text]
  • Biography of Ding Yanyong Mayching Kao Former Chair Professor, Department of Fine Arts the Chinese University of Hong Kong
    Biography of Ding Yanyong Mayching Kao Former Chair Professor, Department of Fine Arts The Chinese University of Hong Kong 1902 Aged 1 Mr. Ding Yanyong was born on 15 April (the 8th day of the 3rd month in the 28th year of the reign of Guangxu) in Maopo Village, Xieji Town, Maoming County, Guangdong Province (present-day Gaozhou). Yanyong was his given name, to which style names Shudan and Jibo were added. His friends and students in Hong Kong addressed him as “Ding Gong”, meaning “the revered Mr. Ding”. Born in the zodiac year of the tiger (hu), he often used “Ding Hu” on his seals. His name in English is Ting Yin Yung. It is often romanized as Ting Yen-yung, but Ding Yanyong is in more common use nowadays. His oil paintings and sketches are signed “Y. Ting” and “Y. Y. Ting”. He came from a well-to-do family. His father, Ding Genci, was a cultivated man who enjoyed poetry and antiquities. At times he personally tutored his children in ancient poetry. Mr. Ding’s education began with a home tutor; he then attended a primary school in his home village, sponsored by his father. He was noted for his talents in painting and calligraphy as a child and his talents were much encouraged by his family and teachers. 1916 Aged 15 He attended Maoming County Middle School (present-day Gaozhou Secondary School). 1920 Aged 19 He graduated after four years of study. He went to Japan to study art under the auspices of the Guangdong provincial government.
    [Show full text]
  • Cambridge University Press 978-1-107-02450-2 — Art and Artists in China Since 1949 Ying Yi , in Collaboration with Xiaobing Tang Index More Information
    Cambridge University Press 978-1-107-02450-2 — Art and Artists in China since 1949 Ying Yi , In collaboration with Xiaobing Tang Index More Information Index Note: The artworks illustrated in this book are oil paintings unless otherwise stated. Figures 1–33 will be found in Plate section 1 (between pp. 49 and 72); Figures 34–62 in section 2 (between pp. 113 and 136); Figures 63–103 in section 3 (between pp. 199 and 238); Figures 104–161 in section 4 (between pp. 295 and 350). abstract art (Chinese) 163, 269–274, art market see commercialization of art 279 art publications (new) 86, 165–172 early 1980s 269–271 Artillery of the October Revolution 42 ’85 Movement –“China/Avant-Garde” Arts and Craft Movement 268 269–271 Attacking the Headquarters (Fig. 27) 1989 – present (post-modern) stage 273 avant-garde art (Chinese) 141, 146, 169, conceptual abstraction 273–274, 277–278 176, 181, 239, 245, 258, 264–265 expressive abstraction 273–274, 276 see also “China/Avant-Garde” material abstraction 277 exhibition schematic abstraction 245, 274 avant-garde art (Russian) 3–4 abstract art (Western) 147–148, 195–196, avant-garde art (Western) 100, 101, 267–268 see also Abstract 255–256, 257, 264 see also Modernism Expressionism; Hard-Edge / Structural Abstraction Bacon, Francis 243 Abstract Expressionism 256, 269, 274 Bao Jianfei 172 academic realism 245, 270 New Space No.1 167 academies see art academies Barbizon School 87 Ai Xinzhong 14 Bauhaus School 269 Ai Zhongxin 5 Beckmann, Max 246 amateur art/artists 35, 74–75, 106–108, Bei Dao 140 137–138, 141,
    [Show full text]
  • A4冊子40 1再校0422
    篠田桃紅 追悼-空 Homage to TOKO SHINODA 2021 篠田 桃 紅 追悼-空 Homage to TOKO SHINODA 2021 発行 ギャラリーサンカイビ 編集 平田美智子・高島順子 © 2021 〒103-0007 東京都中央区日本橋浜町2-22-5 TEL: 03-5649-3710 https://www.sankaibi.com Published in 2021 by Gallery SanKaïBi Edited by Michiko Hirata・Junko Takashima 2-22-5 Hamacho,Nihonbashi,Chuo-ku,Tokyo 103-0007 TEL: 81-3-5649-3710 https://www.sankaibi.com 追悼 -空 東洋的な伝統美と革新的な造形美を融合させて、「墨象」という新しいジャンルを切り拓き、世界のアートシーン に影響を与えた孤高の美術家、篠田桃紅氏。(3月1日逝去 107歳)3月に生まれたことからお父様が桃に紅で 「桃紅」という雅号をおつけになりました。 「桃紅」は中国の禅林句集「桃紅李白薔薇紫 問著春風總不知」に由来します。桃は紅、季は白、薔薇は紫、それは どうしてなんでしょう?と春風に聞いてみても 知らないと言う。それぞれの花がそれぞれの色に咲くように、人も また相異なるそれぞれの人生があるという教えです。花はなぜ咲くのか、そこには答えがありません。人間社会も 栄枯盛衰を繰り返し、一瞬たりとも移り変わらないものはない。順境と逆境、いかなる時においても一喜一憂す ることなく、宇宙の原理に従って、無為自然に生きる。篠田氏はまさに雅号の通り、首尾貫徹した人生を歩まれた のではないでしょうか。 中国・大連に生まれ、幼い頃から書を学び、戦後に書家として活動を始める一方、水墨による抽象絵画をはじめ 1956年に渡米。米国各地で個展を開き、書と抽象絵画を融合させた新しい作風が高く評価され,時の人とな りました 。 水墨に金銀や朱を交え、幽玄さと鋭い造形感覚を併せ持つ作品は、メトロポリタン美術館やボストン美術館を はじめ、国内外の美術館に収蔵されています。また皇居・御所、京都迎賓館を飾る絵画や在外公館、劇場などの 壁画や緞帳を手がけるほか、代表作は増上寺の壁画や襖絵などがあります。 名文家でも知られ、79年に随筆集「墨いろ」で日本エッセイスト・クラブ賞を受賞。著書「一〇三歳になってわか ったこと」は幅広い年代に支持され、ベストセラーになりました。 「なんにもない、そんなものを描きたい。」と篠 田 氏 は 晩 年 、よ く そ う 語 っ て い ま し た 。空( く う )、す な わ ち 空( そ ら )が 永遠に繋がり切れ目がないように、一滴の水が川になり海に繋がるように、なにものにも囚われず、無執着で開放 された自由な空間の広がりを表現することが、篠田氏の終着点だったのではないかとおもいます。見えないもの や形にならないものを可視の「かたち」にしたい、そんな強い祈りにも似た原始の色や音、香りやかたちが篠田 作品から五感を通して伝わってきます。 「私の命は有限ですが、作品は永遠です。」「言葉ではなく作品から何が伝わるかが重要です。」と常に語っていた 桃紅氏。死の直前まで「もっといいものを創りたい。」と墨と格闘し続けた篠田氏の描く一本一本の広がりのある 線を心ゆくまでご高覧いただければ幸いです。 心よりご冥福をお祈り申しあげます。 ギャラリーサンカイビ 平田 美智子 1. うつろい / Transition 1970年代 和紙に墨・朱・金泥・銀泥 140×93cm Sumi, Cinnabar Ink, Gold Paint, Silver Paint on Paper 2. 四季の歌 小倉百人一首より / Four Seasons from 100 Poems by 100 Poets 2016年 金地に墨・銀泥 60×90cm Sumi, Silver Paint, Gold Leaf on Paper 3. 春暁 / Daybreak 和紙に墨・朱・胡粉 205×148cm Sumi, Cinnabar Ink, White Paint on Paper 4. 5. 叙事詩 / EPIC 月 / Moon 2009年 紙に銀泥・白泥 46×31cm 画仙紙に墨 47×28.5cm White Paint, Silver Paint on Paper Sumi on Paper 6.
    [Show full text]
  • SELECT PAINTINGS of ZHU QIZHAN on the TWENTIETH ANNIVERSARY of HIS DEATH EXHIBITION DATES: MARCH 7 – 17, 2016 ASIA WEEK WEEKEND: MARCH 12 and 13, 11:00 – 5:00
    CHINA 2 0 0 0 F I N E A R T SELECT PAINTINGS OF ZHU QIZHAN ON THE TWENTIETH ANNIVERSARY OF HIS DEATH EXHIBITION DATES: MARCH 7 – 17, 2016 ASIA WEEK WEEKEND: MARCH 12 and 13, 11:00 – 5:00 China 2000 Fine Art is pleased to exhibit Select Paintings of Zhu Qizhan on the 20th Anniversary of his Death in our gallery at 1556 Third Ave (Suite 601) in New York City during Asia Week New York (March 10 – 17, 2016). The exhibition consists of 10 paintings spanning the years from 1956 to 1992 painted by Zhu Qizhan (1892-1996) from the age of sixty-five to the age of one hundred and one. Each work was acquired directly from the artist. During Master Zhu’s long career as an artist he painted with a radiance and brilliance that invigorated and transformed all his subject matter. Despite his quiet and kind manner, Master Zhu transformed modern Chinese painting. His fertile and ineffable imagination bridged East and West, past and present, and connoisseur and creator. He encouraged continuous challenge and development in the artistic tradition in order to ensure the continuing vitality of Chinese painting for the future. In the final two years of his life, Zhu Qizhan was fortunate to witness worldwide appreciation for his life-long devotion to art. Solo exhibitions at the Hong Kong Museum of Art, the British Museum, and the Asian Art Museum of San Francisco were held in his honor. Indeed, he was present in May of 1995 for an ultimate tribute from the Chinese government, the Zhu Qizhan (1892-1996), Artist in Landscape, 1956, Ink and color on paper, 35.5 x 28 in (90 x 71 cm) opening of the Zhu Qizhan Museum of Art in Shanghai.
    [Show full text]
  • Judit Reigl (1923-2020)
    JUDIT REIGL (1923-2020) Judit Reigl was one of the few women artists to be part of the post-war action painting movement. Reigl’s work was the result of a grappling with her materials, springing from the very motion of her creative gestures, a physical energy taking place in space-time. BIOGRAPHY Simon Hantaï, Claude Georges and Claude Viseux. In the THE PAINTER JUDIT REIGL’S EARLY LIFE AND same year, she began working with the Galerie Kléber ARTISTIC TRAINING in Paris, which was directed by Jean Fournier. The gallery Born in 1923 in Kaposvár, Hungary, Judit Reigl studied at presented three solo exhibitions of Reigl’s work in 1956, the Academy of Fine Arts in Budapest between 1941 and 1959 and 1962. 1945. Thanks to a scholarship, Reigl was able to travel to Italy, where she spent nearly two years studying in Rome, JUDIT REIGL AND THE CENTRE DE DOMINANCES Venice and Verona between 1946 and 1948. After several SERIES (1958–1959) failed attempts, Reigl succeeded in fleeing Hungary but Reigl’s ongoing gestural exploration of painting led her was arrested in Austria, where she was imprisoned for a to create the series Centre de dominances [Centre of fortnight before escaping again. After a long journey— Dominance], in which her gestural marks swirled in a partly on foot—that took Reigl through Munich, Brussels rotating movement as if siphoned towards the centre of and Lille, she finally arrived in Paris in June 1950. the canvas. Describing the series, Marcelin Pleynet wrote: JUDIT REIGL AND SURREALISM (1950–1954) “On the face of the canvas, the centre presents itself as a maelstrom, abyss, vortex, delving into the depths of the In Paris, Reigl was reunited with her friend, the Hungarian work, moving and opening, forming and coming undone painter Simon Hantai, who introduced her to André while constituting itself.
    [Show full text]
  • MUNICH (May, 2021) – Luxury Fashion Online Retailer Mytheresa Is
    MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 L’artiste américaine Lynda Benglis réalisant un projet commande par l’Université de Rhode Island, Kingston, Rhode Island, 1969. © Adagp, Paris 2021. Photo by Henry Groskinsky /The LIFE Picture Collection via Getty Images MUNICH (May, 2021) – Luxury fashion online retailer Mytheresa is honored to be a sponsor of the “Women in Abstraction” exhibition, to support and give recognition to female artists around the globe. The “Women in Abstraction” exhibition, which should be presented at the Centre Pompidou from May 19th to August 23th 2021, offers a new take on the history of abstraction - from its origins to the 1980s - and brings together the specific contributions of around one hundred and ten “women artists”. FOR FURTHER INFORMATION PLEASE CONTACT: MYTHERESA SANDRA ROMANO PHONE: +49 89 12 76 95-236 EMAIL: [email protected] MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 “Les amis du Centre Pompidou and the Centre Pompidou express their warmest thanks to Mytheresa and to its CEO, Michael Kliger, for their so generous support and positive commitment to the pivotal Women in Abstrac- tion exhibition, which opens in May at the Centre Pompidou”, commented Floriane de Saint Pierre, Chair of the Board of the amis du Centre Pompidou and Serge Lasvignes, President of the Centre Pompidou. “We are very proud and excited to sponsor this outstanding exhibition, in the globally renowned museum such as Le Centre Pompidou. Empowering women is a mission truly close to our heart at Mytheresa and this exhibition shows the importance and impact at women's art work and gives them the recognition they deserve within the Abstract movement on a global scale”, says Michael Kliger, CEO of Mytheresa.
    [Show full text]