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January 16, 1987 N.E.A
R. I. Jewish Historical Inside: Association 1 1 "Living In An Age of 1 30 S essions Street P rovide n ce , RI 02 906 Treachery And Deception," page4 ..> .. .:., . THE ONL:Y ENGLISH-JEWISH WEEKLY IN R.I. AND SOUTHEAST MASS. VOLUME LXXIV, NUMBER 6 FRIDAY. JANU ARY 16, 1987 35¢ PER COPY ADL Report: Fundamentalist And NEW YORK (JTA) - The National Conference on Sovi et Evangelical Attitudes Toward Jews Jewry (NCSJ), in its year-end NEW YORK (J T A) - The president of the Southern Baptist It wa s found that 49 percent of report, rebukes the Soviet Union results made public last week of a Convention, the Re v. Bailey those between 18 and 34 years of for "a year of dramatic, but largely nationwide survey of evangelical Smith. Only 12 percent agreed age agreed with at. least. one of the disappointing developments'1 in and fundamentalist Christian with this statemen t. anti-Semitic characterizations human ri ghts and Jewish attitudes towa rds Jews challenge Sixty-ei ght percent sa id Jews compared to 34 percent of those 55 emigration. some commonly held assumptions, are viewed by God " no differently and ove r. In an 18-page wrap-up of Soviet accord ing to the Anti-Defamation than other non-Chris tians" The survey noted a statistically moves and statements on human League of B'nai B'rith which because they have not accepted significant relationship between ri ghts, released last Thursday at a commissioned the poll. Jesus, 20 percent said they may be belief in a literal reading of the press conference in Washington, Conducted telephonically judged " more harshly" and 12 Bible and expression of one or the NCSJ assails the new policy of among a sampling of 1,000 percent were "unsure." more secular anti-Semitic views. -
'A True Magic Chamber': the Public Face of the Modernist Bookshop
‘A True Magic Chamber’: The Public Face of the Modernist Bookshop Andrew Thacker Modernist Cultures 11.3 (2016): 429–451 DOI: 10.3366/mod.2016.0149 © Edinburgh University Press www.euppublishing.com/loi/mod Abstract This article explores the role of bookshops in the construction of a public for modernism and analyses a number of bookshops committed to promoting modernist culture, such as those run by Sylvia Beach (Shakespeare and Company), Adrienne Monnier (La Maison des Amis des Livres), and Frances Steloff (Gotham Book Mart). It also considers how the bookshop is a fulcrum between commerce and culture, a key issue for contemporary modernist studies, and discusses aspects of bookshop culture that seem to operate ‘beyond’ the market. One example is that of We Moderns, a catalogue issued by the Gotham Book Mart in 1940 and which represents a fascinating example of the print culture of the modernist bookshop. Drawing upon the work of Mark Morrisson and Lawrence Rainey, the article also evaluates the position of the bookshop within debates around modernism and the public sphere. The Business of the Magic Chamber A member of the public strolling through Paris in the early 1920s who drifts onto the Left Bank in search of culture, might find themselves in the triangle of small streets between the grander avenues of Boulevard St. Michel and the Boulevard St. Germain in the 6th Arrondissement. These are the streets around the Sorbonne and, as such, there are many bookshops servicing the university. Thinking it might be fun to buy a book, a modern or contemporary book, they stroll up Rue de l'Odéon, across from the National Theatre, spying a likely looking bookshop and decide to enter. -
1 Abbey Books; #4 Richard Abel Bookseller; 1973:1, S
M-106 BOOKSELLER’S CATALOGS A & R BOOKSELLERS; #1 ABACUS BOOKSHOP; #1 ABBEY BOOKS; #4 RICHARD ABEL BOOKSELLER; 1973:1, Sale edition; 1974: 1 ABI BOOKS; #10-11, 15, 22-23, 30; Edward Gordon Craig; 1982: Early autumn, Spring, Edward Gorey; 1983: Spring ABINGTON BOOKS; 1973: Autumn ABOUT BOOKS; #3, 9-10, 61-64, 67-69 BEN ABRAHMSON’S ARGUS BOOK SHOP; #1-5, 7-12, 14-17, 20-34, Along the north wall, Along the south wall, 383, 623, 626, 969, 975, 985, 1944: Oct. HERMAN ABROMSON; #5-6, 7-10, 12 ACADEMIC BOOK COLLECTION; #9 ACADEMY BOOK SHOP; #61 PAUL ADAMS; Botany ADCO SPORTS BOOK EXCHANGE; 1808 TO DATE RICHARD ADAMIAK; #29 RICHARD H. ADELSON; 1981: Spring ; 1983: Spring ; 1992-93: Winter; 1994-95: Winter ADS AUTOGRAPHS; #1-3, 6-10, 13 ADVENTURE BOOK STORE; #1 ; 1988: Nov. AEONIAN PRESS; 1 catalog (unnumbered/undated) AESOP BOOKS; #8 CHARLES AGVENT; #2-5 AHAB RARE BOOKS; #26-27 ALASTOR RARE BOOKS; #16 EDWIN ALBERT; #1 l ALBION BOOKS; #3-4; 1979: Dec. ALCAZAR BOOK SERVICE; #51, 156 ALDREDGE BOOK STORE; #53, 87, 89-90, 114-116 ALEX ALEC-SMITH; #10, 14/16, 18 ALEPH-BET BOOKS; #3, 8-12, 14, 32, 35, 38-41, 43-45, 49, 53, 65; 2004: April 19 ALEXANDERSON & KLOSINSKI BOOKSELLERS; #1-2 ALFA ANTIQUARIAN BOOKSELLER; #79 LIBRAIRIE ALIX; #1 D.C. ALLEN; #32-33, 36, 58, 60, 62 R.R. ALLEN BOOKS; #21, 66-67, 70, 74, 79, 81-82, 84, 86, 92-96; 1996 WILLIAM H. ALLEN BOOKSELLER; #189, 206, 219, 224-225, 227-228, 231-232, 235-236, 239, 244-245, 249-251, 254-256, 259-261, 264-266, 268, 271-273, 275-276, 279-281, 283-284, 287-288, 290-291, 293- 294, 296-297, 300-301, 303-305, 307, 310-311, 313-314, 316-318, 320-321, 323-324; Special mailing 20 DUNCAN M. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
Sister Onfa: Uranian Missionary to Mesilla John Buescher
ISSN 1076-9072 SOUTHERN NEW MEXICO HISTORICAL REVIEW Pasajero del Camino Real By Doña Ana County Historical Society Volume XXVIII Las Cruces, New Mexico January 2021 Doña Ana County Historical Society Publisher Board of Directors for 2021 President: Dennis Daily Southern New Mexico Historical Review Vice President: Garland Courts Secretary: Jim Eckles Sponsors Treasurer: Dennis Fuller Historian: Sally Kading Past President: Susan Krueger Bob and Cherie Gamboa At Large Board Members Frank and Priscilla Parrish Luis Rios Robert and Alice Distlehorst Sim Middleton Jose Aranda Susan Krueger and Jesus Lopez Daniel Aguilera James and Lana Eckman Bob Gamboa Buddy Ritter Merle and Linda Osborn Frank Brito Review Editor position open - contact [email protected] Review Factotum: Jim Eckles Dylan McDonald Mildred Miles Cover Drawing by Jose Cisneros (Reproduced with permission of the artist) George Helfrich The Southern New Mexico Historical Review (ISSN-1076-9072) is looking for original articles concern- Dennis Daily ing the Southwestern Border Region. Biography, local and family histories, oral history and well-edited Nancy Baker documents are welcome. Charts, illustrations or photographs are encouraged to accompany submissions. We are also in need of book reviewers, proofreaders, and someone in marketing and distribution. Barbara Stevens Current copies of the Southern New Mexico Historical Review are available for $10. If ordering by mail, Glennis Adam please include $2.00 for postage and handling. Back issues of the print versions of the Southern New Mexico Historical Review are no longer available. However, all issues since 1994 are available at the Leslie Bergloff Historical Society’s website: http://www.donaanacountyhistsoc.org. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
Henri Matisse, Textile Artist by Susanna Marie Kuehl
HENRI MATISSE, TEXTILE ARTIST COSTUMES DESIGNED FOR THE BALLETS RUSSES PRODUCTION OF LE CHANT DU ROSSIGNOL, 1919–1920 Susanna Marie Kuehl Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Susanna Marie Kuehl All Rights Reserved To Marie Muelle and the anonymous fabricators of Le Chant du Rossignol TABLE OF CONTENTS Page Acknowledgements . ii List of Figures . iv Chapter One: Introduction: The Costumes as Matisse’s ‘Best Spokesman . 1 Chapter Two: Where Matisse’s Art Meets Textiles, Dance, Music, and Theater . 15 Chapter Three: Expression through Color, Movement in a Line, and Abstraction as Decoration . 41 Chapter Four: Matisse’s Interpretation of the Orient . 65 Chapter Five: Conclusion: The Textile Continuum . 92 Appendices . 106 Notes . 113 Bibliography . 134 Figures . 142 i ACKNOWLEDGEMENTS As in all scholarly projects, it is the work of not just one person, but the support of many. Just as Matisse created alongside Diaghilev, Stravinsky, Massine, and Muelle, there are numerous players that contributed to this thesis. First and foremost, I want to thank my thesis advisor Dr. Heidi Näsström Evans for her continual commitment to this project and her knowledgeable guidance from its conception to completion. Julia Burke, Textile Conservator at the National Gallery of Art in Washington DC, was instrumental to gaining not only access to the costumes for observation and photography, but her energetic devotion and expertise in the subject of textiles within the realm of fine arts served as an immeasurable inspiration. -
Curriculum Vitae
K. L. H. Wells Associate Professor, Department of Art History, University of Wisconsin-Milwaukee Mitchell Hall 147B, PO Box 413, Milwaukee WI 53211 Email: [email protected] Mobile: 917-359-4934 EDUCATION 2014 Ph.D. in Art History, University of Southern California, Los Angeles Dissertation: “Tapestry and Tableau: Revival, Reproduction, and the Marketing of Modernism.” Committee: Nancy Troy, Vanessa SchwartZ, Richard Meyer, Elinor Accampo. Visual Studies Graduate Certificate 2009 M.A. in Art History, University of Wisconsin, Madison Thesis: “The ‘merely imitative mood’: British Japonisme and Imperial Mimesis.” Committee: Nancy Rose Marshall, Jill H. Casid. Certificate in Material Culture Studies 2005 B.A. in Art History, Barnard College, Columbia University, New York summa cum laude, Phi Beta Kappa, Honors in the Major Field, Distinction on the Senior Thesis ACADEMIC POSITIONS 2020-present Associate Professor, Department of Art History, University of Wisconsin, Milwaukee (UWM) 2014-2020 Assistant Professor, Department of Art History, UWM 2014 Postdoctoral Fellow in the History of Craft, Department of Art History and Department of Craft & Material Studies, Virginia Commonwealth University, Richmond FELLOWSHIPS and AWARDS Postdoctoral 2021 Short-Term Research Fellowship, New York Public Library 2021 International Research Travel Grant for US-Based Scholars, Terra Foundation for American Art 2020 The SECAC Award for Excellence in Scholarly Research and Publication, for Weaving Modernism: Postwar Modernism between Paris and New York (see PUBLICATIONS -
Jahresbericht 2019
���� JAHRESBERICHT ���� JAHRESBERICHT ���� INHALTS- VERZEICHNIS Vorworte S. 4 – 9 Sammlung S. 11 – 28 Ausstellungen S. 35 – 53 Forschung im Museum S. 55 – 65 Programme S. 67 – 73 Institutionen und Gremien S. 75 – 82 Allgemeines S. 83 – 96 3 VORWORTE 4 Prof. Dr. Felix Uhlmann gestärkt und entlastet. Über Fragen derjenigen ist, welche das Kunstmuse- Präsident der der Kunst und der Administration um unterstützen. Es sind dies nicht Kunstkommission soll transparent in einem Gremium nur Persönlichkeiten, die dem entschieden werden. Kunstmuseum schon lange verbunden Die Struktur, die auf jeden Kulturbe- Die Kunstkommission beurteilt sind und für das Museum Unglaubli- trieb ideal passt, gibt es nicht. Aber es die Entwicklung positiv und glaubt, ches leisten, sondern auch Künstlerin- gibt sicher bessere und weniger dass nach einer finanziellen Stabilisie- nen und Künstler sowie unzählige gute Strukturen. Die Zuordnung von rung nun auch Fragen der Führung Private, die über den Verein Freunde Kompetenzen muss möglichst klar strukturell verbessert werden konnten, des Kunstmuseums Basel und die sein und die einzelne Position darf die nicht zuletzt, weil die Organisation Stiftung für das Kunstmuseum einen oder den Verantwortlichen nicht vor mit Unterstützung des Departements eindrücklichen Beitrag an das reich- unlösbare Aufgaben stellen. Eine schwergewichtig im Kunstmuseum haltige Programm des Hauses leisten. Abwägung muss auch getroffen werden Basel selbst entwickelt wurde. Viele der Geschenke sind wirklich zwischen formalisierten Prozessen Sicher braucht es auf der zweiten und selbstlos; ein Schenker hat sich über und Selbstverantwortung; das Bessere dritten Stufe noch Anpassungen und die steuerliche Abzugsfähigkeit kann leicht zum Feind des Guten Verbesserungen, doch stehen die von Spenden an das Kunstmuseum werden. -
Edward Gorey Phantasmagorey, 1974 Pen and Ink with Collage on Paper Collection of Clifford Ross
Edward Gorey Phantasmagorey, 1974 Pen and ink with collage on paper Collection of Clifford Ross Phantasmagorey is a play on the term “phantasmagoria” which means: “a constantly shifting, complex succession of things seen or imagined.” Like a phantasmagoria, this series of six images reveals dreamlike glimpses into Gorey’s imagination. Each vignette shows a common motif in Gorey’s work, including a ghostly femme fatale, a cat sitting atop a stack of books, and a fur-coated self-portrait. This drawing was made for an exhibition of the same name, held at the Sterling Memorial Library, Yale University, in 1974. An art student named Clifford Ross, now a contemporary artist in his own right, curated the first survey of Gorey’s work for his senior thesis. 501 Harry Benson Scottish, born 1929 Edward Gorey in His New York City Apartment with Cat, 1978 Gelatin silver print Collection of the artist Benson’s photographic portrait offers a glimpse into Gorey’s apartment in Manhattan’s Murray Hill neighborhood, where he lived from 1953 to 1983. Gorey displayed his collection of fine art—including a print by Edvard Munch and drawings by Balthus—next to found objects that he treated as works of art, such as a weathered crucifix and a needlepoint of a skull. Out and about in the city, he took in movies, theater, dance, and art exhibitions. At home, he retreated to his creative sanctuary filled with obscure books, fine art, and his beloved cats. Edvard Munch Norwegian, 1863–1944 The Woman and the Bear, 1908–9 Lithograph on wove paper mounted on wove paper Bequest of Edward Gorey, 2001.13.61 Munch created this image to illustrate his mythical story Alpha and Omega. -
ALEXANDER ARCHIPENKO: the PARISIAN YEARS, Will Be on View at the Museum of Modern
(^<f FOR RELEASE: The Museum of Modern Art Tuesday, July 21, 1970 '1 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart PRESS PREVIEW: Monday, July 20, 1970 11 a. m. - 4 p. m. ALEXANDER ARCHIPENKO: THE PARISIAN YEARS, will be on view at The Museum of Modern Art from July 21 through October 18, 1970. The exhibition, composed of 33 works, surveys the late artist's sculpture, reliefs, drawings and prints done between 1908 and 1921, the years in which he lived in Paris. William S. Lieberman, Director of the Museum's Department of Painting and Sculpture, notes, "As a sculptor, Archipenko explored spatial relationships and the movement of forms. He was also particularly interested in the uses of color in sculpture. No matter how abstract his analysis, his inspiration derived from nature. Throughout his life, he remained a solitary figure. Although an innovator, he always remained close to the Cubist tradition as it was established in France during the years of his sojourn there." In 1908, when he was 21, Archipenko left his native Russia for France, where he remained until 1921 when he moved to Berlin. Two years later he settled in the United States. He died in New York in 1964. "By 1913," comments Mr. Lieberman, "Archipenko had found the direction of his personal style, and in the same year he exhibited in the famous Armory Show in New York. The significance of his work during his heroic years in France can be clearly revealed only by comparison with the contemporaneous and Cubist sculpture of Ra3nnond Duchamp-Villon, Henri Laurens, Jacques Lipchitz, and Pablo Picasso." The illustrated checklist* that accompanies the exhibition contains an essay by the critic, Katharine Kuh, who comments that as early as 1912, Archipenko combined wood, glass, mirror, metal, canvas, and wire to manipulate light and exploit (more) *ARCHIPENK0: THE PARISIAN YEARS.