Soutine's Portraits
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The Death of the City and the Survival of Urban Life Center of Contemporary Culture of Barcelona 2004 Conference Lectured at the Symposium “Urban Traumas
www.urban.cccb.org Richard Ingersoll The Death of the City and the Survival of Urban Life Center of Contemporary Culture of Barcelona 2004 Conference lectured at the symposium “Urban Traumas. The City and Disasters”. CCCB, 7-11 July 2004 Strolling through the cemetery of Montparnasse in Paris, I fantasize a poker game with an ideal community of the defunct that includes Marguerite Duras, Charles Baudelaire, Delphine Seyrig, and Samuel Beckett. Their modest burial markers rest alongside the ornate aedicules of the proud and powerful, belle époque generals and financiers. Looking around at the densely packed lanes lined with tombs, there seems to be no room left. The necropolis is so crowded that for a moment I have the infantile notion that no one else will be allowed to die. The Montparnasse cemetery is right in the midst of one of the busiest parts of the Left Bank, and to enter is to escape from the tedium of daily life, a place to contemplate the life of the past. In the background rises the immense black, glass-clad tower of Montparnasse, a soaring catacomb for modern offices. Life goes on in the city, overlooking the cemetery, but, as I will try to show, it was never the city itself that was alive. In fact I am often convinced while visiting cemeteries that the only reason the city became a place is because someone died there. René Girard in his theory of the scapegoat suggests that architecture began with stones used to lapidate a victim. «In the end», says Girard, «the tomb is the first and only cultural symbol». -
Thesis the Artist and His Model in an Interior Space
THESIS THE ARTIST AND HIS MODEL IN AN INTERIOR SPACE Submitted by Jorge Luis Varona Art Department In partial fulfillment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 1984 COLORADO STATE UNIVERSITY Spring, 1984 WE HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER OUR SUPERVISION BY JORGE LUIS VARONA ENTITLED THE ARTIST AND HIS MODEL IN AN INTERIOR SPACE BE ACCEPTED AS FULFILLING IN PART REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS. Committee on Graduate Wo1i·k ) ·'/l ;;. .r.· ttwL,., .. I ii ABSTRACT OF THESIS THE ARTIST AND HIS MODEL IN AN INTERIOR SPACE An exploration of visual, psychological, and atmospheric qualities of the figure in an interior space relative to other objects and figures. There is also consideration of the space in relationship to the canvas which the viewer occupies in observing the paintings. Jorge Luis Varona Art Department Colorado State University Fort Collins, Colorado 80523 Spring, 1984 iii DEDICATION To my wife, Iliana, who posed for so many hours in sickness and in heal th, because she loves me and believes in me. She is my inspiration. iv TABLE OF CONTENTS Page THESIS STATEMENT •. 1 DOCUMENTATION • • 6 v LIST OF FIGURES Figure 1 Ballerina - oil on canvas - 14" x 24" 6 2 The Model Sleeps - oil on masonite - 12" x 18" 7 3 Self-portrait - oil on canvas - 20" x 27" 8 4 Another World - oil on masonite - 12" x 16" . 9 5 Without Hands, Without Feet - oil on masonite - 15" x 24" . • • . • . • . • . 10 6 2 Paintings - 2 Realities - oil on canvas - 16" x 20" . -
Speed of Person Perception Affects Immediate and Ongoing Aesthetic
$FWD3V\FKRORJLFD ² Contents lists available at ScienceDirect Acta Psychologica journal homepage: www.elsevier.com/locate/actpsy Speed of person perception affects immediate and ongoing aesthetic 7 evaluation Mel W. Khawa,⁎, Phoebe Nicholsb, David Freedbergc a Center for Cognitive Neuroscience & Duke Institute for Brain Sciences, Duke University, USA b Department of Neuroscience & Visual Arts Department, Bowdoin College, USA c Department of Art History and Archaeology & Italian Academy for Advanced Studies, Columbia University, USA ARTICLE INFO ABSTRACT Keywords: Recent studies have shed light on how aesthetic judgments are formed following presentations lasting less than a Aesthetics second. Meanwhile, dedicated neural mechanisms are understood to enable the rapid detection of human faces, Empirical aesthetics bodies, and actions. On the basis of cognitive studies of: (i) the speed and acuity of person perception, and (ii) Neuroaesthetics preferential attention given to human imagery (e.g., faces and bodies), we hypothesize that the visual detection Person perception of humans in portraits increases the magnitude and stability (i.e., similarity to later responses) of aesthetic Face perception ratings. Ease of person perception is also expected to elicit longer durations of preferential viewing time, a surplus Attention measure of viewing behavior that should be positively related to subsequent ratings. To test these ideas, we use a set of cubist portraits previously established to be more or less categorizable in terms of the aggregate time required to perceive the depicted person. Using these images, we track aesthetic judgments made following short and unconstrained presentations; in an intervening task, we measure viewing behavior when subjects are able to selectively reveal regions of these images. -
A Finding Aid to the Perls Galleries Records, 1937-1997, in the Archives of American Art
A Finding Aid to the Perls Galleries Records, 1937-1997, in the Archives of American Art Julie Schweitzer January 15, 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1937-1995.................................................................... 5 Series 2: Negatives, circa 1937-1995.................................................................. 100 Series 3: Photographs, circa 1937-1995.............................................................. 142 Series 4: Exhibition, Loan, and Sales Records, 1937-1995................................ -
Art of Rome, Florence & Paris
11 or 13 days ART OF ROME, FLORENCE & PARIS FACULTY-LED INTERNATIONAL PROGRAMS ABOUT THIS TOUR Europe’s renowned centers of Renaissance art and architecture come alive as you discover Italy and France. Admire amazing frescoes and craftwork at the Sistine Chapel in Vatican City and the Basilica of St. Francis in Assisi, and enjoy an art-themed walking tour in Florence. End in elegant Paris, where you’ll have the chance to explore the masterpieces that line the halls of the Louvre. Through it all, you’ll return home prepared for whatever path lies ahead of you. Beyond photos and stories, new perspectives and glowing confidence, you’ll have something to carry with you for the rest of your life. It could be an inscription you read on the walls of a famous monument, or perhaps a joke you shared with another student from around the world. The fact is, there’s just something transformative about an EF College Study Tour, and it’s different for every traveler. Once you’ve traveled with us, you’ll know exactly what it is for you. DAY 3: Colosseum DAY 4: St. Peter’s Basilica DAY 5: Basilica of St. Francis DAY 6: Florence DAY 3: Taking a break at the Pantheon ART OF ROME, FLORENCE & PARIS 11 or 13 days INCLUDED ON TOUR: OPTIONAL EXCURSIONS: Round-trip airfare Caravaggio Art Tour • Giverny or Auvers-sur-Oise Land transportation Optional excursions let you incorporate additional Hotel and night train accommodations sites and attractions into your itinerary and make the Breakfast daily and select meals most of your time abroad. -
Private Sales
2 Private Sales n recent years, the commercial fragility of what were perceived to be preeminent New York art galleries was laid bare in newspaper head- lines and lawsuits that highlighted the financial woes of the hap- less collectors who consigned art to be sold, and the art purchasers Iwho acquired more (or less) than they bargained for. That fragility renders art transactions commercially unique when it is combined with the in- trinsic properties of fine art. The artwork, for one thing, is often singular and ir- replaceable. Moreover, its value, which largely depends on the artist’s reputation at the time of the sale, may fluctuate extensively because an artist’s reputation is largely subject to public whim. And artwork is frequently purchased on impulse by a shockingly uninformed buyer: The buyer often turns a blind eye to securing a written purchase contract (let alone to having the contract reviewed by legal counsel), neglects to have the property physically inspected or professionally ap- praised, fails to do a title search, and, if the work is a fine-art multiple, makes no inquiry about the technique of production. Defects abound in artwork as frequently as in other property. Accordingly, the art buyer should observe the same precautions ordinarily used by the prudent buyer in other commercial transactions of like value. Those precautions are ad- dressed at length throughout the three main sections of this chapter: Sales by Dealers, Sales by Collectors, and Secured Transactions. SALES BY DEALERS Whether the dealer is a private dealer, a single commercial gallery, or a gallery with numerous branches or franchised outlets, the dealer’s art sales are governed by principles of contract and tort law, by federal and state penal statutes, and in certain jurisdictions by specific legislation regulating sales of art. -
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. -
Limonaire Frères Paris, 1839 — 1936*
Carousel Organ , Issue No. 26 — January, 2006 Limonaire Frères Paris, 1839 — 1936* Andrea Stadler “Limonaire” is without any doubt the most famous name in the field of mechanical music. In 1906 it became (accord- ing to “le petit Robert de la langue française,” ed. 1986) a standardized name to be found in French dictionaries, gen- erally as a synonym for a carousel organ. There are several instruments bearing the name Limonaire found in muse- ums or in public or private collections, about which there is technical documentation. On the other hand, we knew almost nothing about “les Frères Limonaire” and the history of the firm, until a German university student, Andrea Stadler, took the time during the preparation of her doctorate, to do extensive research in the archives of the Records Office, commercial and notarial records, and elsewhere. Most of the private documents of the Limonaire family have disappeared. She also had the chance to interview some rare descendants of the family. She has given us the honour to publish in the Carousel Organ , for the first time in English, some parts of the results of her investigation. Philippe Rouillé First part: 1839-1886 The different establishments “Limonaire Frères” When examining the history of the “Limonaire Frères,” one finds that this firm has existed twice under this name in the history of musical instruments. The Bottin , a French commer- cial directory, mentions them from 1839 to 1841 and again from 1887 till 1920. After 1920, the Sociétés succeeding the Limonaire brothers took over a major part of the famous organ builders. -
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. -
Syllabus Paris
Institut de Langue et de Culture Française Spring Semester 2017 Paris, World Arts Capital PE Perrier de La Bâthie / [email protected] Paris, World Capital of Arts and Architecture From the 17th through the 20th centuries Since the reign of Louis XIV until the mid-20th century, Paris had held the role of World Capital of Arts. For three centuries, the City of Light was the place of the most audacious and innovative artistic advances, focusing on itself the attention of the whole world. This survey course offers students a wide panorama on the evolution of arts and architecture in France and more particularly in Paris, from the beginning of the 17th century to nowadays. The streets of the French capital still preserve the tracks of its glorious history through its buildings, its town planning and its great collections of painting, sculpture and decorative arts. As an incubator of modernity, Paris saw the rising of a new epoch governed – for better or worse – by faith in progress and reason. As literature and science, art participated in the transformations of society, being surely its more accurate reflection. Since the French Revolution, art have accompanied political and social changes, opened to the contestation of academic practice, and led to an artistic and architectural avant-garde driven to depict contemporary experience and to develop new representational means. Creators, by their plastic experiments and their creativity, give the definitive boost to a modern aesthetics and new references. After the trauma of both World War and the American economic and cultural new hegemony, appeared a new artistic order, where artists confronted with mass-consumer society, challenging an insane post-war modernity. -
Of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun
Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Jun Hee Cho All rights reserved ABSTRACT Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho This dissertation examines the relations between court and commerce in Europe at the onset of the modern era. Focusing on one of the most powerful princely courts of the period, the court of Charles the Bold, duke of Burgundy, which ruled over one of the most advanced economic regions in Europe, the greater Low Countries, it argues that the Burgundian court was, both in its institutional operations and its cultural aspirations, a commercial enterprise. Based primarily on fiscal accounts, corroborated with court correspondence, municipal records, official chronicles, and contemporary literary sources, this dissertation argues that the court was fully engaged in the commercial economy and furthermore that the culture of the court, in enacting the ideals of a largely imaginary feudal past, was also presenting the ideals of a commercial future. It uncovers courtiers who, despite their low rank yet because of their market expertise, were close to the duke and in charge of acquiring and maintaining the material goods that made possible the pageants and ceremonies so central to the self- representation of the Burgundian court. It exposes the wider network of court officials, urban merchants and artisans who, tied by marriage and business relationships, together produced and managed the ducal liveries, jewelries, tapestries and finances that realized the splendor of the court. -
3"T *T CONVERSATIONS with the MASTER: PICASSO's DIALOGUES
3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 N VM*B McKinzey, Joan C., Conversations with the master: Picasso's dialogues with Velazquez. Master of Arts (Art History), August 1997,177 pp., 112 illustrations, 63 titles. This thesis investigates the significance of Pablo Picasso's lifelong appropriation of formal elements from paintings by Diego Velazquez. Selected paintings and drawings by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master. Throughout his career Picasso was influenced by Velazquez, as is demonstrated by analysis of works from the Blue and Rose periods, portraits of his children, wives and mistresses, and the musketeers of his last years. Picasso's masterwork of High Analytical Cubism, Man with a Pipe (Fort Worth, Texas, Kimbell Art Museum), is shown to contain references to Velazquez's masterpiece Las Meninas (Madrid, Prado). 3"t *t #8t CONVERSATIONS WITH THE MASTER: PICASSO'S DIALOGUES WITH VELAZQUEZ THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan C. McKinzey, B.F.A., M.F.A. Denton, Texas August 1997 ACKNOWLEDGMENTS The author would like to acknowledge Kurt Bakken for his artist's eye and for his kind permission to develop his original insight into a thesis.