Art - Histoire De L'art - Architecture - Archeologie
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Art on the Page
Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it. -
Surrealist Masculinities
UC-Lyford.qxd 3/21/07 12:44 PM Page 15 CHAPTER ONE Anxiety and Perversion in Postwar Paris ans Bellmer’s photographs of distorted and deformed dolls from the early 1930s seem to be quintessential examples of surrealist misogyny (see Fig. 4). Their violently erotic Hreorganization of female body parts into awkward wholes typifies the way in which surrealist artists and writers manipulated and objectified femininity in their work. Bellmer’s manipulation and reconstruction of the female form also encourage comparison with the mutilation and reconstruction that prevailed across Europe during World War I. By viewing the dolls in this context, we might see their distorted forms as a displacement of male anxiety onto the bodies of women. Thus, Bellmer’s work—and the work of other male surrealists who de- picted fragmented female bodies—might reflect not only misogyny but also the disavowal of emasculation through symbolic transference. The fabrication of these dolls also expresses a link to consumer society. The dolls look as if they could be surrealist mannequins made by the prosthetic industry; their deformed yet interlocking parts reflect a chilling combination of mass-market eroticism and wartime bodily trauma. These connections between misogyny and emasculation anxiety, between eroticism and the horror of war trauma, and between consump- tion and desire are not specific to Bellmer’s idiosyncratic visual rhetoric, however. The practice of joining contradictory approaches and blurring boundaries between objects, identities, and media was more prevalent among the male surrealists than is usually acknowledged. If we open our eyes to consider these contrasts as part of a broader surrealist agenda, we can see how the surrealists aimed to destabilize their viewers’ assumptions about the boundaries 15 Copyrighted Material UC-Lyford.qxd 3/21/07 12:44 PM Page 16 FIGURE 4 Hans Bellmer, Poupée, 1935. -
Albert Skira Et Ses Livres D'art
Albert Skira et ses livres d’art (1948-1973) Corisande Evesque To cite this version: Corisande Evesque. Albert Skira et ses livres d’art (1948-1973). Histoire. 2015. dumas-01256888 HAL Id: dumas-01256888 https://dumas.ccsd.cnrs.fr/dumas-01256888 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 Couverture : Albert Skira au milieu de ses reproductions, le 6 février 1954 BGE, Centre d’iconographie genevoise Fonds du photographe Paul Boissonnas !2 UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 !3 REMERCIEMENTS Tout d’abord, tous mes remerciements vont à Julie Verlaine qui m’a orientée et suivie tout au long de mes recherches, ainsi qu’à Pascal Ory et à Jean-Yves Mollier qui ont répondu à mes questionnements. -
Dada and Surrealist Journals in the Mary Reynolds Collection
Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States. -
A Thesis Submitted to the College of the Arts of Kent State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts
FROM ANCIENT GREECE TO SURREALISM: THE CHANGING FACES OF THE MINOTAUR A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brenton Pahl December, 2017 Thesis written by Brenton Pahl B.A., Cleveland State University, 2009 M.A., Kent State University, 2017 Approved by —————————————————— Marie Gasper-Hulvat, Ph.D., Advisor —————————————————— Marie Bukowski, M.F.A., Director, School of Art —————————————————— John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES ………………………………………………………………………………….……iv ACKNOWLEDGMENTS ………………………………………………………………………………..vii I. INTRODUCTION Mythology in Surrealism ………………………………………………………………………….1 The Minotaur Myth ………………………………………………………………………………..4 The Minotaur in Art History …………………………………………………..…………………..6 II. CHAPTER 1 Masson’s Entry into Surrealism ……………………..…………………………………..…….…10 The Splintering of Surrealism …………..…………………….…………………………….……13 La Corrida …………………………………………………………………………………….….15 III. CHAPTER 2 The Beginnings of Minotaure ……………………………………………………………………19 The Remaining Editions of Minotaure …………………………………………………………..23 IV. CHAPTER 3 Picasso’s Minotaur ……………………………………………………………..………….……..33 Minotauromachy …………………………………………………………………………………39 V. CHAPTER 4 Masson and the Minotaur …………………..…………………………………………………….42 Acephalé ………………………………………………………………………………………….43 The Return to the Minotaur ………………………………………………………………………46 Masson’s Second Surrealist Period …………………..………………………………………….48 VI. CONCLUSION -
Press Release Dalí. All of the Poetic Suggestions and All of the Plastic
Dalí. All of the poetic suggestions and all of the plastic possibilities DATES: April 27 – September 2, 2013 PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Sabatini Building. 3rd floor. ORGANIZED BY: Museo Reina Sofía and Centre Pompidou, Paris, in collaboration with the Salvador Dalí Museum Saint Petersburg (Florida). With the special collaboration of the Fundació Gala-Salvador Dalí, Figueres. CHIEF CURATOR: Jean-Hubert Martin CURATORS: Montse Aguer (exhibition at the Museo Reina Sofía, Madrid), Jean-Michel Bouhours and Thierry Dufrêne COORDINATOR: Aurora Rabanal The Museo Reina Sofía presents a major exhibition dedicated to Salvador Dalí, one of the most comprehensive shows yet held on the artist from Ampurdán. Gathered together on this unique occasion are more than 200 works from leading institutions, private collections, and the three principal repositories of Salvador Dalí’s work, the Fundació Gala-Salvador Dalí (Figueres), the Salvador Dalí Museum of St. Petersburg (Florida), and the Museo Reina Sofía (Madrid), which in this way are joining forces to show the public the best of their collections. The exhibition, a great success with the public when shown recently at the Centre Pompidou in Paris, aims to revalue Dalí as a thinker, writer and creator of a peculiar vision of the world. One exceptional feature is the presence of loans from leading institutions like the MoMA (New York), which is making available the significant work The Persistence of Memory (1931); the Philadelphia Museum of Art, which is lending Soft Construction with Boiled Beans (Premonition of Civil War) (1936); the Tate Modern, whose contribution is Metamorphosis of Narcissus (1937); and the Musées Royaux des Beaux-Arts, Belgium, the lender of The Temptation of St Anthony (1946). -
Monsters & Myths: Surrealism and War in the 1930S and 1940S
MONSTERS & MYTHS: SURREALISM AND WAR IN THE 1930S AND 1940S History and Culture Timeline August 1, 1914 – World War I begins November 7, 1917 – October Revolution leads to creation of socialist state in Russia November 11, 1918 – World War I ends October 28, 1922 – Fascists march on Rome, leading to Benito Mussolini’s rise to power in Italy 1922 – First French edition of Sigmund Freud’s Introduction to Psychoanalysis is published in Paris 1924 – André Breton founds Surrealism by publishing its first manifesto January 1927 – André Breton joins Communist Party November 1931 – First exhibition of Surrealist art in the United States, Newer Super-Realism, opens at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut January 30, 1933 – Adolf Hitler becomes Chancellor of the Reich, his first step to full dictatorship in Germany June 1933 – André Breton, Pierre Mabille, and Albert Skira launch Minotaure magazine in Paris February 1934 – Right-wing riots and demonstrations take place in Paris October 1934 – Left-wing strikes and uprisings take place in Spain July 17, 1936 – Spanish Civil War begins June 1936 – Georges Bataille launches Acéphale magazine in Paris. December 7, 1936 – Fantastic Art, Dada, Surrealism exhibition, organized by Alfred H. Barr Jr., opens at The Museum of Modern Art, New York April 26, 1937 – German and Italian warplanes bomb Guernica, Spain, in support of Francisco Franco’s Nationalist forces May 25, 1937 – Exposition Internationale opens in Paris with works by Pablo Picasso (Guernica), Joan Miró, and Alexander Calder on view in the Spanish Pavilion. July 19, 1937 – Degenerate Art exhibition opens in Munich March 12, 1938 – Nazi Germany annexes Austria. -
Representation and the Artist's Creative Power in Picasso's Suite
Nora Hill AR471 Plesch Representation and the Artist’s Creative Power in Picasso’s Suite Vollard Etched during the busy spring of 1933, when Picasso created fifty-five of the one hundred prints that make up the Suite Vollard in a little over two months, the print known as Model Leaning on a Painting encapsulates many of the concepts and influences the artist was grappling with in the Suite Vollard and his other work from that period. The print fits neatly into the “Sculptor’s Studio” section of the Suite and the theme of artist and model that Picasso explored throughout his career. Much has been written about Picasso’s relationships with his models, both in and out of the studio: his passionate affairs with them, his misogyny, his sexual prowess. A blockbuster exhibition at the Vancouver Art Gallery earlier this year, Picasso: The Artist and His Muses, and the accompanying book, chronicled the artist’s depictions of six of his most significant models and lovers, examining the ways they “influenced his life and contributed to his creative output” (Vancouver Art Gallery); this is only the most recent of a number of exhibitions that have focused on the women of Picasso’s life. Noted Picasso scholar Karen Kleinfelder directly addresses the artist-model relationship and his depictions of that theme in her book The Artist, His Model, Her Image, His Gaze. But the artist-model relationship is not the only theme in play in this print. The artist also draws on references to classical mythology and to the Surrealist concept of the androgyne to highlight the artist’s power to transform the human figure through representation. -
Salvador Dalí
Life and Death in the Visions of Salvador Dalí Illustrations for Les Chants de Maldoror and The Divine Comedy Organized by Carole Sorell Incorporated David S. Rubin, Curator Presented with generous support from the Park West Foundation 143 framed prints 400-600 linear feet / No rental or shipping fees / 100 catalogs included Available beginning September 2017 2 Life and Death in the Visions of Salvador Dalí Salvador Dalí, Plate 11, Les Chants de Maldoror, 1934, Salvador Dalí, Choleric People from The Divine Comedy, 1960, 15 7 3 intaglio print, sheet: 13 1/8 x 10 in. / plate: 8 ⁄16 x 6 ⁄8 in. wood engraving on wove paper after a watercolor, 9 ⁄4 x 7 in. 3 Exhibition Package • 143 framed prints, ready to hang • Didactic labels and wall text panels • 100 catalogs with checklist, illustrations of selected works, and essay by David S. Rubin • 100 posters • 50 copies of Dalí - Illustrator by Eduard Fornés (2016, hardcover, 407 pages) • Press kits • Docent training • Hosted VIP reception • National marketing and PR assistance from Carole Sorell, Inc. For further information and to book the exhibition please contact Carole Sorell 845-687-9667 / 212-945-7878 [email protected] [email protected] www.carolesorellinc.com PO Box 286, Stone Ridge, NY 124844 4 Throughout his prolific career, Salvador Dalí illustrated more than 100 books. Among the most celebrated of his book illustrations are his portfolios for the Comte de Lautréamont’s Les Chants de Maldoror and Dante Alighieri’s The Divine Comedy. The exhibition Life and Death in the Visions of Salvador Dalí presents these two portfolios together. -
Neoclassicism and Surrealism in Pablo Picasso‟S Paintings
© 2018 JETIR June 2018, Volume 5, Issue 6 www.jetir.org (ISSN-2349-5162) NEOCLASSICISM AND SURREALISM IN PABLO PICASSO‟S PAINTINGS 1Dr. Priyanka Singh 1Assitant Professor 1 Department of Arts and Social Sciences for Women 1SHUATS, Allahabad, India Abstract: Neoclassicism is the name given to Western movements in the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of classical antiquity. Surrealist Movement was to revolt against the way things were, a revolutionary idea that swept through the art world after branching off from Dadaism. The goal of the Surrealist movement was to revolt against the way things were, a revolutionary idea that swept through the art world after branching off from Dadaism. Surrealism was intertwined with revolutionary ideas, especially against the idea of a capitalistic system. The Surrealists wanted to liberate art from the constraints placed on it by society, purge politics from its corruptive influences, and free society from destructive forces. Pablo Picasso is the twentieth century's most famous artist. He created more than twenty thousand paintings. Of his most famous artworks are “Guernica", Les Demoiselles d' Avignon", and his many, many cubist style paintings that he created. This research paper will study the impact of Neoclassicism and Surrealism on Pablo Picasso’s Paintings. Keywords: Neoclassicism, Surrealism, Cubism, Pablo Picasso ____________________________________________________________________________________________________________________ Introduction Pablo Diego Jose Santiago Francisco de Paula Juan Nepomuceno Crispin Cripiano de los Remedios Cipriano de Santisima Trinidad Ruiz Blasco y Picasso Lopez, or more commonly known as Pablo Picasso, the twentieth century's most famous artist. -
Bibliography
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 14 | 2017 Early American Surrealisms, 1920-1940 / Parable Art Bibliography Electronic version URL: http://journals.openedition.org/miranda/9878 DOI: 10.4000/miranda.9878 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference “Bibliography”, Miranda [Online], 14 | 2017, Online since 04 April 2017, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/9878 ; DOI: https://doi.org/10.4000/miranda.9878 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Bibliography 1 Bibliography Primary sources 1 Agha, M.F. “Surrealism or the Purple Cow.” Vogue (1936): 61, 129-131, 146. 2 Art Digest 11:6 (December 15, 1936). 3 “American Art and the Museum.” The Bulletin of the Museum of Modern Art 8:1 (November 1940): 3-26. 4 “The American City Night-and-Day – by Dalí.” American Weekly (March 31, 1935): 5. 5 “American Country Life Interpreted by M. Dalí.” American Weekly (April 28, 1935): 7. 6 “The Amusements: Right this Way!” The New York Times (April 30, 1939): 135. 7 Andrews, Wayne. “The Evocative Treason of 449 Golden Doorknobs.” transition 23 (July 1935): 7-10. 8 ---. “Take a Number from One to Ten.” transition 24 (June 1936): 40-45. 9 ---.The Surrealist Parade. New York: New Directions, 1990. 10 Barr, Alfred J. Fantastic Art, Dada, Surrealism. New York: Museum of Modern Art, 1936. 11 Benn, Gottfried. “The Structure of the Personality, Outline of a Geology of the ‘I’.” transition 21 (1932): 206-14. -
Bollettino Delle Nuove Acquisizioni Aprile 2016
Bollettino delle nuove acquisizioni Aprile 2016 Generalità ..................................................................................................................................... 2 Religione ....................................................................................................................................... 3 Scienze sociali ............................................................................................................................... 4 Scienze pure .................................................................................................................................. 5 Scienze applicate ........................................................................................................................... 5 Arte .............................................................................................................................................. 6 Urbanistica ................................................................................................................................ 110 Paesaggistica ............................................................................................................................. 111 Architettura (generalità) ............................................................................................................. 112 Monografie architetti ................................................................................................................. 115 Bioarchitettura..........................................................................................................................