Cézanne Drawing Checklist
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Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection Paul Cézanne Mont Sainte-Victoire, c. 1904–06 (La Montagne Sainte-Victoire) oil on canvas Collection of the Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum TEACHER’S STUDY GUIDE WINTER 2015 Contents Program Information and Goals .................................................................................................................. 3 Background to the Exhibition Cézanne and the Modern ........................................................................... 4 Preparing Your Students: Nudes in Art ....................................................................................................... 5 Artists’ Background ...................................................................................................................................... 6 Modern European Art Movements .............................................................................................................. 8 Pre- and Post-Visit Activities 1. About the Artists ....................................................................................................................... 9 Artist Information Sheet ........................................................................................................ 10 Modern European Art Movements Fact Sheet .................................................................... 12 Student Worksheet ............................................................................................................... -
SKETCHBOOK TRAVELER: HUDSON VALLEY a Field Guide to Mindful Travel Through Drawing & Writing
SKETCHBOOK TRAVELER: HUDSON VALLEY A Field Guide to Mindful Travel through Drawing & Writing MATERIALS & EQUIPMENT Anything that makes a mark, and any surface that takes a mark will be perfectly suitable. If you prefer to go to the field accoutered in style, below is a list of optional supplies. SKETCHBOOKS FIELD ARTIST. Watercolor sketchbooks. Various sizes. MOLESKINE. Watercolor sketchbooks. Various sizes. HAND BOOK. Watercolor sketchbook. Various sizes. Recommended: Moleskine Watercolor Sketchbook BRUSHES DAVINCI Travel brushes. https://www.amazon.com/Vinci-CosmoTop-Watercolor-Synthetic- Protective/dp/B00409FCLE/ref=sr_1_4?crid=159I8HND5YMOY&dchild=1&keywords=da+vinci+t ravel+watercolor+brushes&qid=1604518669&s=arts-crafts&sprefix=da+vinci+travel+%2Carts- crafts%2C159&sr=1-4 ESCODA Travel brushes. https://www.amazon.com/Escoda-1468-Travel-Brush- Set/dp/B00CVB62U8 RICHESON Plein air watercolor brush set. https://products.richesonart.com/products/gm- travel-sets WATERCOLORS: Tube and Half-Pans WATERCOLORS L. CORNELISSEN & SON. (London) Full selection of pans, tubes, and related materials. Retail walk-in and online sales. https://www.cornelissen.com MAIMERI. Watercolors. Italy. http://www.maimeri.it GOLDEN PAINTS. QoR Watercolors (recommended) The gold standard in acrylic colors for artists, Golden has developed a new line of watercolors marketed as QoR. It has terrific pigment density and uses a water-soluble synthetic binder in place of Gum Arabic https://www.qorcolors.com KREMER PIGMENTE. (Germany & NYC) Selection of travel sets and related materials. Online and walk-in retail sales. https://shop.kremerpigments.com/en/ SAVOIR-FAIRE is the official representative of Sennelier products in the USA. Also carries a full selection of brushes, papers and miscellaneous equipment. -
Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Site/Non-Site Explores the Relationship Between the Two Genres Which the Master of Aix-En- Provence Cultivated with the Same Passion: Landscapes and Still Lifes
site / non-site CÉZANNE site / non-site Guillermo Solana Museo Thyssen-Bornemisza, Madrid February 4 – May 18, 2014 Fundación Colección Acknowledgements Thyssen-Bornemisza Board of Trustees President The Museo Thyssen-Bornemisza Hervé Irien José Ignacio Wert Ortega wishes to thank the following people Philipp Kaiser who have contributed decisively with Samuel Keller Vice-President their collaboration to making this Brian Kennedy Baroness Carmen Thyssen-Bornemisza exhibition a reality: Udo Kittelmann Board Members María Alonso Perrine Le Blan HRH the Infanta Doña Pilar de Irina Antonova Ellen Lee Borbón Richard Armstrong Arnold L. Lehman José María Lassalle Ruiz László Baán Christophe Leribault Fernando Benzo Sáinz Mr. and Mrs. Barron U. Kidd Marina Loshak Marta Fernández Currás Graham W. J. Beal Glenn D. Lowry HIRH Archduchess Francesca von Christoph Becker Akiko Mabuchi Habsburg-Lothringen Jean-Yves Marin Miguel Klingenberg Richard Benefield Fred Bidwell Marc Mayer Miguel Satrústegui Gil-Delgado Mary G. Morton Isidre Fainé Casas Daniel Birnbaum Nathalie Bondil Pia Müller-Tamm Rodrigo de Rato y Figaredo Isabella Nilsson María de Corral López-Dóriga Michael Brand Thomas P. Campbell Nils Ohlsen Artistic Director Michael Clarke Eriko Osaka Guillermo Solana Caroline Collier Nicholas Penny Marcus Dekiert Ann Philbin Managing Director Lionel Pissarro Evelio Acevedo Philipp Demandt Jean Edmonson Christine Poullain Secretary Bernard Fibicher Earl A. Powell III Carmen Castañón Jiménez Gerhard Finckh HSH Prince Albert II of Monaco Giancarlo Forestieri William Robinson Honorary Director Marsha Rojas Tomàs Llorens David Franklin Matthias Frehner Alejandra Rossetti Peter Frei Katy Rothkopf Isabel García-Comas Klaus Albrecht Schröder María García Yelo Dieter Schwarz Léonard Gianadda Sir Nicholas Serota Karin van Gilst Esperanza Sobrino Belén Giráldez Nancy Spector Claudine Godts Maija Tanninen-Mattila Ann Goldstein Baroness Thyssen-Bornemisza Michael Govan Charles L. -
PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
THE GUIDED SKETCHBOOK THAT TEACHES YOU HOW to DRAW! Always Wanted to Learn How to Draw? Now’S Your Chance
Final spine = 0.75 in. Book trims with rounded corners THE GUIDED SKETCHBOOK THAT TEACHES YOU HOW TO HOW YOU TEACHES THAT THE GUIDED SKETCHBOOK THE GUIDED SKETCHBOOK THAT TEACHES YOU HOW TO DRAW! Always wanted to learn how to draw? Now’s your chance. Kean University Teacher of the Year Robin Landa has cleverly disguised an entire college-level course on drawing in this fun, hands-on, begging-to-be-drawn-in sketchbook. Even if you’re one of the four people on this planet who have never picked up a pencil before, you will learn how to transform your doodles into realistic drawings that actually resemble what you’re picturing in your head. In this book, you will learn how to use all of the formal elements of drawing—line, shape, value, color, pattern, and texture—to create well-composed still lifes, landscapes, human figures, and faces. Keep your pencils handy while you’re reading because you’re going to get plenty of drawing breaks— and you can do most of them right in the book while the techniques are fresh in your mind. To keep you inspired, Landa breaks up the step-by-step instruction with drawing suggestions and examples from a host of creative contributors including designers Stefan G. Bucher and Jennifer Sterling, artist Greg Leshé, illustrator Mary Ann Smith, animator Hsinping Pan, and more. Robin Landa, Distinguished Professor in the Robert Busch School of Design at Kean University, draws, designs, and has written 21 books about art, design, creativity, advertising, and branding. Robin’s books include the bestseller Graphic Design Solutions (now in its 5th edition); Build Your Own Brand: Strategies, Prompts and Exercises for Marketing Yourself; and Take A Line For A Walk: A Creativity Journal. -
Pablo Picasso, Published by Christian Zervos, Which Places the Painter of the Demoiselles Davignon in the Context of His Own Work
PRESS KIT PICASSO 1932 Exhibition 10 October 2017 to 11 February 2018 ANNÉE ÉROTIQUE En partenariat avec Exposition réalisée grâce au soutien de 2 PICASSO 1932 ANNÉE ÉROTIQUE From 10 October to the 11 February 2018 at Musée national Picasso-Paris The first exhibition dedicated to the work of an artist from January 1 to December 31, the exhibition Picasso 1932 will present essential masterpieces in Picassos career as Le Rêve (oil on canvas, private collection) and numerous archival documents that place the creations of this year in their context. This event, organized in partnership with the Tate Modern in London, invites the visitor to follow the production of a particularly rich year in a rigorously chronological journey. It will question the famous formula of the artist, according to which the work that is done is a way of keeping his journal? which implies the idea of a coincidence between life and creation. Among the milestones of this exceptional year are the series of bathers and the colorful portraits and compositions around the figure of Marie-Thérèse Walter, posing the question of his works relationship to surrealism. In parallel with these sensual and erotic works, the artist returns to the theme of the Crucifixion while Brassaï realizes in December a photographic reportage in his workshop of Boisgeloup. 1932 also saw the museification of Picassos work through the organization of retrospectives at the Galerie Georges Petit in Paris and at the Kunsthaus in Zurich, which exhibited the Spanish painter to the public and critics for the first time since 1911. The year also marked the publication of the first volume of the Catalog raisonné of the work of Pablo Picasso, published by Christian Zervos, which places the painter of the Demoiselles dAvignon in the context of his own work. -
The Ambiguity of Perception and the Paintings of Paul Cézanne Author(S): Joyce Brodsky Source: Artibus Et Historiae, Vol
A Paradigm Case for Merleau-Ponty: The Ambiguity of Perception and the Paintings of Paul Cézanne Author(s): Joyce Brodsky Source: Artibus et Historiae, Vol. 2, No. 4 (1981), pp. 125-134 Published by: IRSA s.c. Stable URL: https://www.jstor.org/stable/1483119 Accessed: 17-11-2018 16:51 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 IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae This content downloaded from 204.147.202.25 on Sat, 17 Nov 2018 16:51:02 UTC All use subject to https://about.jstor.org/terms JOYCE BRODSKY A Paradigm Case for Merleau-Ponty: the Ambiguity of Perception and the Paintings of Paul C6zanne Paul C6zanne does not readily come to mind when paintings one and in particular the self-portraits4. first encounters some of Merleau-Ponty's key phrases C6zanne's like self-portraits are in part recordings of con- "being-in-the world" and the "lived Body"'. The frontationpainter and encounter with the nature of things as other. was terrified of women, desperately afraid of "anyone They are get- the least understood and least explored of all his ting their hooks into him", and so easily bruised that he genres as a result of being neither mimetic-commemorative often even avoided contact with his friends. -
Downloaded from Brill.Com10/06/2021 05:38:06AM Via Free Access
Chapter �� The Musaeum: Its Contents 12.1 Introduction When Strada in 1568 thanked Duke Guglielmo of Mantua for the benefice conferred on his elder son Paolo, he offered the use of his house to the Duke, providing a brief description of its contents and adding that ‘most of these things have been seen by all those gentlemen of the court of Your Excellency that have been here [in Vienna]’.1 This confirms the accessibility of Strada’s Musaeum and the representative function it fulfilled. To have any idea of the impact the Musaeum had on such visitors, it is useful to provide a quick sketch of its contents. A sketch, an impression: not a reconstruction. There are a number of sourc- es which give a very elementary impression of what Strada’s studiolo may have looked like, and there are some other sources which give slightly more con- crete information on which specific objects, or type of objects, passed through his hands. Some of these—in particular the large-scale acquisitions of antique sculpture for the Duke of Bavaria in 1566–1569—were certainly not intended for Strada’s own collection, and they did never even come to Vienna. In most cases the information is too scanty to identify objects mentioned with any cer- tainty, or to determine what their destination was. We just do not know wheth- er Strada bought them on behalf of the Emperor, whether he bought them on commission from other patrons, whether he bought them on speculation— that is as a true art-dealer, hoping to sell them to the visitors of his house or dispose of them advantageously in some other way—or whether he bought them after all just for his own collection. -
Sketching Is Seeing NATIONAL GALLERY of ART WELCOME to the National Gallery of Art
sketching is seeing NATIONAL GALLERY OF ART WELCOME to the National Gallery of Art Everyone can draw! Maybe you’re an artist, or maybe you haven’t drawn since you were a child. Sketching is a way to look more closely and notice details. Take a moment, relax, and observe the world around you. Use this sketchbook to draw what you see. Visitors of all are ages welcome; no experience is needed. The National Gallery of Art and its Sculpture Garden are located on the National Mall between 3rd and 9th Streets along Constitution Avenue NW, Washington, DC. The Gallery is located near several Metrorail stops: Archives – Navy Memorial – Penn Quarter (Green and Yellow Lines), Judiciary Square (Red Line), and L’Enfant Plaza (Blue, Orange, and Silver Lines). Metrobuses stop on 4th Street, 7th Street, and Pennsylvania Avenue NW. Gallery Hours Monday – Saturday: 10:00 am – 5:00 pm Sunday: 11:00 am – 6:00 pm Visit nga.gov/community for more information about Sketching Is Seeing. All images in this booklet are details from paintings and sculptures in the National Gallery of Art collection. PROGRAM SCHEDULE Daily in October | All Day | Sketching Is Seeing Throughout the month of October, pick up a sketch- book and pencil at any Information Desk and go on a sketching adventure. Oct 5 & 12 | 11:00 am, noon, 1:00 pm | Mindful Sketching West Building Rotunda Oct 19 & 26 | 11:00 am, noon, 1:00 pm | Mindful Sketching East Building, Ground Level Visit the National Gallery of Art for a 45-minute sketching experience. -
Kolokytha, Chara (2016) Formalism and Ideology in 20Th Century Art: Cahiers D’Art, Magazine, Gallery, and Publishing House (1926-1960)
Citation: Kolokytha, Chara (2016) Formalism and Ideology in 20th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960). Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/32310/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Formalism and Ideology in 20 th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960) Chara Kolokytha Ph.D School of Arts and Social Sciences Northumbria University 2016 Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Ethical clearance for the research presented in this thesis is not required.