DOCSLIB.ORG

Le Claire Kunst Seit 1982

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Le Claire Kunst Seit 1982 LE CLAIRE KUNST SEIT 1982 HENRI LAURENS 1885 - Paris - 1954 Femme à l’oiseau Terracotta, 1921-2. Cast 2/10 from a total edition of 10. Bearing the incised cast inscription: 2/10. 34.3 cm x 11.0 cm x 7.0 cm PROVENANCE: Galerie Louise Leiris (Daniel-Henry Kahnweiler), Paris (with gallery label numbered: 7077/7524) – Private collection, Switzerland EXHIBITION: Paris, Galerie Louise Leiris, Henri Laurens (1885-1954), 60 Terres Cuites, 1998, no. 23. LITERATURE: Marthe Laurens, Henri Laurens, Sculpteur 1885-1954, Paris 1955, no. 28, (repr. of another cast) – Documenta III, Internationale Ausstellung, exhib. cat., Kassel 1964, vol. I: Malerei und Skulptur, Cologne 1964, p. 62 and p. 65 (repr. of another cast), no. 14 – Henri Laurens, Skulpturen, Zeichnungen, Druckgrafik, Buchillustra- tionen, 1905-1954, exhib. cat., Haus am Waldsee, Berlin, Deutsche Gesellschaft für Bildende Kunst (Kunstverein Berlin), Berlin 1967, no. 126, (repr. of another cast) – Laurens cubista, exhib. cat., Galleria Pieter Coray, Milan 1986, p. 72 f., no. 23 (repr. of another cast) – Henri Laurens 1885-1954, exhib. cat., Kunstmuseum Bern and Museum Villa Stuck Munich, Bern 1985; on a separate sheet: Henri Laurens 1885-1954, Villa Stuck Munich, no. 007 (repr. of another cast) - Henri Laurens (1885-1954), 60 Terres Cuites, exhib. cat., Galerie Louise Leiris, Paris 1998, no. 23, repr. Henri Laurens started his training as an ornamental sculptor but his early encounter with the Cubism of Braque and Picasso changed the direction of his artistic career.1 A lifelong friendship with Georges Braque dates from 1911. This friendship was of seminal importance to his work. His sculptures from explore the revolutionary principles of Analytical Cubism, with figures constructed of spheres, cones and cylinders. When the noted international art dealer Daniel-Henry Kahnweiler returned to Paris from Bern in 1920 he lost no time in making contact with Laurens and quickly placed him under contract. He had almost certainly heard of his sculptural work while in exile in Switzerland. Braque was quick to recognize his artistic potential. In a letter to Kahnweiler, he notes: […] He is a sculptor who addresses his work with great enthusiasm and sensitivity. […] I believe that his art will go far.2 Laurens’s sculpture of the period achieves volume and perspectival depth through a melding of convex and concave surfaces even though his volumes are in fact empty spaces. Laurens writes: It is essential that the ‘empty’ spaces in a sculpture 1 Laurens came into contact with Picasso in 1915. Three important catalogues have been published on Laurens in conjunction with exhibitions celebrating the centennial of his birth. They are: Sandor Kuthy et al., Henri Laurens 1885-1954, exhib. cat., Kunstmuseum Bern 1985 – Henri Laurens: Skulpturen, Collagen,Zeichnungen, Aquarelle, Druckgraphik, exhib. cat., Sprengel Museum, Hanover 1985 – Henri Laurens: Le cubisme, constructions et papiers collés, 1915-1919, exhib. cat., Centre Georges Pompidou, Paris 1985. 2 Cited after Isabelle Monod-Fontaine, Le cubisme de Laurens, in exhib. cat., Bern and Munich, 1985, p. 52. ELBCHAUSSEE 386 ∙ 22609 HAMBURG ∙ TELEFON: +49 (0)40 881 06 46 ∙ FAX: +49 (0)40 880 46 12 [email protected] ∙ WWW.LECLAIRE-KUNST.DE HYPOVEREINSBANK HAMBURG ∙ BLZ: 200 300 00 ∙ KTO: 222 5464 SWIFT (BIC): HYVEDEMM300 ∙ IBAN: DE88 2003 0000 0002 2254 64 STEUERNUMMER 42/040/02717 ∙ UST.-ID.-NR.: DE 118 141 308 LE CLAIRE KUNST SEIT 1982 are given as much importance as the ‘full’ spaces. Sculpture is above all an appropriation of space, of space that is limited by forms. First formulated by Picasso, the theory places greater emphasis on the so-called ‘internal volumes’ of a sculpture over their contours or the external forms that define them. Areas of shadow, like the polychromy, are also important. The polychromy is clearly not intended to be descriptive or decorative, nor a means of depicting texture or substantiality. It has a purely three-dimensional function – its specific role consists in the distribution of light and shadow.3 Before he began work on this version of Femme à l’oiseau Laurens had already worked in the medium of terracotta. In 1921 he executed a large version of the subject in stone [Fig. 1]. In the choice of medium for the smaller-format sculpture he was very probably guided by contemporary collecting taste. His sculptural output in the medium of terracotta was prolific. It testifies to the extent to which he succeeded in meeting the expectations of a certain type of clientele without at the same time sacrificing artistic integrity and the high quality of his craftsmanship.4 The sculpture is accompanied by a certificate from Galerie Louise Leiris (Quentin Laurens) in Paris. It is dated 14 September 1999. Fig. 1: Femme à l’oiseau, stone, height: c.60 cm 3 Ead., Le cubisme de Laurens, in exhib. cat., 1985, p. 48. 4 Werner Hofmann, Henri Laurens – Das plastische Werk, Stuttgart 1970, p. 40. ELBCHAUSSEE 386 ∙ 22609 HAMBURG ∙ TELEFON: +49 (0)40 881 06 46 ∙ FAX: +49 (0)40 880 46 12 [email protected] ∙ WWW.LECLAIRE-KUNST.DE HYPOVEREINSBANK HAMBURG ∙ BLZ: 200 300 00 ∙ KTO: 222 5464 SWIFT (BIC): HYVEDEMM300 ∙ IBAN: DE88 2003 0000 0002 2254 64 STEUERNUMMER 42/040/02717 ∙ UST.-ID.-NR.: DE 118 141 308 .
Load more

Recommended publications
  • 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.
    [Show full text]
  • COLOR in the CONSTRUCTED RELIEF a Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment Of
    COLOR IN THE CONSTRUCTED RELIEF A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of Art College of Arts and Science University of Saskatchewan Saskatoon, Saskatchewan by David Stewart Geary Saskatoon, Saskatchewan 0 1985 D.S.Geary The author has agreed that the Library, University of Saskatchewan, may make this thesis freely available for inspection. Moreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who super- vised the thesis work recorded herein or, in their absence, by the Head of the Department or the Dean of the College in which the thesis work was done. It is understood that due recognition will be given to the University of Saskatchewan in any use of the material in this thesis. Copying or publi- cation or any other use of the thesis for financial gain, without the approval of the University of Saskatchewan and the author's written permission, is prohibited. Requests for permission to copy or to make any other use of material in this thesis in whole or in part should be addressed to: Head of the Department of Art University of Saskatchewan Saskatoon, Canada. ACKNOWLEDGEMENTS I wish to express my appreciation and thanks to Professor Eli Bornstein for his invaluable help and support in the form of advice, assistance and example during the course of my graduate studies and before. Also I wish to thank the College of Graduate Studies and Research who provided me with much needed financial assistance in the form of scholarships.
    [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]
  • Baltasar Lobo: the Feminine Form
    Baltasar Lobo: The Feminine Form 11th September – 9th October, 2014 Baltasar Lobo, Jeune fille à genoux (1968-1982), bronze, 16 1/2 x 8 1/4 x 7 7/8 in, 42 x 21 x 20cm This exhibition will focus on Baltasar Lobo’s lifelong fascination with the feminine form. Through drawings and sculpture it will present Lobo’s treatment of the theme, from his mother and child motif to his increasingly abstracted sculptures of the sensuous female nude. After attending art school in Madrid, Lobo fled to Paris in 1939 following the Spanish Civil War. He immediately found his place within the School of Paris, a vibrant group of international artists who lived and worked in Montmartre and Montparnasse. Here Lobo established close friendships with Jacques Lipchitz, Pablo Picasso and Henri Laurens, for whom he worked as an assistant in his studio. In 1946 Lobo first began to explore the theme of motherhood. Through a series of drawings and paintings, an important selection of which will be featured in this exhibition, he celebrated the joyous bond between mother and infant. In the curvilinear forms of these figures his admiration for Laurens’ organic volumes is evident. Like Laurens, he also sought to express sensuality through elegant sculptures of the female nude. Characteristic of his work in bronze, Jeune fille à genoux is finished with an extraordinary patina, creating a flawless surface reminiscent of smooth and supple skin. Like Jean Arp, Constantin Brancusi and Joan Miró, whose work he saw first-hand in Paris, Lobo also used the contours of the female form as a means of exploring abstraction.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [Show full text]
  • UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
    Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky.
    [Show full text]
  • WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the Moderns: Gaudier and the Birth of Modern Sculpture
    'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the moderns: Gaudier and the birth of modern sculpture 20 January - 18 March 2007 Information for teachers • What is the exhibition about? 2 • Key themes 3 • Who was Gaudier? 4 • Gaudier quotes 5 • Points of discussion 6 • Activity sheets 7-11 • Brief biography of the artists 12-18 1 'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 What is the exhibition about? "WE the moderns: Gaudier-Brzeska and the birth of modern sculpture", explores the work of the French sculptor in relation to the wider continental context against which it matured. In 1911, aged 19, Gaudier moved to London. There he was to spend the rest of his remarkably concentrated career, which was tragically cut short by his death in the trenches four years later. These circumstances have granted the sculptor a rather ambiguous position in the history of art, with the emphasis generally falling on his bohemian lifestyle and tragic fate rather than on his artistic achievements, and then on his British context. The exhibition offers a fresh insight into Gaudier's art by mapping its development through a selection of works (ranging from sculptures and preparatory sketches to paintings, drawings from life, posters and archival material) aimed at highlighting not only the influences that shaped it but also striking affinities with contemporary and later work which reveal the artist's modernity. At the core of the exhibition is a strong representation of Gaudier's own work, which is shown alongside that of his contemporaries to explore themes such as primitivism, artists' engagement with the philosophy of Bergson, the rendition of movement and dynamism in sculpture, the investigation into a new use of space through relief and construction by planes, and direct carving.
    [Show full text]
  • Stunning Abstract Sculptures by Seven Masters Tell Rich Tales of Modernism
    Twist and Turn: Stunning Abstract Sculptures By Seven Masters Tell Rich Tales of Modernism BY Alfred Mac Adam POSTED 06/16/17 12:18 PM Installation view of “Figures Towards Abstraction: Sculptures 1910 to 1940,” 2017, at Luxembourg & Dayan, New York. / ANDREW ROMER/COURTESY LUXEMBOURG & DAYAN, NEW YORK This fascinating compilation of domestic-scale sculpture by seven modernist masters, organized in collaboration with architect Daniel Libeskind, instantly stimulates the desire to forge a narrative. The works, all conceived within a 30-year period, reflect the currents dominating the European artistic tradition of the moment. But the difficulty in producing such an account is caused by the frequent divergence between “date of conception” and “date of execution.” Unlike a painting, a bronze sculpture can be cast at any time so long as a mold or a maquette exists. Time here is both relevant and irrelevant. Jacques Lipchitz’s Seated Figure is a case in point. Conceived in 1915, it was cast sometime later in the artist’s lifetime. There is a long stretch between Lipchitz in 1915, when he was 24, and 1973, the year of his death. But set all chronology aside: the piece is a synthesis of Cubist and Futurist concerns, where static Cubism and dynamic Futurism hold each other at bay. Understated, especially if we think of later Lipchitz, the object expresses a grand monumentality while standing only 34 inches high. Henri Laurens’s saucily posed Femme accoudée instantly recalls Manet’s Olympia, so it seems to look back even as its stylization looks forward. Executed in 1927, Laurens’s sculpture effectively effaces its own historical moment while imposing its sensuality and will-to-geometry on our contemporary eye.
    [Show full text]
  • Monsieur Laurens
    Monsieur Laurens Un parcours à l’attention des enfants et des parents pour découvrir l’art en s’amusant ! Cette aventure se passe au Musée Musée d’Art Moderne d’Art moderne Donation Maurice Jardot 8 rue de Mulhouse / 03 84 54 27 57 Tour 41 Musée des Beaux-Arts Rue Georges Pompidou 03 84 54 27 87 41 Citadelle de Belfort Musée d’Histoire et Espace Bartholdi (accès principal rue Xavier Bauer) 03 84 54 25 51 Tour 46 Salle d’exposition temporaire 46 Rue de l’Ancien Théâtre 03 84 54 25 46 Bienvenue au Musée d’Art moderne! Ce petit livret t’accompagnera dans la découverte d’un artiste : Henri Laurens Je t’invite à jouer avec moi dans les collections du Musée d’Art moderne ! Surtout, n’oublie pas de prendre avec toi un crayon car tu en auras besoin. Mais attention ! Les oeuvres que tu vas découvrir sont très fragiles! Il faut faire attention à ne pas les toucher ou les abîmer. A côté de chaque œuvre se trouve une étiquette, appelée cartel. Henri Laurens Tu peux y lire différentes La petite musicienne, 1937, informations sur l'œuvre : le bronze patine brune, Collection Musées de titre, la date, la technique, le Belfort nom de l'auteur.... c'est un peu comme sa carte d'identité. Mais d’abord sais-tu qui je suis ? Je suis né en 1885 à Paris dans une famille d'ouvriers. On me présente souvent comme un autodidacte c’est- à-dire que je me suis formé tout seul. Je suis l’un des premiers sculpteurs à développer les innovations du cubisme.
    [Show full text]
  • Beauty, Shared: a Collector’S Vision Beauty, Shared: a Collector’S Vision
    Beauty, Shared: A Collector’s Vision Beauty, Shared: A Collector’s Vision dickinson 2. dickinson Introduction “BEAUTY SHOULD BE SHARED FOR IT ENHANCES OUR JOYS. TO EXPLORE ITS MYSTERY IS TO VENTURE TOWARDS THE SUBLIME.” (JOSEPH CORNELL) We are delighted to offer for sale a private collection of paintings, drawings and sculpture at two venues concurrently in May; our new gallery space at 980 Madison Avenue, and our stand at TEFAF New York Spring. Beauty Shared: A Collector’s Vision evokes the pleasure of collecting. This collection has been driven by passion and knowledge over some thirty-five years. The diversity of objects reflects the distinctive taste of the connoisseur, who selected each piece due to a personal affinity with it. We aim to augment an already discerning group of works by capturing some of the ambience of the domestic setting, whilst enhancing each individual artwork. Many artists have been acquired in depth, such as Cornell, Ossorio, Johnson, and Dubuffet, whereas others were acquired as one-offs. Most of these objects have been lived with and loved over several decades. This catalogue is a visual story of one private collector’s journey. We are honoured to be entrusted with these beautiful works and look forward to presenting them to the collectors of today. Emma Ward Managing Director 4. dickinson Beauty, Shared: A Collector’s Vision 5. “I WAS NEVER WILLING TO SELL ‘A’ PAINTING. I WOULD MISS IT TOO MUCH. SELLING THE ENTIRE COLLECTION IS A DIFFERENT STORY. I DON’T KNOW HOW TO EXPLAIN IT, BUT AS MUCH AS I WOULD SUFFER IF I SOLD ONE OR TWO PAINTINGS, I AM ABLE TO SELL THE ENTIRE COLLECTION WITHOUT PAIN.” (THE COLLECTOR) 6.
    [Show full text]
  • Arbeitsblatt Henri Laurens – Wellentöchter
    ARBEITSBLATT HENRI LAURENS – WELLENTÖCHTER Zielgruppe: Grundschule, Jahrgangsstufe 3 und 4 Fach: Kunst/Werken Thema des Arbeitsblattes: Sonderausstellung Henri Laurens – Wellentöchter 01.03.-16.06.19; Werkbetrachtung und ästhetisch-praktische Auseinander setzung mit den Werken des Künstlers Henri Laurens Henri Laurens (1885 – 1954) „Femme à l’éventail“ (Frau mit Fächer) 1921, Terrakotta, 41 x 30 x 11 cm, Erworben aus Mitteln der Wilhelm Müller-Stiftung, Mannheim, 1985, Kunsthalle Mannheim „La sirène“ (Große Sirene) Fotos: © VG Bild-Kunst, Bonn 2019 (Foto: Kunsthalle Mannheim / Cem Yücetas) 1945, Bronze, 115 x 51,7 x 75 cm, Kunsthalle Mannheim LEIT- PROZESSBEZOGENE INHALTSBEZOGENE PERSPEKTIVEN: KOMPETENZEN: KOMPETENZEN: Wahrnehmung und Empfindung 2.1 Welt erleben und wahrnehmen 3.2.5 Kinder spielen und agieren 2.3. Kommunizieren und (1) verschiedene Posen … einnehmen, sich verständigen sich bewegen und dadurch Stimmungen und Gefühle ausdrücken 2.5. Reflektieren und sich positionieren 3.2.7.2. Kinder gehen mit Kunstwerken um (1) Kunstwerke betrachten (2) künstlerische Gestaltungsweisen untersuchen, vergleichen, und die Wirkung beschreiben (3) Darstellungsweisen benennen und deuten, Erklärungen finden Informationsteil für Lehrerinnen und Lehrer (1) WIE WIRD DAS ARBEITSBLATT EINGESETZT? Unsere Arbeitsblätter sind als Ergänzung des Besuches Ihrer Schulklasse in der Kunsthalle Mannheim gedacht und orientieren sich am geltenden Bildungsplan. Wir schlagen Ihnen vor, die Arbeitsblätter vor und nach dem Museumsbesuch im Unterricht einzusetzen. Die beiden Informationsteile richten sich an Sie als Lehrkräfte. Den Aktionsteil des Arbeitsblattes können Sie herauslösen und den SuS aushändigen. Für die Sonderausstellung Henri Laurens - Wellentöchter stehen Ihnen nach vorheriger Buchung zwei Themenführungen (mit/ohne Praxisteil in unseren Ateliers) zur Auswahl. Während des Museumsbesuches möchten wir Henri Laurens’ Skulpturen, Zeichnungen und Druckgrafiken gemeinsam im Original anschauen und die von den SuS im Arbeitsblatt bearbeiteten Themen vertiefen.
    [Show full text]
  • Illustrations
    Illustrations Measurements are given in centimetres, height before width before depth. 1. Ossip Zadkine, Le Poete, OU Hommage a Paul Eluard, 1954. Plaster, 216 x 57 x 76. Musee Zadkine, Paris. Photo: Marc Vaux 2. Alberto Giacometti, Objet desagreable, ajeter, 1931. Wood, 31 x 19.6 x 29. The Scottish National Gallery of Modern Art, Edinburgh. Photo: Antonia Reeve 3. Alberto Giacometti, Sans titre (Femme egorgee), c. 1932. Pen and ink on paper, 31.6 x 24.5. Scottish National Gallery of Modern Art, Edinburgh. Gabrielle Keiller Collection 4. Pierre-Jean David d'Angers, Goethe, 1829-31. Plaster. Musee d'Orsay, Paris.© Photo RMN 5. Auguste Preault, Virgile, 1853. Bronze. Musee d'Orsay, Paris.© Photo RMN 6. Auguste Preault, Dante, 1852. Bronze. Musee d'Orsay, Paris. © Photo RMN 7. Gabriel Pech, Monument a Charles Perrault, 1908. Stone. Jardin des Tuileries, Paris 8. Alexandre Schoenewerk, La Jeune Tarentine, 1872. Marble. Musee d'Orsay, Paris.© Photo RMN 9. Theodore Riviere, SalammbO chez Math6, 1895. Bronze, ivory and jewels. Musee d'Orsay, Paris.© Photo RMN 10. Ernest Christophe, La Comedie humaine, 1876. Marble. Musee d'Orsay, Paris.© Photo RMN 11. Paul Dubois, Chanteur jlorentin, 1865. Silvered bronze, h.38.4. Musee d'Orsay, Paris.© Photo RMN 12. Pierre-Jean David d' Angers, Le Poete Gilbert, 1842. Plaster. Galerie David, Angers Keith Aspley, Elizabeth Cowling, and Peter Sharratt - 9789004484078 Downloaded from Brill.com09/26/2021 05:36:05AM via free access 216 13. Auguste Preault, Orphelie, 1843. Bronze, 75 x 200 x 20. Musee d'Orsay, Paris.© Photo RMN 14. Jean-Baptiste Carpeaux, Ugolin et ses fils, 1857-61.
    [Show full text]