Paul Klee Born 1879 in Münchenbuchsee, Switzerland
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Paul Klee – the Abstract Dimension October 1, 2017 to January 21, 2018
Media release Paul Klee – The Abstract Dimension October 1, 2017 to January 21, 2018 From October 1, 2017, to January 21, 2018, the Fondation Beyeler will be presenting a major exhibition of the work of Paul Klee, one of the most important painters of the twentieth century. The exhibition undertakes the first-ever detailed exploration of Kleeʼs relationship to abstraction, one of the central achievements of modern art. Paul Klee was one of the many European artists who took up the challenge of abstraction. Throughout his oeuvre, from his early beginnings to his late period, we find examples of the renunciation of the figurative and the emergence of abstract pictorial worlds. Nature, architecture, music and written signs are the main recurring themes. The exhibition, comprising 110 works from twelve countries, brings this hitherto neglected aspect of Kleeʼs work into focus. The exhibition is organized as a retrospective, presenting the groups of works that illustrate the main stages in Kleeʼs development as a painter. It begins, in the first of the seven rooms, with Kleeʼs apprenticeship as a painter in Munich in the 1910s, followed by the celebrated journey to Tunisia in 1914, and continues through World War I, and the Bauhaus decade from 1921 to 1931, with the well- known “chessboard” pictures, the layered watercolors, and works that respond to the experiments of the 1930s with geometric abstraction. The next section features a selection of the pictures painted after Kleeʼs travels in Italy and Egypt in the later 1920s and early 1930s. Finally, the exhibition examines the “sign” pictures of Kleeʼs late period, and the prefiguration, in his conception of painting, of developments in the art of the postwar era. -
The Hoosier Historical Hike
Welcome to the Hoosier Historical Hike. This hike was created by Scouts from the Wapahani District and the Hoosier Trails Council. This experience is a great way to learn about the history of Bloomington, Indiana. You will enjoy a three-phase hike that totals 5.5 miles in some of the most beautiful parts of the state. You can complete these hikes all at once or in different segments. The segments will include the downtown Bloomington area, Rose Hill Cemetery, and the Indiana University Campus. You will find 43 stops along these scenic routes. Please use the attached coordinates to find all the great locations and just for fun, we have added some great questions that you can research along the way! Keep in mind: One person should in charge of the documents and writing down the answers from the other members of the group. You will need the following for this hike: • Comfortable hiking foot ware • Appropriate seasonal clothing • A first aid kit • A copy of these documents • A pad of paper • Two pens or pencils • A cell phone that has a compass and a coordination app. • A trash bag • Water Bottle It is recommended that you wear you Scout Uniform or Class B’s. Remember, you are Scouts and during this hike you are representing the Scouting movement. You will be walking through neighborhoods so please respect private property. Do not liter and if you see liter please place it in your trash bag and properly dispose it. Remember leave no trace, take only photographs and memories. During this pandemic some of the buildings will be closed. -
Vik Muniz N./B. 1961, São Paulo, Brazil Vive E Trabalha/Lives and Works in Rio De Janeiro and New York
vik muniz n./b. 1961, são paulo, brazil vive e trabalha/lives and works in rio de janeiro and new york formação / education B.A. in Advertising from Fundação Armando Álvares Penteado (FAAP), São Paulo, Brazil exposições (seleção) / exhibitions (selection) individuais em negrito / solo exhibitions in bold 2018 Vik Muniz, Chrysler Museum of Art, Norfolk, USA Vik Muniz: Verso, Belvedere Museum Vienna, Vienna, Austria Plastic Entanglements: Ecology, Aesthetics, Materials, Palmer Museum of Art, Philadelphia, USA 2017 Vik Muniz: Handmade, Rena Bransten Gallery, San Francisco, USA Afterglow (Pictures of Ruin), Palazzo Cini, Venice, Italy Vik Muniz, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico Vik Muniz: a Retrospective, Eskenazi Museum of Art, Bloomington, USA Troposphere – Chinese and Brazilian Contemporary Art, Beijing Minsheng Art Museum, Beijing, China Look at Me!: Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection, Pera Museum, Istanbul, Turkey Pledges of Allegiance, Spencer Museum of Art, University of Kansas, Lawrence, USA Ways of Seeing, Fondation Boghossian - Villa Empain, Brussels, Belgium This Is Not a Selfie – Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of Art, San Jose, USA Glassstrass, Palazzo Franchetti, Venice, Italy A Vastidão dos Mapas, Museu Oscar Niemeyer (MON), Curitiba, Brazil Trazas simultáneas, Embaixada do BrasilArgentina, Espacio Cultural, Argentin 2016 Handmade, Galeria Nara Roesler, São Paulo, Brazil Vik Muniz, High Museum of Art, -
Recorridos De La Modernidad Arte Y Cultura Visual En Las Representaciones Del Paisaje Urbano De Buenos Aires Entre 1910 Y 1936
Recorridos de la modernidad Arte y cultura visual en las representaciones del paisaje urbano de Buenos Aires entre 1910 y 1936 Fara, Catalina Baldasarre, María Isabel 2015 Tesis presentada con el fin de cumplimentar con los requisitos finales para la obtención del título Doctor de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires en Artes UNIVERSIDAD DE BUENOS AIRES UNIVERSIDAD DE BUENOS AIRES FACULTAD DE FILOSOFÍA Y LETRAS Doctorado en Historia y Teoría de las Artes Tesis para optar al grado de Doctora en Historia y Teoría de las Artes Recorridos de la modernidad. Arte y cultura visual en las representaciones del paisaje urbano de Buenos Aires entre 1910 y 1936 Doctoranda: Mg. Catalina Verónica Fara Directora: Dra. María Isabel Baldasarre Consejera: Dra. Laura Malosetti Costa Buenos Aires Septiembre 2015 Índice AGRADECIMIENTOS a INTRODUCCIÓN 1 1. Tesis a sostener 4 2. Estado de la cuestión 5 3. Marco teórico y metodológico. Desafíos de la investigación 13 4. Debates sobre paisaje urbano y modernidad 18 4.1. Experiencia urbana y paisajes de Buenos Aires 22 5. Organización y contenido de los capítulos 24 CAPÍTULO 1. Miradas desde y sobre el agua. Buenos Aires y sus imágenes de ciudad costera 29 1. Vaivenes de la presencia del Río de La Plata en las imágenes urbanas 30 1.1. Panoramas de Buenos Aires desde el río 30 1.2. Recuperar el río como espacio: dilemas del urbanismo y metamorfosis de los paisajes 37 costeros 2. Hacia una dialéctica del paisaje ribereño: entre el sublime industrial y el Riachuelo como 51 reducto pintoresco 2.1. -
Outsider to Insider: the Art of the Socially Excluded
Derleme Makale YAZ 2020/SAYI 24 Review Article SUMMER 2020/ISSUE 24 Kartal, B. (2020). Outsider to insider: The art of the socially excluded. yedi: Journal of Art, Design & Science, 24, 141-149. doi: 10.17484/yedi.649932 Outsider to Insider: The Art of the Socially Excluded Dışarıdan İçeriye: Sosyal Dışlanmışların Sanatı Burcu Kartal, Department of Cartoon and Animation, İstanbul Aydın University Abstract Özet The term outsider art was coined by the art historian Roger Cardinal Toplum dışı sanat olarak da tanımlanan Outsider Art terimi ilk kez in 1972. Outsider art includes the art of the ‘unquiet minds,’ self- 1972 yılında Roger Cardinal tarafından kullanılmıştır. Toplum dışı taught and non-academic work. Outsider art is not a movement like sanat, akademik eğitim almamış, kendisini bu alanda geliştirmiş, Cubism or Expressionism with guidelines and traditions, rather it is a toplumun ‘normal’ olarak sınıflandırdığı grubun dışında kalan reflection of the social and mental status of the artist. The bireylerin yaptığı sanattır. Toplum dışı sanatın, kübizm veya classification relies more on the artist than the art. Due to such dışavurumculuk gibi belirli kuralları, çizgisi yoktur; sanatçının akli ve characteristics of the term, like wide range of freedom and urge to sosyal statüsü üzerinden sınıflandırılır. Bu nedenle toplum dışı sanat create, social discrimination, creating without the intention of profit, sınıflandırması sanat değil sanatçı üzerindendir. Toplum dışı sanatın people with Autism Spectrum Disorder also considered as Outsiders. ana özellikleri içerisinde önüne geçilemez yaratma isteği, sosyal However, not all people with Autism Spectrum Disorder has the dışlanma, kazanç sağlama hedefi olmadan üretme olduğu skillset to be an artist. -
Feininger Klee Bauhaus Feininger Klee Bauhaus
feininger klee bauhaus feininger klee bauhaus 01.05.2019 — 18.01.2020 New York Dortmund Wien Inhalt contents 06 Lyonel Feininger – vom Karikaturisten zum Bauhausmeister Wolfgang Büche 07 Lyonel Feininger —from Caricaturist to Bauhaus Master Wolfgang Büche 22 werke Lyonel Feininger 22 works by Lyonel Feininger 60 lyonel feininger über paul klee 61 lyonel feininger on paul klee 70 werke Paul Klee 70 works by paul klee 84 biografien 84 biographies 92 ausgestellte werke 92 exhibited works 104 impressum Die Bauhausmeister auf dem Dach des Bauhauses in Dessau anlässlich der Eröffnung am 4. und 5. Dezember 1926 The Bauhaus Masters on the roof of the Bauhaus in Dessau at its opening on December 4 & 5, 1926 104 imprint Lyonel Feininger 04 05 Lyonel Feininger Lyonel Feininger – vom Karikaturisten —from Caricaturist zum Bauhausmeister to Bauhaus Master Wolfgang Büche Wolfgang Büche Als Lyonel Feininger im Mai 1919 als der erstberufene Bau- When Lyonel Feininger was sitting on the train to Weimar hausmeister im Zug nach Weimar saß, gehörte er in Deutsch- in May 1919 on his way to become one of the first Bauhaus land bereits zu den arrivierten Malern. Es gab Sammler masters appointed to teach at the school, he was already seiner Werke und Museen begannen sich für sein Schaffen a well-established painter in Germany. There were already zu interessieren. Mit seiner ersten Einzelausstellung 1917 in a few collectors of his work, and museums were starting to der Galerie Der Sturm in Berlin war er endgültig als einer der take an interest in him. His first solo exhibition at the Galerie Protagonisten der Moderne in Deutschland eingeführt. -
El Universo Futurista. 1909 - 1936
Press kit El Universo Futurista. Departamento de Prensa [+54-11] 4104 1044 1909 - 1936 [email protected] www.proa.org Colección MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italia Fundación PROA Av. Pedro de Mendoza 1929 [C1169AAD] Buenos Aires Argentina Desde el 30 de marzo hasta el 4 de julio de 2010 PROA Giannetto Malmerendi. S i g n o r i n a + a m b i e n t e , 1914. Oleo sobre tela, 59 x 48 cm. MART, Rovereto …futurista, o sea, falto de pasado y libre de tradiciones ManifiestoLa Cinematografía Futurista. 1916 El Universo Futurista. 1909 - 1936 Inauguración Martes 30 de marzo de 2010, 19 horas - Con el apoyo del Instituto Italiano de Cultura de Buenos Aires - Embajada de Italia en Argentina Con el auspicio permanente de Tenaris / Organización Techint Idea y proyecto Departamento de Prensa MART Juan Pablo Correa / Andrés Herrera / Laura Jaul Fundación PROA [+54 11] 4104 1044 [email protected] Curadora www.proa.org Gabriella Belli Concepto y desarrollo de textos Comité asesor Franco Torchia Cecilia Iida Cintia Mezza Cecilia Rabossi Producción Beatrice Avanzi Clarenza Catullo Camila Jurado Aimé Iglesias Lukin Diseño expositivo Caruso-Torricella, Milán Conservación Teresa Pereda Diseño gráfico Spin, Londres Fundación PROA Av. Pedro de Mendoza 1929 La Boca, Ciudad de Buenos Aires - Horario Martes a domingo de 11 a 19 hs Lunes cerrado – - El Universo Futurista pág 3 1909-1936 …futurista, o sea, falto de pasado y libre de tradiciones ManifiestoLa Cinematografía Futurista. 1916 El Universo Futurista. 1909 - 1936 Colección MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italia Curadora: Gabriella Belli Futurismo no es futuro. -
Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol
The Art Institute of Chicago Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol. 25, No. 9, Part II (Dec., 1931), pp. 1-31 Published by: The Art Institute of Chicago Stable URL: https://www.jstor.org/stable/4103685 Accessed: 05-03-2019 18:14 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Art Institute of Chicago (1907-1951) This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms EXHIBITION OF THE ARTHUR JEROME EDDY COLLECTION OF MODERN PAINTINGS AND SCULPTURE ARTHUR JEROME EDDY BY RODIN THE ART INSTITUTE OF CHICAGO DECEMBER 22, 1931, TO JANUARY 17, 1932 Part II of The Bulletin of The Art Institute of Chicago, Volume XXV, No. 9, December, 1931 This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms No. 19. -
Ausgewählte Werke 29. November 2018 30 0
Ausgewählte Werke Herbst 2018 300 Ausgewählte Werke Werke Ausgewählte 29. November29. 2018 Bernar Venet. Los 50 Otto Dix. Detail. Los 27 Otto Dix. Detail. Los 27 Ernst Ludwig Kirchner. Detail. Los 17 Ernst Ludwig Kirchner. Detail. Los 17 Ausgewählte Werke 29. November 2018, 18 Uhr Selected Works 29 November 2018, 6 p.m. Experten Specialists Dr. Markus Krause Micaela Kapitzky +49 30 885 915 29 +49 30 885 915 32 [email protected] [email protected] Traute Meins Nina Barge +49 30 885 915 21 +49 30 885 915 37 [email protected] [email protected] Zustandsberichte Condition reports [email protected] Grisebach — Herbst 2018 Experten Specialists Vorbesichtigung der Werke Sale Preview Ausgewählte Werke Dortmund 29. bis 31. Oktober 2018 Galerie Utermann Silberstraße 22 44137 Dortmund Hamburg 2. November 2018 Galerie Commeter Bergstraße 11 20095 Hamburg Dr. Markus Krause Micaela Kapitzky Zürich +49 30 885 915 29 +49 30 885 915 32 6. bis 8. November 2018 [email protected] [email protected] Grisebach Bahnhofstrasse 14 8001 Zürich München 13. und 14. November 2018 Grisebach Türkenstraße 104 80799 München Düsseldorf 16. und 17. November 2018 Grisebach Bilker Straße 4–6 40213 Düsseldorf Traute Meins Nina Barge Sämtliche Werke +49 30 885 915 21 +49 30 885 915 37 [email protected] [email protected] Berlin 23. bis 28. November 2018 Grisebach Fasanenstraße 25 und 27 10719 Berlin Freitag bis Dienstag 10 bis 18 Uhr Mittwoch 10 bis 15 Uhr Zustandsberichte Condition reports [email protected] Grisebach — Herbst 2018 1 Edgar Degas Edgar Degas’ großformatige Kohlezeichnung „Groupe de dan- 1834 – Paris – 1917 seuses“, auf der sich kurz vor dem Auftritt vier Ballett-Tänze- rinnen ihre Tutus richten, gehörte dem Berliner Industriellen Alfred Cassirer (1875–1932). -
German Expressionism: the Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37
Stephanie Barron, “Introduction” to Barron (ed.), German Expressionism: The Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988): 10-37. The notion that all the significant achievements of German Expressionism occurred before 1914 is a familiar one. Until recently most scholars and almost all exhibitions of German Expressionist work have drawn the line with the 1913 dissolution of Die Brücke (The Bridge) in Berlin or the outbreak of the First World War in 1914. Peter Selz’s pioneering study German Expressionist Painting, published in 1957, favored 1914 as a terminus as did Wolf-Dieter Dube’s Expressionism, which appeared in 1977. It is true that by 1914 personal differences had led the Brücke artists to dissolve their association, and Der Blaue Reiter (The Blue Rider) had disintegrated when Wassily Kandinsky returned from Munich to Russia and Franz Marc volunteered for war service. Other artists’ associations also broke up when their members were drafted. Thus, the outbreak of the war has provided a convenient endpoint for many historians, who see the postwar artistic activities of Ernst Barlach, Max Beckmann, Oskar Kokoschka, Kathe Kollwitz, and others as individual, not group responses and describe the 1920s as the period of developments at the Bauhaus in Weimar or of the growing popularity of Neue Sachlichkeit (New Objectivity). The years 1915-25 have been lost, or certainly not adequately defined, as a coherent and potent, albeit brief, idealistic period in the evolution of German Expressionism. More recent scholarship, including Dube’s Expressionists and Expressionism (1983) and Donald E. Gordon’s Expressionism- Art and Idea (1987), sees the movement as surviving into the 1920s. -
Pointsforts.Pdf
pointsforts 16 Le magazine économique de la BCV | Mars 2009 Immobilier résidentiel Workshop sur la question du logement Peintres vaudois Regards et couleurs de chez nous Brasserie artisanale Du grain d’orge à l’or mousseux Le dynamisme des régions vaudoises BCV_Pointsforts16.indd 1 12.2.2009 18:14:31 «Les bons choix apportent la sérénité» Ouchy, 16h22. Anne Richard, actrice vaudoise vivant à Paris, peut profiter pleinement de son succès car elle sait son patrimoine entre de bonnes mains. Ça crée des liens www.bcv.ch BCV_Pointsforts16.indd 2 12.2.2009 18:14:40 SOMMAIRE Dossier Régions actives Présentes partout dans le canton, les associa- tions régionales de développement visent à dynamiser le tissu économique local par des 6 actions de proximité. Rencontre avec quelques acteurs-clés. Workshop Immobilier résidentiel Lors de deux ateliers de discussions, une vingtaine de personnalités suisses ont décortiqué le problème du logement 16 sur l’Arc lémanique. Synthèse des débats. Racines Peintres vaudois Une esquisse colorée des diff érents courants artistiques des 19e et 20e siècles, à la découverte 26 des peintres qui ont marqué le canton. Brèves Dans les starting-blocks La BCV invite les sportifs à prendre le départ des 20 km de Lausanne, après la Christmas Midnight Run et le BCV 24H de Villars. 32 3 Evasion Brasserie artisanale Pointsforts s’invite chez un artisan brasseur vaudois. Reportage au cœur de la cuve, où 34 le malt et le houblon livrent leurs secrets. Les informations et opinions contenues dans ce document ont été obtenues de sources dignes de foi à la date de la publication. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era.