Annual Report 2002

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2002 2002 ANNUAL REPORT NATIONAL GALLERY OF ART WASHINGTON, D C. BOARD OF TRUSTEES Robert F. Erburu AUDIT COMMITTEE TRUSTEES' COUNCIL Sally Engelhard Pingree (as of 30 September 2002) Chairman (as of 30 September 2002) Diana C. Prince Robert F. Erburu Mitchell P. Rales Chairman Victoria P. Sant, Chair Catherine B. Reynolds Paul H. O'Neill La Salle D. Leffall Jr., Vice Chair Sharon Percy Rockefeller Robert H. Smith The Secretary of the Treasury Leon D. Black President Robert M. Rosenthal Robert H. Smith W. Russell G. Byers Jr. Roger W. Sant Julian Ganz, Jr. Calvin Cafritz B. Francis Saul II David 0. Maxwell William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant Edwin L. Cox Julian Ganz, Jr. Albert H. Small — James T. Dyke James S. Smith FINANCE COMMITTEE Mark D. Ein Ruth Carter Stevenson Edward E. Elson Roselyne C. Swig Robert H. Smith Doris Fisher Chairman Frederick A. Terry Jr. David 0. Maxwell Aaron I. Fleischman Paul H. O'Neill Joseph G. Tompkins Juliet C. Folger The Secretary of the Treasury John C. Whitehead John C. Fontaine Robert F. Erburu John Wilmerding Marina K. French Julian Ganz, Jr. Dian Woodner Morton Funger David 0. Maxwell Nina Zolt 1 Victoria P. Sant Lenore Greenberg Victoria P. Sant Rose Ellen Meyerhoff Greene EXECUTIVE OFFICERS ART AND EDUCATION Frederic C. Hamilton (as of 30 September 2002) COMMITTEE Richard C. Hedreen Teresa F. Heinz Robert H. Smith William H. Rehnquist i: Raymond J. Horowitz President The Chief Justice Robert H. Smith of the United States Chairman Robert J. Hurst Earl A. Powell III Director Earl A. Powell III Alberto Ibarguen Alan Shestack Robert F. Erburu Stephen M. Kellen Deputy Director Julian Ganz, Jr. James V. Kimsey Colin L. Powell Elizabeth Cropper The Secretary of State David 0. Maxwell Mark J. Kington Dean, Center for Advanced Victoria P. Sant Leonard A. Lauder Study in the Visual Arts Alexander M. Laughlin Darrell R. Willson Administrator TRUSTEES EMERITI Edward J. Mathias James E. Duff Paul H. O'Neill Joyce Menschel The Secretary Treasurer Ruth Carter Stevenson Harvey S. Shipley Miller of the Treasury Elizabeth A. Croog Alexander M. Laughlin Diane A. Nixon Secretary and General Counsel Lucio A. Noto Joseph J. Krakora John G. Pappajohn External Affairs Officer Lawrence M. Small • The Secretary of the e|| Smithsonian Institution AUDIT COMMITTEE TRUSTEES' COUNCIL Sally Engelhard Pingree (as of 30 September 2002) Diana C. Prince Robert F. Erburu Mitchell P. Rales Victoria P. Sant, Chair Chairman Catherine B. Reynolds Paul H. O'Neill LaSalle D. Leffall Jr., Vice Chair Sharon Percy Rockefeller The Secretary of the Treasury Leon D. Black Robert M. Rosenthal Robert H. Smith W. Russell G. Byers Jr. Roger W. Sant Julian Ganz, Jr. Calvin Cafritz B. Francis Saul II David 0. Maxwell William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant Edwin L. Cox Albert H. Small James T. Dyke James S. Smith FINANCE COMMITTEE Mark D. Ein Ruth Carter Stevenson Edward E. Elson Roselyne C. Swig Robert H. Smith Doris Fisher Frederick A. Terry Jr. Chairman Aaron I. Fleischman Joseph G. Tompkins Paul H. O'Neill Juliet C. Folger The Secretary of the Treasury John C. Whitehead John C. Fontaine Robert F. Erburu John Wilmerding Marina K. French Julian Ganz, Jr. Dian Woodner Morton Funger David 0. Maxwell Nina Zolt Lenore Green berg Victoria P. Sant Rose Ellen Meyerhoff Greene EXECUTIVE OFFICERS ART AND EDUCATION Frederic C. Hamilton (as of 30 September 2002) COMMITTEE Richard C. Hedreen Teresa F. Heinz Robert H. Smith President Robert H. Smith Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Director Earl A. Powell III Alberto Ibarguen Alan Shestack Robert F. Erburu Stephen M. Kellen Deputy Director Julian Ganz, Jr. James V. Kimsey Elizabeth Cropper David 0. Maxwell Mark J. Kington Dean, Center for Advanced Victoria P. Sant Leonard A. Lauder Study in the Visual Arts Alexander M. Laughlin Darrell R. Willson Administrator TRUSTEES EMERITI Edward J. Mathias James E. Duff Joyce Menschel Treasurer Ruth Carter Stevenson Harvey S. Shipley Miller Elizabeth A. Croog Alexander M. Laugh I in Diane A. Nixon Secretary and General Counsel Lucio A. Noto Joseph J. Krakora John G. Pappajohn External Affairs Officer NATIONAL GALLERY OF ART, WASHINGTON, D C. WE ARE COMMITTED TO ENHANCING, STRENGTH- tENING, PROTECTING AND CARING FOR THE GALLERY'S M. ASSETS-THE COLLECTIONS vS AND LANDMARK BUILDINGS AND GROUNDS. rn The year 2002 culminated in a spectacular close, dramatically Gallery to build its collections, An American Vision: Henry Francis landmark celebration for the fulfilling the Gallery's goal of present special exhibitions, en- du Pont's Winterthur Museum. We 7* National Gallery of Art with the providing expanded exhibition hance its educational programs, are also indebted to Mitchell P. o opening of the new ground floor space for its growing sculpture and carry out special projects, Rales for his gift to acquire 7* hrt Sculpture Galleries on 29 Sep- collection. f%> The Sculpture including the new sculpture Pablo Picasso's Head of a Woman m tember. These lovely galleries (Fernande). The Gallery received occupy twenty-four thousand "The National Gallery of Art serves to major planned gifts, including square feet in the northwest significant bequests from the remind us that art possesses a remarkable quadrant of the West Building. estates of Dorothy C. Catherman More than eight hundred works power to inspire the human spirit." and Susan Morse Hilles, as well o of art, from the renowned Chalice as a generous bequest intention z of Abbot Suger of Saint-Denis to Galleries attest to the strength of galleries. x§> My fellow trustees from Albert H. Small. Thanks the Degas bronzes and waxes the ongoing partnership between join me in extending our warm to their strong support and that o bequeathed by Paul Mellon—a the federal government and the appreciation to the Richard of many other dedicated donors collection unparalleled in any private sector in supporting and King Mellon Foundation for its across the nation, the Gallery other museum—are on view in enhancing America's National generous grant for the sculpture continues to reflect the highest the newly transformed space. The Gallery. My fellow trustees and galleries renovation project in standards in presenting great abundant natural light afforded I are enormously grateful to the honor of Paul Mellon. We are works of art to the public. x§> The by John Russell Pope's original President and the Congress for grateful as well to several Gallery Gallery's annual giving programs, plan, the new axial views, and the their enduring commitment in donors for their leadership gifts the Collectors Committee and carefully researched architectural providing for the day-to-day this year for special exhibitions The Circle of the National Gallery, detailing in the reconfigured maintenance and operations of the and art acquisitions. Our special continued to play a key role in spaces allow the Gallery to display Gallery, a commitment dating to thanks go to the Catherine B. sustaining vital Gallery activi- the works in its national collection the founding of the Gallery more Reynolds Foundation for its ties. The Collectors Committee to the best possible advantage. than sixty years ago. At the same sponsorship of Henry Moore and is a national group of collectors The opening of this suite of time, in keeping with Andrew Goya: Images of Women, and to and patrons whose annual gifts twenty-two galleries and a study W. Mellon's original gift, private Louisa and Robert W. Duemling are pooled to acquire works of room brought the year to a giving continues to allow the and DuPont for their support of modern and contemporary art for the Gallery. The Committee cally pursued ways to make the of Trustees remained unchanged Juliet C. Folger of Washington, We are tremendously grateful to voted this year to acquire Yayoi fine arts accessible to the widest this year. Robert F. Erburu con- DC.; John C. Fontaine of New the federal government for its Kusama's Yellow Net, 1960, the possible audience. Perhaps Carter's tinues as chairman of the board, York City; Lenore Greenberg continual support of the Gallery first work by the artist to enter the greatest accomplishment was with Julian Ganz Jr., David O. of Beverly Hills; Richard C. as the nation's art museum, and Gallery's collection. My fellow the creation of the Center for Maxwell, and Victoria P. Sant Hedreen of Seattle; Alberto to the many generous donors trustees and I are very grate- Advanced Study in the Visual as private trustees. The Chief Ibargiien of Miami; Stephen M. nationwide who support our pro- ful to the Committee's cochairs, Arts, an international academic Justice of the Supreme Court, the Kellen of New York City; Lucio grams and initiatives in so many Barney Ebsworth and Doris community devoted to promoting Secretary of State, the Secretary A. Noto, also of New York City; ways. Our thanks go above all to Fisher, for their dedication to the of the Treasury, and the Secretary Sally Engelhard Pingree of the millions of visitors who con- Committee's ongoing success. The of the Smithsonian Institution Washington, DC.; Catherine B. tinue to come to the Gallery, in Circle of the National Gallery serve as ex officio trustees. Vicki Reynolds of McLean, Virginia; person or online, to discover the continued to thrive, providing Sant, chair of the Trustees' Thomas A. Saunders III of New wonder and beauty of great unrestricted support for critical Council, announced at the Sep- York City; Roselyne C. Swig works of art. With the help of activities such as art acquisition, tember Council meeting that she of San Francisco; and John the Gallery's talented and dedi- conservation, and educational will be succeeded by Lucio A.
Recommended publications
  • Buncombe County Tax Department Advertisement of Tax Liens
    Buncombe County Tax Department Advertisement of Tax Liens 9648876868 $252.38 9649337795 $58,526.60 9634275645 $243.61 BALLS MACH & MFG CO INC ARRINGTON JAMES K 62 AWAN SHAMIN N 1065 COL- BALDING JENNINGS 14 2120 SMOKEY PARK HWY MAPLE AVE 9617465567 UMBINE RD 9645306507 RICHLAND ST 9638777555 8697131387 $2,883.01 $7.30 $5,392.17 $9.90 BANE PATRICIA A & T R North Carolina General Statutes require local tax collectors to advertise ARRINGTON JUDY H 127 AYALA DEBORAH G BLUE BALDWIN JACKIE 106 WOODBURY JTRS 101 BRUCEMONT CIR RIDGE AVE 0619246015 SCHOOL RD 9657671704 BUCKNER RD 0629478080 annually all current year unpaid taxes levied on real estate. While we do 9638264838 $1,415.52 $358.28 $413.19 $552.27 not wish to embarrass property owners by publishing their names in the ARRINGTON SAMUEL & AYERS CLEO 15 HAPPY BALDWIN JACKIE 65 ONTE- BANE PATRICIA A & T R VIVIAN 15 WHITE PINE VALLEY RD 9629214594 ORA BLVD 9657671857 WOODBURY JTRS 201 newspaper, the advertisement of property tax liens is a mandatory step in the CIR 9653671838 $798.77 $263.70 $1,462.86 SWANNANOA AVE tax foreclosure process. ARROWOOD CARROLL AZALEA LIMITED PARTNER- BALDWIN JAMES 131 LAUREL 0619057250 $931.19 ANTHONY 18 WILLOW SHIP 1292 HENDERSON- LOOP 9675848065 $316.21 BANKS APRIL HUDSON The following advertisement of tax liens is divided into two sections. A CREEK DR 9657952812 VILLE RD 9656043807 BALDWIN WILLIAM C 1 148 GLENDALE AVE description of the contents is shown at the beginning of each section. $328.27 $7,458.89 REEDS CREEK RD 9658304710 $631.26 ARROWOOD DEBORAH AZALEA LIMITED PARTNER- 9677608026 $1,201.65 BANKS APRIL HUDSON The amount due for each property reflects payments received in the Tax A 9 HONEY DO DR SHIP 1310 HENDERSON- BALILES PAUL A & JANESE 148 GLENDALE AVE Department through March 12, 2010.
    [Show full text]
  • Portrait Dated 1512, at the State Hermitage Museum1
    542 Giovanna Perini Folesani УДК: 75.041.5 ББК: 85.103(4)5 А43 DOI: 10.18688/aa177-5-55 Giovanna Perini Folesani Dominicus Who? Solving the Riddle Posed by a Splendid “Venetian” Portrait Dated 1512, at the State Hermitage Museum1 It takes some real quality for a Renaissance portrait to be able to hang close to Giorgione’s Judith in the same museum room without fading or being overshadowed2 (Ill. 124). The high quality of this problematic picture is further proven by its seventeenth-century attribution to Giorgione (who died two years before it was painted) [70, I, p. 105; 15, p. 190]. It is no coinci- dence that this very portrait was chosen for the dust-jacket of the official catalogue in English of the Venetian paintings in the State Hermitage Museum published in the 1990s [31] and has recently travelled to Australia along with other masterpieces from St. Petersburg3. Still, its attri- bution and iconography have proven elusive so far. Its current, yet not undisputed attribution to Domenico Capriolo, a minor Giorgionesque painter, is untenable on both stylistic and historical grounds4. A comparison with his one undis- puted portrait of Lelio Torelli, signed and dated 1528 [23, XIX, pp. 210–211; 87, V, pp. 557–558; 77, XVI, pp. 281–282; 89, IX/3, p. 548, fig. 374], shows that sixteen years later, far from im- proving as an artist, Domenico Capriolo (if he were the author of the State Hermitage picture) would paint in a stiffer, more elementary, much less imaginative and elegant way, having but a clumsy grasp on perspective.
    [Show full text]
  • Senator Dole FR: Kerry RE: Rob Portman Event
    This document is from the collections at the Dole Archives, University of Kansas http://dolearchives.ku.edu TO: Senator Dole FR: Kerry RE: Rob Portman Event *Event is a $1,000 a ticket luncheon. They are expecting an audience of about 15-20 paying guests, and 10 others--campaign staff, local VIP's, etc. *They have asked for you to speak for a few minutes on current issues like the budget, the deficit, and health care, and to take questions for a few minutes. Page 1 of 79 03 / 30 / 93 22:04 '5'561This document 2566 is from the collections at the Dole Archives, University of Kansas 141002 http://dolearchives.ku.edu Rob Portman Rob Portman, 37, was born and raised in Cincinnati, in Ohio's Second Congressional District, where he lives with his wife, Jane. and their two sons, Jed, 3, and Will~ 1. He practices business law and is a partner with the Cincinnati law firm of Graydon, Head & Ritchey. Rob's second district mots run deep. His parents are Rob Portman Cincinnati area natives, and still reside and operate / ..·' I! J IT ~ • I : j their family business in the Second District. The family business his father started 32 years ago with four others is Portman Equipment Company headquartered in Blue Ash. Rob worked there growing up and continues to be very involved with the company. His mother was born and raised in Wa1Ten County, which 1s now part of the Second District. Portman first became interested in public service when he worked as a college student on the 1976 campaign of Cincinnati Congressman Bill Gradison, and later served as an intern on Crradison's staff.
    [Show full text]
  • With Dada and Pop Art Influence
    With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK.
    [Show full text]
  • Cubism in America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • California Institute of Technology Pasadena, California 91125
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Caltech Authors - Main DIVISION OF THE HUMANITIES AND SOCIAL SCIENCES CALIFORNIA INSTITUTE OF TECHNOLOGY PASADENA, CALIFORNIA 91125 PATENTING HUMAN GENES THE ADVENT OF ETHICS IN THE POLITICAL ECONOMY OF PATENT LAW Ari Berkowitz University of Oklahoma Daniel J. Kevles California Institute of Technology HUMANITIES WORKING PAPER 165 January 1998 Patenting Human Genes The Advent of Ethics in the Political Economy of Patent Law Ari Berkowitz Daniel J. Kevles Just as the development of technology is a branch of the history of political and economy, so is the evolution of patent law. The claim is well illustrated by the attempts mounted in recent years in the United States and Europe to patent DNA sequences that comprise fragments of human genes. Examination of these efforts reveals a story that is partly familiar: Individuals, companies, and governments have been fighting over the rights to develop potentially lucrative products based on human genes. The battle has turned in large part on whether the grant of such rights would serve a public economic and biotechnological interest. Yet the contest has raised issues that have been, for the most part, historically unfamiliar in patent policy -- whether intellectual property rights should be granted in substances that comprise the fundamental code of human life. The elevation of human DNA to nearly sacred status has fostered the view among many groups that private ownership and exploitation of human DNA sequences is somehow both wrong and threatening, an unwarranted and dangerous violation of a moral code. Attempts to patent human DNA rest legally on Diamond v.
    [Show full text]
  • The Doris and Donald Fisher Collection Fact Sheet
    The Doris and Donald Fisher Collection Fact Sheet Background Comprising more than 1,100 works by 185 artists, the Doris and Donald Fisher Collection is one of the greatest collections of postwar and contemporary art in the world. In 2009, the San Francisco Museum of Modern Art (SFMOMA) forged a groundbreaking partnership with the Fisher Art Foundation to share this extraordinary collection with visitors from around the world for at least 100 years, presenting art from the Fishers' holdings alongside works from the SFMOMA collection in the expanded museum, creating countless opportunities to reinterpret these works. SFMOMA provides dedicated gallery space to exhibit a rotating selection of works by the best-known artists of our time from the Doris and Donald Fisher Collection. The museum is empowered to install, conserve, loan and otherwise treat the Fisher Collection as it would its own collection. Installation of the Doris and Donald Fisher Collection at SFMOMA is supported in part by the Henry Luce Foundation and an award from the National Endowment for the Arts. The Collection The Fishers started collecting art in the 1970s. Their first purchases included prints, which were hung on the walls of an office building for Gap, the fashion apparel company they founded in San Francisco in 1969. Soon, their passion grew and they began adding paintings, sculpture, drawings, photographs and works in other media. They established two galleries totaling 26,000 square feet at the Gap offices in San Francisco, which showcased their collection. Over the years, the Fishers amassed a museum-quality collection of works by postwar and contemporary American and European artists and collected in depth the work of artists they especially admired.
    [Show full text]
  • Mattia & Marianovella Romano
    Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other.
    [Show full text]
  • What Is Dadaism? Some Explanations and Definitions Dada Was, Officially, Not a Movement, Its Artists Not Artists and Its Art Not Art
    What is Dadaism? Some explanations and definitions Dada was, officially, not a movement, its artists not artists and its art not art. That sounds easy enough, doesn't it? Of course, there is a bit more to the story of Dadaism than this simplistic explanation. Dada was a literary and artistic movement born in Europe at a time when the horror of World War It was being played out in what amounted to citizens' front yards. Due to the war, a number of artists, writers and intellectuals - notably of French and German nationality - found themselves congregating in the refuge that Zurich (in neutral Switzerland) offered. Far from merely feeling relief at their respective escapes, this bunch was pretty ticked off that modern European society would allow the war to have happened. They were so angry, in fact, that they undertook the time-honored artistic tradition of protesting. Banding together in a loosely-knit group, these writers and artists used any public forum they could find to (metaphorically) spit on nationalism, rationalism, materialism and any other -ism which they felt had contributed to a senseless war. In other words, the Dadaists were fed up. If society is going in this direction, they said, we'll have no part of it or its traditions. Including...no, wait!...especially artistic traditions. We, who are non-artists, will create non-art - since art (and everything else in the world) has no meaning, anyway. About the only thing these non-artists all had in common were their ideals. They even had a hard time agreeing on a name for their project.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • VENETIAN PAINTING in the AGE of TITIAN P
    TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN HANS AURENHAMMER ANDREA BAYER ANNE BLOEMACHER DANIELA BOHDE BEVERLY LOUISE BROWN STEFANIE COSSALTERDALLMANN BENJAMIN COUILLEAUX HEIKO DAMM RITA DELHÉES JILL DUNKERTON BASTIAN ECLERCY MARTINA FLEISCHER IRIS HASLER FREDERICK ILCHMAN ROLAND KRISCHEL ANN KATHRIN KUBITZ ADELA KUTSCHKE SOFIA MAGNAGUAGNO TOM NICHOLS TOBIAS BENJAMIN NICKEL SUSANNE POLLACK VOLKER REINHARDT JULIA SAVIELLO FRANCESCA DEL TORRE SCHEUCH CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK TITIAN and the RENAISSANCE inVENICE EDITED BY BASTIAN ECLERCY AND HANS AURENHAMMER WITH CONTRIBUTIONS BY MARIA ARESIN, HANS AURENHAMMER, ANDREA BAYER, ANNE BLOEMACHER, DANIELA BOHDE, BEVERLY LOUISE BROWN, STEFANIE COSSALTER-DALLMANN, BENJAMIN COUILLEAUX, HEIKO DAMM, RITA DELHÉES, JILL DUNKERTON, BASTIAN ECLERCY, MARTINA FLEISCHER, IRIS HASLER, FREDERICK ILCHMAN, ROLAND KRISCHEL, ANN KATHRIN KUBITZ, ADELA KUTSCHKE, SOFIA MAGNAGUAGNO, TOM NICHOLS, TOBIAS BENJAMIN NICKEL, SUSANNE POLLACK, VOLKER REINHARDT, JULIA SAVIELLO, FRANCESCA DEL TORRE SCHEUCH, CATHERINE WHISTLER AND MATTHIAS WIVEL PRESTEL MUNICH · LONDON · NEW YORK 2 CONTENTS GREETINGS POESIA AND MYTH p. 8 Painting as Poetry p. 108 FOREWORD Philipp Demandt BELLE DONNE p. 10 Idealised Images of Beautiful Women p. 126 Essays GENTILUOMINI Portraits of Noblemen VENETIAN PAINTING IN THE AGE OF TITIAN p. 150 Hans Aurenhammer p. 16 COLORITO ALLA VENEZIANA Colour, Coloration and the Trade in Pigments PAINTING TECHNIQUES IN SIXTEENTH-CENTURY VENICE p. 184 Jill Dunkerton p. 28 FLORENCE IN VENICE The Male Nude VENICE IN THE RENAISSANCE. p. 204 A SOCIAL AND POLITICAL PROFILE Volker Reinhardt EPILOGUE p. 38 The Impact of the Venetian Renaissance in Europe from El Greco to Thomas Struth p.
    [Show full text]