DOCSLIB.ORG

Note to Our Readers the Editor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Note to Our Readers the Editor Document generated on 09/24/2021 10:03 p.m. Vie des arts Note to Our Readers The Editor Number 64, Fall 1971 URI: https://id.erudit.org/iderudit/57976ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this document The Editor (1971). Note to Our Readers. Vie des arts, (64), 95–95. Tous droits réservés © La Société La Vie des Arts, 1971 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ wave that broke, from the death of eminently one of those. A plastician, he with a sensiitivity which suits an ambig­ Cézanne to the eruption of Dadaism, upset constructed his work strictly, felt repu­ uous structure. The strength, the firm­ not only art and taste, but challenged gnance at facility, built with the sobriety ness of the construction bring daylight the interpretative structures of estheti- of his masters, the fresco painters. It to this poetic dawn. cism. Picasso, Schwitters, and Marcel is useful to relate these characteristics This pictorial language new in its ap­ Duchamp, these three names establish to the work of Malévitch in Russia. We parent treatment, was related by the the break with traditionalism. At the note that towards 1909, the creator of obscure routes of heredity, the places he same time, non-figurative painting appear­ Suprematism painted oils with a concision lived, the Tuscan landscape, and Florence, ed. Artists like Malévitch and Magnelli, akin to those of Magnelli in 1913. Both, to the sources that Magnelli knew all the Delaunays, Kandinski, Kupka, and thus seem to reach constructivism by a about : Uccello, Piero della Francesca. We Mondrian come to the same conclusions, similar evolution, by the purification of could even go beyond that and follow Arp not knowing of one another, separated forms, as it were, by a classic approach who thought that "the black, brown and by sometimes hostile traditions, endowed contrary to Kandinsky, who reached the blue of Magnelli's canvases made one with apparently incompatible tempera­ informal by expressionist lyricism. The think of the colours of frescoes of the ments. route followed by Mondrian was different first Cretan eras. His works could furnish Magnelli has told us1" of the isolation again, an imperturbable logic led him an equivelent of these majestic and in which he lived in Florence during the to an absolute geometricism by the deep­ serene decorations". Crete, the Etruscans, years 1913-1914, when he produced the ening of a formal vision. Florence.... we go back through the first of his works in which figuration But the most uncompromising men ages; recurrent, Mediterranean classicism disappeared : no reviews, no reproduc­ sometimes have unexpected repentance. emerges, more absolute than in the ra­ tions, no contacts. If his relations with First Magnelli abandoned his haughty tional renovations of Antiquity. The the Futurists were friendly, they were serenity : the war came to an end, and chromatic as well as plastic equilibrium disturbed by the lack of understanding was over. Enthusiasm exalted him. A of Magnelli's compositions participate in of Marinetti's group towards growing non- more sensual effusiveness was manifest­ this perenniality of a world full of wisdom. figuration. By their adherence to epi­ ed in his compositions, a tumultuous The first Italian non-figurative painter dermic modernity. Now we must remem­ song overwhelmed him. The end of in the sense that we understand that ber that Magnelli who began to paint hostilities liberated in him a generous today, Magnelli settled in France in 1939. late, self taught — he liked to say — taste that overexcited colour, impassioned In the post war period when there were had fresco painters for masters : Giotto, form, which to this point had been so exhibitions of the first "New Realists" Paolo Uccello, Masaccio, and Piero della strict. He called a "lyric explosion" the Salon of 1939, of Drouin (1947), of Denise Francesca. His last figurative works re­ work of this warm period, a relaxation René (1949), Magnelli's position became veal this transposed influence; it may that preceded a questioning of the very considerable in Europe and in the United be seen in "Théâtre Stenterello No. 3", meaning of the work of art. Magnelli States. In 1950 he took part in the Venice which is reproduced. The Arezzo frescoes was to hesitate in the exploration of the Biennial; then all the national museums revealed to him "composition in a possibilities opened by his own approach : and the international biennials offered surface", made him understand, he said, he experimented by applying to his re­ him their galleries. Michel Seuphor wrote, "the interplay of empty and fully occupied search the work of the Futurist, Cubist, "the most important event of the new space". Beginning with Piero della Fran­ and Surrealist painters, without ever post war period was the appearance of cesca, he felt that his art, his pictures, giving in to their formulation. A powerful Alberto Magnelli.. When the war was "would always tend towards the archi­ temperament kept him from adhering to over, Magnelli's star rose. He soon be­ tectural". He rediscovered flat tint and whatever was not his fundamental in­ came the most important abstract painter removed the anecdote from the anecdotal. tuition. He experienced these teachings, in Paris".1" He was not far from thinking that the then moved away from them. With his death, the last man (Sonia taste for movement's taste, for machinery, In 1928 he reached an impasse : he Delaunay being quite alive) of the initia­ proper to the Futurists, was regressive. stopped painting. With difficulty two tors of the new art foreseen by Apolli­ That was happening in 1914. After a years later, he began to draw again, and naire passed away. His kindness, his gra­ brief stay in Paris, Magnelli returned to was reconciled with painting by discover­ cious humour, were mediating between Florence, where he was at the outbreak ing in Carrara, the language of unpolished the elders, the explorers of virgin lands, of the war. The studio that Apollinaire marble : with their transfiguration into a and the generations which, successively, had kept for him in the French capital series of canvases "Les Pierres", lyricism were to profit from their adventure, one was never to be occupied. What is more, made a last appearance in the work of of the most original known in the history meeting the friends of the poet, Picasso, the Tuscan painter. Beginning in 1937, of art. Magnelli surely occupies a prom­ Léger, Juan Gris, did not change his mind. the creative tumult was mastered, Ma- inent place which history reserves to "One had the feeling that art should re­ gnelli's work reached a state of serenity those who change it. turn to creation instead of being an that even the upheavals of the second imitation of something. Even cubism, world war were not able to shake. which is magnificent, which is formidable, "If one wants to produce something NOTES saw its creators start from an idea of absolute, one must be able to choose (1) Interview with Alberto Magnelli, by reality; they distorted the object, they what is necessary to realize this vision".''' Jacques Lepage, published in part in transformed it; they wanted to see its As early as 1912-1913, Magnelli deliber­ "Les Lettres Françaises" on March four sides. Whereas, for my part, one ately crossed the threshold of tradition, 12, 1964. fine day I wondered Is it possible that breaking it. He directly created his own I must make some sort of character when language, reinvented a new plastic vocab­ (2) Cf. Catalogue "Alberto Magnelli" I can have the freedom to create a can­ ulary, which the Renaissance and its edited on the occasion of the itin­ vas according to the forms that I need after-effects had hidden. His choice was erant exhibition of his works in within the rectangle of the canvas. And definitely made shortly before the second 1970. then I completely removed all that was world war, and his work, henceforth, was (Translation by Yvonne Kirbyson) real, even imagined, and I created can­ to join in with the non-figurative trend vases, the first abstract canvases. which held general attention until 1955-60. For forty years painters were to exploit Without merging with it however. Among the constructivists he remains on the this change in art that would be the NOTE TO OUR READERS great adventure of the first half of the fringe, keeping his distance towards century. Magnelli, like other inventors geometricism. A suppleness of form We deeply regret that circumstances be­ of non-figuration, would see his work which is not softness, assures his free­ yond our control prevent our not providing plagiarized for the benefit of followers, dom. "The straightest straight line is translations of the four following articles who often did not go beyond fraudulent that produced by the maximum straighten­ 1 on La Danse au Québec, Robert Savoie, imitation. That matters little. Imitation ing of the curve, ready to bend back."" Beaulieu de Montparnasse and La Collec­ gives way as quickly as styles. There This remark by Closon applies exactly tion Zacks. We trust our readers will remain only those who have added to the to Magnelli's works.
Load more

Recommended publications
  • Copertina Artepd.Cdr
    Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo.
    [Show full text]
  • Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with Statements by the Artist
    Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with statements by the artist. The Museum of Modern Art, New York, in collaboration with the Minneapolis Institute of Art Author Museum of Modern Art (New York, N.Y.) Date 1956 Publisher Minneapolis Institute of Art Exhibition URL www.moma.org/calendar/exhibitions/3333 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 JULIO GONZALEZ JULIO GONZALEZ introduction by Andrew Carnduff Ritchie with statements by the artist The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Art TRUSTEES OF THE MUSEUM OF MODERN ART John Hay W hitney, Chairman of theBoard;//enry A//en Aloe, 1st Vice-Chairman; Philip L. Goodwin, 2nd Vice-Chairman; William A. M. Burden, President; Mrs. David M. Levy, 1st Vice-President; Alfred IL Barr, Jr., Mrs. Bobert Woods Bliss, Stephen C. (dark, Balph F. Colin, Mrs. W. Murray Crane,* Bene ddfarnon court, Mrs. Edsel B. Ford, A. Conger Goodyear, Mrs. Simon Guggenheim,* Wallace K. Harrison, James W. Husted,* Mrs. Albert D. Lasker, Mrs. Henry B. Luce, Ranald II. Macdonald, Mrs. Samuel A. Marx, Mrs. G. Macculloch Miller, William S. Paley, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, Duncan Phillips,* Andrew CarndujJ Bitchie, David Bockefeller, Mrs. John D. Bockefeller, 3rd, Nelson A. Bockefeller, Beardsley Buml, Paul J. Sachs,* John L. Senior, Jr., James Thrall Soby, Edward M. M. Warburg, Monroe Wheeler * Honorary Trustee for Life TRUSTEES OF THE MINNEAPOLIS INSTITUTE OF ARTS Putnam D.
    [Show full text]
  • Fiche De Salle-Magnelli-Anglais
    Musée Magnelli, musée de la céramique - Vallauris Short biography of Alberto Magnelli Born in Florence in 1888 in a family of shopkeepers, Alberto Magnelli (1888-1971) achieves his first painting, a landscape, in 1907. He was a self-taught artist who never attended any art school nevertheless he studied the primitive Italian painting. His masters were Paolo Uccello, Masaccio, and above all Piero della Francesca to whom he owes his sense of composition. In Florence, he kept company with the artists of the Futurist movement but never wanted to join them. While his early works such as Neve (1910) – the first important painting in his career- were dedicated to the architecture of painting and plain colours, after 1914, his production (Virginia , Nature morte à la boîte rouge , and La Japonaise ) is painted with bright flat tints, which totally contrasts with his previous work. In 1914, Magnelli travels for the first time to Paris where he meets Apollinaire, Picasso, Léger and Archipenko. Back in Italy, he is forced to stay because of the break of the war in 1915. During this period, he produces paintings by resorting to a logical simplification of forms, progressively turning to abstraction. He thus becomes the first Italian abstract painter. Peinture n° 0521 (1915) - entitled with a simple number- is an emblem of his first abstract works. By 1917, he reintroduces figurative elements: the series of Explosions Lyriques (1918) are an echo to the end of the war, particularly dynamic and free in the style. In 1922, Magnelli goes back to a more classical style. At the end of the 1920’s, he stops painting.
    [Show full text]
  • 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.
    [Show full text]
  • Magnelli Jacques Lepage
    Document generated on 09/25/2021 10 p.m. Vie des arts Magnelli Jacques Lepage Number 64, Fall 1971 URI: https://id.erudit.org/iderudit/57970ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Lepage, J. (1971). Magnelli. Vie des arts, (64), 70–73. Tous droits réservés © La Société La Vie des Arts, 1971 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ magnelli par Jacques lepage D'étude scientifique consacrée à l'émergence presque simultanée de phénomènes nouveaux dans des lieux et des situations différentes, il n'en est pas. Pourtant, il est commun de voir se faire, aussi bien dans des disciplines objectives que spéculatives ou artistiques, des dé­ couvertes dont l'analogie est trou­ blante, dans un temps très court. Ainsi la non-figuration surgit à la même période dans des pays aussi peu semblables que la Russie des Tsars, la Hollande et l'Italie, l'Eu­ rope Centrale des Habsbourg et la France. La vague de fond qui dé­ s ferle, de la mort de Cézanne à l'ir­ ruption du Dadaïsme, bouleverse non seulement l'art et le goût, mais va mettre en cause les structures interprétatives de l'esthétisme.
    [Show full text]
  • Natalia Goncharova's Canonization in Europe After 1945
    Natalia Goncharova’s canonization in Europe after 1945 Elena Korowin Introduction The Russian avant-garde artist Natalia Sergeevna Goncharova (1881-1962) is considered to be one of the major female artists of the early twentieth century. Of all female artists internationally, her works are now among the most expensive; however, the canonization process of her work was quite sluggish. The aim of this paper is to trace the way Goncharova entered the canon of modern art in Europe. In doing so, it will show how differently the canonization processes of male and female as well as exile and non-exile artists from Russia developed in the twentieth century. Therefore, it is important to mark the milestones in Goncharova’s case of canonization: 1. The first acquisitions of her works by Musée National d’Art Moderne in 1950 and by the Tate in 1952. 2. Her recognition within the feminist context in the 1970s, which started with the exhibition Woman Artists 1550-1950. 3. Goncharova’s rising prices on the art market in the 2000s. To understand these three turns it is necessary to observe the cultural-political situation after 1945 in order to contextualize the reception of Russian avant-garde in the West and to answer the following questions: Why was Goncharova ‘discovered’ so late compared to other artists, particularly male artists of the Russian avant-garde; in other words, how does Goncharova’s canonization relate to the canonization of Malevich, Tatlin and especially of Mikhail Larionov? Who were the main actors in promoting her work? This analysis will provide a detailed understanding of the way early Russian art was promoted in Germany, France and England in the post-war period and how it became a part of the modernist canon in art history.
    [Show full text]
  • The Politics of Artistic Identity: the Czech Art World
    The Politics of Artistic Identity. The Czech Art World in the 1950s and 1960s Svasek, M. (2001). The Politics of Artistic Identity. The Czech Art World in the 1950s and 1960s. In G. Péteri (Ed.), Intellectual Life and the First Crisis of State Socialism in East Central Europe, 1953-1956 (pp. 133-153). Norwegian University of Science and Technology. Published in: Intellectual Life and the First Crisis of State Socialism in East Central Europe, 1953-1956 Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:30. Sep. 2021 The Politics of Artistic Identity: the Czech Art World in the 1950s and 1960s MARUSKA SVASEK Introduction Since the Czech 'revivalist' movement of the last century, Czech art — along with the roles assigned to its artists — has been undergoing a continual process of definition and redefinition.1 The question of what constituted and what should constitute Czech artistic identity has often proved politically charged, with artists and art historians on opposing sides attacking each other for their political views.
    [Show full text]
  • Download Lot Listing
    Monday, September 17, 2018 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Monday, September 17, 2018 at 10am EXHIBITION Friday, September 14, 10am – 5pm Saturday, September 15, 10am – 5pm Sunday, September 16, Noon – 5pm LOCATION DOYLE 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $35 PAINTINGS, SCULPTURE, PHOTOGRAPHS & PRINTS INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF Fine Art 1-95 Aurora Biamonte Prints 96-115 Norman Dorsen Furniture & Decorative Arts 116-179 An East Hampton Collection Silver 180-187 Dr. Paul Hershenson Furniture & Decorative Arts 188-253 Carl Lesnor Dorothy Lewis 2013 Irrevocable Trust Jesse Mines The Patricia and Donald Oresman Collection Felice Ross Florence Segal The Wynant D. Vanderpoel Trust Glossary I Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V INCLUDING PROPERTY FROM Buying at Doyle VI The Collection of Charlotte Bergman Selling at Doyle VIII A Private Connecticut Collection Auction Schedule IX A Private Collection of Important Design Company Directory X Sold to Benefit a New York Not-For-Profit Organization Absentee Bid Form XII The Collection of Margo Howard Lot 70 1 4 Yaacov Agam Leo Amino Israeli, b. 1928 Japanese/American, 1911-1989 Petit Triangle Volant Object Untitled, circa 1946 Signed Agam and numbered 2/4 Signed LEO 18 kt. gold, 52.1 dwts Terracotta Height 1 7/8 inches 14 1/2 x 18 x 12 inches Provenance: C The artist $4,000-6,000 [Sale]: Enghien Hôtel des Ventes See Illustration Acquired by the current owner, Dec. 1980 from the above venue Exhibited: 5 Enghien-les-Bains, France, Enghien Hotel des Leo Amino Ventes, Bijoux-Sculptures et Mobiles en Japanese/American, 1911-1989 Or par Yaacov Agam, Dec.
    [Show full text]
  • Beyond Modigliani – Alternative Histories of Modern Italian Art in New York ROSALIND MCKEVER
    12/2/2015 Beyond Modigliani ​– alternative histories of modern Italian art Nov 23, 2015 The Double Grande Jatte (1971), Enrico Baj, installation view at Luxembourg & Dayan, New York, 2015 Photo: Adam Reich Beyond Modigliani – alternative histories of modern Italian art in New York ROSALIND MCKEVER Amedeo Modigliani, his Nu couché (1917-18), and its £170.4 million price tag, have been attracting attention in New York, but the city has a lot more Italian modern art to offer. Alberto Burri’s abstract burlap, plastic and celotex compositions are on show at the Guggenheim and the ever-popular still lifes of Giorgio Morandi can be found at both the Center for Italian Modern Art, and David Zwirner. Fresh perspectives on Burri and Morandi are very welcome, but compared to some of the Italian modernists on display in the city at the moment, these two are giants of abstraction and figuration. Just take a look at the names of some of the artists shown at Sperone Westwater’s exhibition ‘Painting in Italy 1910s–1950s: Futurism, Abstraction, Concrete Art’: Corrado Cagli, Mario Radice, Luigi Veronesi… http://www.apollo-magazine.com/beyond-modigliani-alternative-histories-of-modern-italian-art-in-new-york/ 1/8 12/2/2015 Beyond Modigliani ​– alternative histories of modern Italian art The abstract artists working during Fascism, the Second World War and its aftermath, have received little attention and so this exhibition of around 200 works is refreshing. The story begins in familiar territory with Futurist abstraction, most notably Giacomo Balla’s experiments in depicting speed and light. Quickly though, the dense hang presents us with abstract works from the 1930s and ’40s by Alberto Magnelli, Atanasio Soldati, Carla Badiali, and others who have clearly absorbed the lessons of their European neighbours.
    [Show full text]
  • SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338
    SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338 www.speronewestwater.com Painting in Italy 1910s-1950s: Futurism, Abstraction, Concrete Art 30 October – 22 December 2015 New York, 29 September 2015—Sperone Westwater is pleased to present Painting in Italy 1910s- 1950s: Futurism, Abstraction, Concrete Art, a group exhibition of influential Italian painters working before, during and after World War II, curated by Gian Enzo Sperone. Featuring over 120 paintings spanning three major artistic movements, the exhibition illustrates the diversity and singularity of abstract art in Italy, seeking to afford more focused attention to a group of artists who revolutionized the historical sweep of painting in the context of interwar and postwar Europe and the United States. This exhibition concerns three periods from the early 1910s through the late 1950s, beginning with Giacomo Balla and Enrico Prampolini’s embrace of the Futurist manifesto and charting the development of Italian abstract painting under the growing political pressures of Fascism. The works on view are united in their vigorous challenge of the traditions of their time, each propelled by spirited experimentation and fervent revolutionary impulse. Often transcending the typical Futurist subject matter of racing car and mechanical city-scape, these works mark a distinct movement away from figuration as the primary vessel for an expression of feeling, instead investigating the emotional value of line, shape and color. As abstractionist painter Theo Van
    [Show full text]
  • Hans Arp & Other Masters of 20Th Century Sculpture
    Hans Arp & Other Masters Stiftung Arp e. V. Papers of 20th Century Sculpture Volume 3 Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 3 Hans Arp & Other Masters of 20th Century Sculpture Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Hans Arp & Other Masters of 20th Century Sculpture An Introduction Jana Teuscher 20 Negative Space in the Art of Hans Arp Daria Mille 26 Similar, Although Obviously Dissimilar Paul Richer and Hans Arp Evoke Prehistory as the Present Werner Schnell 54 Formlinge Carola Giedion-Welcker, Hans Arp, and the Prehistory of Modern Sculpture Megan R. Luke 68 Appealing to the Recipient’s Tactile and Sensorimotor Experience Somaesthetic Redefinitions of the Pedestal in Arp, Brâncuşi, and Giacometti Marta Smolińska 89 Arp and the Italian Sculptors His Artistic Dialogue with Alberto Viani as a Case Study Emanuele Greco 108 An Old Modernist Hans Arp’s Impact on French Sculpture after the Second World War Jana Teuscher 123 Hans Arp and the Sculpture of the 1940s and 1950s Julia Wallner 142 Sculpture and/or Object Hans Arp between Minimal and Pop Christian Spies 160 Contributors 164 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp is one of the established greats of twentieth-century art. As a founder of the Dada movement and an associate of the Surrealists and Con- structivists alike, as well as co-author of the iconic book Die Kunst-ismen, which he published together with El Lissitzky in 1925, Arp was active at the very core of the avant-garde.
    [Show full text]
  • Vallauris Golfe-Juan Visitor’S Guide
    Vallauris Golfe-Juan Visitor’s Guide In the heart of Côte d’Azur Index p 1 Historical references p 2/3 Vallauris Golfe-Juan: easy access. Motorway access 3 km; Nice airport 25 km; the prestigious “Paris-Lyon-Méditerranée” rail link. Golfe-Juan is also the starting point for the legendary route: the ‘Route Napoleon’. p 4/5 Vallauris, town of clay tradition and techniques Everything you need to know about pottery: where to see the potters at Golfe-Juan has to offer. This guide work, what heritage and contemporary provides you with all you need to works exhibitions are being held, who know for a break by the sea: whether to speak to about the different you fancy relaxing on a beach, or methods of production. Four pages need ideas for boat trips and sporting full of useful information. activities, or information on scuba diving and water skiing. p 6/9 Artists of international renown. The technical know-how in p 12 Golfe-Juan, Vallauris has attracted a great many a historical shoreline artists that have come to learn more Book now for the re-enactment of about the art of pottery making. Two Napoleon’s landing at the beginning such artists firmly placed the name of of March. Vallauris on the map: Picasso and, more recently, Jean Marais. Find out more about them and their p 13/15 Visits and heritage, work in Vallauris. Also discover: the activities. Ideas for making the most largest public collection of works by of your visit: sporting activities, the artist Alberto Magnelli, one of the historical heritage, routes to follow in pioneers of the Abstract movement.
    [Show full text]