Annual Report 2011
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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. -
Impressions Du Nord
IMPRESSIONS DU NORD La peinture scandinave 1800-1915 27 janvier – 22 mai 2005 DOSSIER DE PRESSE Communiqué de presse Fiche technique La peinture scandinave 1800-1915 Choix de biographies Liste des œuvres Animation autour de l’exposition Renseignements: Fondation de l'Hermitage, service de presse, Liliane Beuggert Dossier de presse Impressions du Nord. La peinture scandinave 1800-1915 - 2 - COMMUNIQUE DE PRESSE La Fondation de l’Hermitage présente de janvier à mai 2005 l’exposition Impressions du Nord. La peinture scandinave 1800-1915, la première en Suisse à être entièrement consacrée à l’art de Scandinavie. En réunissant plus d’une centaine d’œuvres d’artistes danois, finlandais, norvégiens et suédois, cette présentation offre un nouvel éclairage sur la peinture nordique qui, à l’instar de la littérature avec Ibsen et Strindberg, et de la musique avec Grieg et Sibelius, s’est développée avec une originalité fascinante tout au long du XIXe siècle. Au cours des années 1830 à 1850, une nouvelle sensibilité picturale s’affirme au Danemark, balayant les conventions académiques et les thèmes prosaïques imposés par le mécénat de cour. Dans le sillage du célèbre sculpteur Bertel Thorvaldsen, plusieurs artistes tel Christoffer Wilhelm Eckersberg se rendent à Rome pour poursuivre leurs études. Eckersberg, considéré comme le père du Guldalder, l’âge d’or danois, adopte une attitude qui s’éloigne de la rigueur du néoclassicisme en privilégiant une démarche naturaliste et la peinture de plein air. A son retour à Copenhague, où il enseigne à l’Académie royale des beaux-arts, il exerce une forte influence sur ses élèves, dont Wilhelm Bendz ou Christen Købke, qui porteront l’art danois à son apogée. -
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. -
Klassisk Norsk Kunst
VÅREN 2021 – SALGSUTSTILLING I OSLO – K ATALOG 48 klassisk norsk kunst GALLERI BYGDØY ALLÉ • KUNSTANTIKVARIAT PAMA • OSLO FORORD Det ble en svært vellykkede «Norgesutstilling» og Grunnlovsmarkering Galleri Bygdøy Allé avholdt i samarbeid med Grev Wedels Plass Kunsthandel høsten 2014 i Gamle Logen. Det lå da ikke i kortene at Galleri Bygdøy Allé bare to år senere kan ønske våre kunder og publikum velkommen til en ny og særdeles omfattende historisk gjennomgang av Norges historie og norske tradisjoner. Mye av materialet som nå presenteres utfyller godt det som ble tilbudt for to år siden, og utstillingen som helhet er den mest omfattende i vårt firmas historie. Som alle med interesser innenfor VÅREN ulike 2021 samlerområder – SALGSUTSTILLING av kunst I OSLOog antikviteter – K ATALOG vet 48vi at de siste årene har vært preget av et betydelig generasjonsskifte i bransjen. Dette sammen med ny kommunikasjonsteknologi har og vil få konsekvenser for hva og hvordan den fremtidige samler eller interesserte kjøper og anskaffer gjenstander. Dagens trend er at mange voksne mennesker i god tid før pensjonisttilværelsen ønsker å bo i leiligheter fremfor store eneboliger, og det får betydning for innredningen fordi plassen både på vegger og gulv gjerne blir noe mer begrenset. En konsekvens av dette tror jeg fort blir en spissing av hva vi ønsker å omgå oss med. Det blir en naturlig søken etterklassisk de særegne og unike objektene som har hatt historisk betydning, kanskje gjennom flere århundrer. Nyere og til dels masseproduserte gjenstander og bilder synes ofte å fremstå som overfladiske tidsbilder av i dag, og mye av dette vil neppe overleve senere generasjoners interesser. -
Art Forgeries
Art Forgeries Preprints of the Contributions to the Nordic Group 16th Congress 4-7th June 2003, Reykjavik, Iceland Art Forgeries IIC Nordic Group 16th Congress “Art Forgeries” 1 4-7th June 2003, Reykjavik, Iceland © IIC NORDIC GROUP 16TH CONGRESS JUNE 4-7 TH 2003, REYKJAVIK, ICELAND Compilers: Jannie Amsgaard Ebsen, Nathalie Jacqueminet with the help of Halldóra Ásgeirsdóttir. Layout, typography, cover: Robert Guillemette. Printed at the University Press, Reykjavik, Iceland, May 2003. IIC Nordic Group 16th Congress “Art Forgeries” 2 4-7th June 2003, Reykjavik, Iceland Art Forgeries IIC NORDIC GROUP 16th CONGRESS 4-7th JUNE 2003, REYKJAVIK, ICELAND PREPRINTS IIC Nordic Group 16th Congress “Art Forgeries” 3 4-7th June 2003, Reykjavik, Iceland IIC Nordic Group 16th Congress “Art Forgeries” 4 4-7th June 2003, Reykjavik, Iceland INTRODUCTION Art forgeries have been a growing concern in the Scandinavian Art world for the last decades, affecting all forms of art as well as archaeological and historical objects. Iceland had almost escaped this plague until the 1990s when a private painting restorer, Ólafur Ingi Jónsson, first raised attention to suspicious paintings allegedly by Icelandic Masters, which had been brought to his work- shop by collectors. As the number of suspicious works was increasing, preliminary research indicated that the same gallery had sold most of them. In this case, the historical common background of the Nordic countries, especially the strong links between Iceland and Denmark appeared rapidly to have played a key role in the process of forgery, especially for the late 19th century and Modern art period. Since then many Icelandic conservators and art historians, as well as European experts have been called upon to participate into an inquiry on art forgery of the widest scope ever conducted in this country. -
Velkommen Til Leif Osvolds Forskning Om Maleren Hans Heyerdahl
Leif Osvold -------------------------------------- Hans Heyerdahl Maleren som gikk sine egne veier Biografi ----------------------------- Foreligger kun som nettbok, ikke i trykket versjon Oslo Mars 2011 1 INNHOLD Forord s. 3 Innledning 5 Drammen 1859 - 1874 20 München 1874 - 1878 30 Paris 1878 - 1882 77 Firenze 1882 - 1884 160 Christiania og Åsgårdstrand 1884 - 1900 185 Paris og Åsgårdstrand 1900 – 1913 344 Epilog 390 Ettermæle 394 Litteraturliste 410 2 FORORD Ideen til denne boken om Hans Heyerdahl har modnet hos meg over mange år. Den skyldes ikke en i utgangspunktet beundring for Heyerdahls kunst eller på annen måte en spesiell interesse for ham fra min side, selv om jeg før skrivingen hadde sett en god del malerier av ham. Det skyldes mer nysgjerrighet omkring en ”gullaldermaler” som ennå ikke hadde fått sin biografi, og som det ellers var skrevet lite om. Dessuten en lyst til å forske på den mest ukjente av dem – både for kunsthistorikere og det vanlige kunstelskende publikum. Hans Heyerdah var motsetningsfull som menneske. Som kunstner var han både enkel og allsidig. Det har vært viktig for meg å forsøke å gjenspeile ham slik han var, på godt og vondt. Det er naturlig i en kunstnerbiografi å beskrive både kunstverkene og mennesket bak dem. Jeg har foretatt noen få litterære grep der dokumentasjonen er mangelfull, men ellers beskrevet mennesket Heyerdahl ved hjelp av førstehånds kilder. Verkene hans inviterer til en individuell bedømmelse fra betrakterens side. Denne biografien er sakprosa og et populærvitenskapelig verk; ikke rettet mot kunsthistorikere, fagfolk og andre kjennere, men mot det alminnelige kunstinteresserte publikum. De har hørt om Heyerdahl og sett noen få av hans mest kjente bilder i museer og i avbildninger, men er sulteforet på informasjon om ham og hans kunst i et bredere format. -
Annual Report 1993
1993 ANNUAL REPORT WBBKM NATIONAL GALLERY OF ART 1993 Annual Report Copyright © 1994. Board of Trustees, Details illustrated at section openings: National Gallery of Art. All rights reserved. p. 5: Attributed to Francesco Righetti, Mercury, c. 1780/1800, Andrew W. Mellon Collection, This publication was produced by the Editors 1937.1.131 Office, National Gallery of Art p. 7: Winslow Homer, Breezing Up (A Fair Wind), Editor-in-chief, Frances P. Smyth 1876, Gift of the W. L. and May T. Mellon Foundation, 1943.13.1 Editor, Tarn L. Curry p. 9: Thomas Cole, The Notch of the White Mountains (Crawford Notch), 1839, Andrew W. Mellon Fund, Designed by Susan Lehmann, 1967.8.1 Washington, D.C. p. 13: Lovis Corinth, Girl Reading, 1911, Gift of the Printed by Schneidereith & Sons, Marcy Family in memory of Sigbert H. Marcy Baltimore, Maryland The type is Meridien, set by BG Composition, p. 55: Raphael, Saint George and the Dragon, c. 1506, Andrew W. Mellon Collection, 1937.1.26 Baltimore, Maryland p. 59: Georges Braque, Still Life: Le Jour, 1929, Chester Dale Collection, 1963.10.91 ISBN 0-89468-205-9 p. 67: Jean-Auguste-Dominique Ingres, Mrs. Charles Photographic credits: Badham, 1816, The Armand Hammer Collection, p. 24 © Robert Frank 1991.217.20 p. 71: Jan Gossaert, Portrait of a Merchant, c. 1530, Works of art in the collection were photographed Ailsa Mellon Bruce Fund, 1967.4.1 by the department of imaging and visual services. Other photographs by Rex Stucky (p. 8), Shelley p. 81: Franz Innocenz Josef Kobell, Seacoast with a Sturman (p. -
The Prints of Edvard Munch : [Checklist of the Exhibition], February 13-April 29, 1973
The prints of Edvard Munch : [checklist of the exhibition], February 13-April 29, 1973 Author Museum of Modern Art (New York, N.Y.) Date 1973 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1725 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SELF-PORTRAIT. 1895 THEPRINTS OF EDUARDMUNCH Hit / 0 PLl f ACKNOWLEDGMENTS On behalf of the Trustees of The Museum of Modern Art, I wish to express my gratitude to the Norwegian Government and to the Munch Museum of the Oslo Municipal Collections, its Director Pal Hougen and his assistant Bente Torjusen, for making available material from their archives. For their invaluable assistance I also wish to thank Dr. and Mrs. David Abrahamsen, New York, Mr. and Mrs. P. Irgens Larsen, New York, Mr. and Mrs. Lionel Epstein, Washington, D. C. , Eleanor Garvey of The Houghton Library, Harvard University, Cambridge, Mass., and Bjj2frn Jensen, Director of the Norwegian Information Service in the United States. Among many sources available, the studies of Dr. Reinhold Heller of The University of Pitts burgh have been extremely useful. I am most indebted to Mr. and Mrs. William B. Jaffe for their generous gifts to the Museum and to William S. Lieberman, the Museum's Chief Curator of Drawings, who has been largely respon sible for the formation of its Munch collection. Finally, I would like to thank Howardena Pindell, Assistant Curator in the Department of Prints and Illustrated Books, for her work on the exhibition. -
12Holm-Johnsen Final
Hanne Holm-Johnsen The Pictorialist Movement in Scandinavia, with Emphasis on Norway Lecture on November 23, 2013 on the occasion of the symposium “Inspirations – Interactions: Pictorialism Reconsidered” Thomas Blehr: Without title, ca. 1900-10 Henry B. Goodwin: Gustav Adolf’s Market, seen from (carbon print, 120 x 94 mm (image)) Regerings Street, 1916 (photogravure, 215 x 170 mm (image)) The Collection The Preus Museum’s collection began to take shape in the 1970s. Through his company Preus Photo Laboratory Inc., a major contributor in the growing market for private color photography, Leif Preus was in a position to gather a primary international collection of photographs, specialized literature, and technical equipment. Preus had systematically built his expertise and begun his purchases, through the big auction houses, using the photohistories of Newhall and Gernsheim as inspiration. Gradually he became part of a network that put him in contact with agents and specialized dealers internationally. Norway, on the other hand, has never had a milieu for the sale of older original photographs. Thus, the majority of Norwegian photographs are acquired through direct purchase or as gifts from photographers or their heirs. The most comprehensive Norwegian private archives, like that of the Oslo Camera Club (OKK) and image collections or archives of Inga Breder (1856– 1934), Thomas Blehr (1875–1949), Olaf Christoffersen (1899–1984), and the album with images by Robert Collett (1842-1913) from 1906, came to the museum after its transition to governmental ownership. Of the approximately 69 photographers in the collection who fully or partially produced photographic art during the period between 1880 and 1940, about twenty were essential to Pictorialism’s beginning and apex of achievement: photographers such as Emerson, Cameron, and Frank Meadow Sutcliff (1853–1941) of Great Britain, Heinrich Kühn (1886– 1944) of Austria, Léonard Misonne (1870–1943) of Belgium, and Henry B. -
Impressionists All 3Rd Edition of the Festival, from 16/04 to 26/09/2016
PRESS KIT IMPRESSIONISTS ALL 3RD EDITION OF THE FESTIVAL, FROM 16/04 TO 26/09/2016 normandie-impressionniste.eu CONTENTS Editorial .................................................................................................................................... 7 Presentation ............................................................................................................................. 8 4 Questions Put To Jérôme Clément & Erik Orsenna ..........................................................10 The Major Exhibitions ............................................................................................................11 Festival of Many Facets .........................................................................................................33 Musical Interlude ...................................................................................................................51 Festive Appointments ............................................................................................................65 Culture for the People ...........................................................................................................68 Publishing/Writing/Cinema .................................................................................................72 Seminars .................................................................................................................................73 But Also... ...............................................................................................................................74 -
For 100 År Siden Mødtes En Gruppe Visionære Mennesker I Spisesalen På Brøndums Hotel Hvor De Grundlagde Skagens Museum
Museernes arbejdsplaner Følgende filer er vedhæftet indsendelsen: Referencenummer: 117083 Formularens ID: 494 Sendt til: [email protected] Sendt: 15-12-2010 13:32 ------------------------ MUSEERNES 4-ÅRIGE ARBEJDSPLANER Kulturarvsstyrelsen Museer H.C. Andersens Boulevard 2 1553 København V Telefon: 33 74 51 00 E-mail: [email protected] Vejledning Du kan få vejledende tekster til flere af felterne ved at køre musen hen over spørgsmålstegnene. Her vil være uddybende forklaringer til spørgsmålene. Vejledning til udfyldelse af skemaet fås desuden ved at klikke på spørgsmålstegnet øverst i højre hjørne. Når blanketten er udfyldt og afsendt på sidste side, modtager du en kvittering samt en e-mail vedhæftet en kopi af blanketten. Gem kladde Hvis du vil gemme en kladde af din blanket, skal du klikke på i menubaren øverst til højre. Man kan få hjælp ved at klikke på spørgsmålstegnet i øverste højre hjørne i samme menulinje som disketteikonet. Indtast museumsnummer og akronym Museumsnummer Museumsakronym 84102 SKM CVR-nummer 15865628 Udfyld oplysninger om museet/institutionen og evt. afdeling samt navn på kontaktperson Museum-/institutionsnavn iflg. vedtægterne Skagens Museum e-mail [email protected] Institutionens journalnr. nmlkji Dansk adresse nmlkj Udenlandsk adresse Museets adresse 1: Brøndumsvej 4 Postnummer By 9990 Skagen MUSEETS FORMÅL Hvad er museets mission (opgave og ansvarsområde) og vision? (Max 1 A4-side) For 100 år siden mødtes en gruppe visionære mennesker i spisesalen på Brøndums Hotel hvor de grundlagde Skagens Museum. Stifterne var apoteker og turistchef Victor Chr. Klæbel, hotelejer Degn Brøndum og skagensmalerne Michael Ancher, P.S. Krøyer og Laurits Tuxen. Museet blev stiftet med det ene og smukke formål, at bevare skagensmalernes værker i de omgivelser hvor de blev skabt. -
The Masterworks of Edvard Munch Introd
The masterworks of Edvard Munch Introd. by John Elderfield, commentaries by Arne Eggum Author Museum of Modern Art (New York, N.Y.) Date 1979 Publisher The Museum of Modern Art ISBN 0870704923 Exhibition URL www.moma.org/calendar/exhibitions/1701 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Masterworksof EDVARD MUNCH "* - 1 >. THE MUSEUMOF MODERN ART NEW YORK The Masterworks of EDVARD MUNCH The Masterworks of f EDVARD MUNCH Introductionby John Elderfield Commentariesby Arne Eggum THE MUSEUM OF MODERN ART NEW YORK "The Masterworks of Edvard Munch" on view from March 15 to April 24, 1979, is presented with the support of Mobil Corporation and is drawn from an exhibition organized by the National Gallery of Art, Washington, D.C. This catalog has been assisted by a grant from The Lauder Foundation. Copyright © 1979 by The Museum of Modern Art, New York Commentaries by Arne Eggum copyright © 1978 by the Trustees of the National Gallery of Art, Washington All rights reserved Library of Congress Catalog Card Number 79-84029 ISBN 0-87070-492-3 Designed by Christopher Holme The Museum of Modern Art 11 West 53 Street New York, N.Y. 10019 Printed in the United States of America Cover: The Scream. 1893. Nasjonalgalleriet, Oslo This catalog is published on the occasion of an exhibition at The Museum of Modern Art of a group of masterworks by the great Norwegian artist Edvard Munch.