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Entre Classicismo E Romantismo. Ensaios De Cultura E Literatura
Entre Classicismo e Romantismo. Ensaios de Cultura e Literatura Organização Jorge Bastos da Silva Maria Zulmira Castanheira Studies in Classicism and Romanticism 2 FLUP | CETAPS, 2013 Studies in Classicism and Romanticism 2 Studies in Classicism and Romanticism is an academic series published on- line by the Centre for English, Translation and Anglo-Portuguese Studies (CETAPS) and hosted by the central library of the Faculdade de Letras da Universidade do Porto, Portugal. Studies in Classicism and Romanticism has come into being as a result of the commitment of a group of scholars who are especially interested in English literature and culture from the mid-seventeenth to the mid- nineteenth century. The principal objective of the series is the publication in electronic format of monographs and collections of essays, either in English or in Portuguese, with no pre-established methodological framework, as well as the publication of relevant primary texts from the period c. 1650–c. 1850. Series Editors Jorge Bastos da Silva Maria Zulmira Castanheira Entre Classicismo e Romantismo. Ensaios de Cultura e Literatura Organização Jorge Bastos da Silva Maria Zulmira Castanheira Studies in Classicism and Romanticism 2 FLUP | CETAPS, 2013 Editorial 2 Sumário Apresentação 4 Maria Luísa Malato Borralho, “Metamorfoses do Soneto: Do «Classicismo» ao «Romantismo»” 5 Adelaide Meira Serras, “Science as the Enlightened Route to Paradise?” 29 Paula Rama-da-Silva, “Hogarth and the Role of Engraving in Eighteenth-Century London” 41 Patrícia Rodrigues, “The Importance of Study for Women and by Women: Hannah More’s Defence of Female Education as the Path to their Patriotic Contribution” 56 Maria Leonor Machado de Sousa, “Sugestões Portuguesas no Romantismo Inglês” 65 Maria Zulmira Castanheira, “O Papel Mediador da Imprensa Periódica na Divulgação da Cultura Britânica em Portugal ao Tempo do Romantismo (1836-1865): Matérias e Imagens” 76 João Paulo Ascenso P. -
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
Alberto Giacometti a Retrospective Marvellous Reality
ALBERTO GIACOMETTI A RETROSPECTIVE MARVELLOUS REALITY PRESS KIT EXHIBITION 3 July to 29 August 2021 GRIMALDI FORUM MONACO IN COLLABORATION WITH FONDATION GIACOMETTI FONDA TION- GIACOMETTI 1960 © Succession Alberto Giacometti (Fondation Giacometti, Paris + Adagp, Paris) Adagp, + Paris Giacometti, (Fondation Alberto Giacometti 1960 © Succession Homme qui marche II, Homme qui marche Alberto Giacometti, Alberto Giacometti, S UMMARY ALBERTO GIACOMETTI, A RETROSPECTIVE. MARVELLOUS REALITY p.5 Foreword by Sylvie Biancheri Managing Director of the Grimaldi Forum Monaco p.6 Curator’s note by Émilie Bouvard Exhibition curator, Director of Collections and Scientific Programme at the Fondation Alberto Giacometti “Verbatim” by Christian Alandete, Artistic Director at the Giacometti Institute p.8 Exhibition trail Note of the scenographer William Chatelain Focus on the immersive space: Giacometti’s studio VERBATIM DE CHRISTIAN ALAN- DETE DIRECTEURp.13 Selection ARTISTIQUE of worksDE L’INS exhibited- TITUT GIACOMETTI p.22 Alberto Giacometti’s Biography p.26 Around the exhibition Exhibition catalogue Children workshops A Giacometti summer on the Côte d’Azur p.30 Complementary visuals for the press p.38 The partners of the exhibition p.40 The Fondation Giacometti p.42 Grimaldi Forum Monaco p.46 To discover also this summer at Grimaldi Forum Exhibition “Jewelry by artists, from Picasso to Koons - The Diane Venet Collection” p.48 Practical information and press contacts MARVELLOUS REALITY MARVELLOUS . LE RÉEL MERVEILLEUX LE RÉEL . F OREWORD SYLVIE BIANCHERI, -
![Perspective, 3 | 2008, « Xxe-Xxie Siècles/Le Canada » [En Ligne], Mis En Ligne Le 15 Août 2013, Consulté Le 01 Octobre 2020](https://docslib.b-cdn.net/cover/6274/perspective-3-2008-%C2%AB-xxe-xxie-si%C3%A8cles-le-canada-%C2%BB-en-ligne-mis-en-ligne-le-15-ao%C3%BBt-2013-consult%C3%A9-le-01-octobre-2020-1856274.webp)
Perspective, 3 | 2008, « Xxe-Xxie Siècles/Le Canada » [En Ligne], Mis En Ligne Le 15 Août 2013, Consulté Le 01 Octobre 2020
Perspective Actualité en histoire de l’art 3 | 2008 XXe-XXIe siècles/Le Canada Édition électronique URL : http://journals.openedition.org/perspective/3229 DOI : 10.4000/perspective.3229 ISSN : 2269-7721 Éditeur Institut national d'histoire de l'art Édition imprimée Date de publication : 30 septembre 2008 ISSN : 1777-7852 Référence électronique Perspective, 3 | 2008, « XXe-XXIe siècles/Le Canada » [En ligne], mis en ligne le 15 août 2013, consulté le 01 octobre 2020. URL : http://journals.openedition.org/perspective/3229 ; DOI : https://doi.org/ 10.4000/perspective.3229 Ce document a été généré automatiquement le 1 octobre 2020. 1 xxe-xxie siècles Entretien avec Bill Viola sur l’histoire de l’art ; Giacometti ; l’urbanisme des villes d’Europe centrale ; publications récentes sur la couleur au cinéma et dans la photographie, le postmodernisme, les archives d’art contemporain et les revues d’art. Le Canada Développement et pratiques actuelles de la discipline : de l’histoire de l’art aux études d’intermédialité, le rôle des musées et de la muséographie ; Ancien et Nouveau Mondes ; chroniques sur art et cinéma, les revues, le patrimoine… Perspective, 3 | 2008 2 SOMMAIRE De l’utilité des revues en histoire de l’art Didier Schulmann XXe-XXIe siècles Débat Bill Viola, l’histoire de l’art et le présent du passé Bill Viola Alberto Giacometti aujourd’hui Thierry Dufrêne Travaux L’urbanisme et l’architecture des villes d’Europe centrale pendant la première moitié du XXe siècle Eve Blau Actualité Couleur et cinéma : vers la fin des aveux d’impuissance Pierre Berthomieu L’histoire de la photographie prend des couleurs Kim Timby Autour de Fredric Jameson : le postmodernisme est mort ; vive le postmodernisme ! Annie Claustres Les archives d’art contemporain Victoria H. -
Introduction
Notes Introduction 1 . Bataille talks of an ‘abyss’ ( 1986 , p. 80); Ryle ( 1971b , p. 182) and Dummett ( 1993 , p. xi) talks of a ‘gulf’. 2 . See Reynolds & Chase, 2011 , pp. 254–255. 3 . A recent survey of the field is given in Floyd, 2009 ; see also Beaney, 1998 ; Preston, 2005 . 4 . See esp. Sluga, 1998 ; Stroll, 2000 ; Glock, 2008 ; Monk, 1996a . See also Hylton, 1990 ; Hacker, 2007 ; Glendinning, 2006 ; Preston, 2007 ; Floyd, 2009 , p. 173. 5 . See e.g. Stroll, 2000 ; Glock, 2008 . See also Reynolds and Chase, 2010 ; Reynolds et al., 2010 . 6 . An early variant of this view is proposed by Urmson (1992 ), who divides the history of philosophical analysis into four types: (i) ‘classical’ analysis (Russell), (ii) ideal-language analysis (early Wittgenstein, Vienna Circle, Quine, Goodman), (iii) ‘therapeutic positivist’ (p. 299) analysis (later Wittgenstein, Ryle, Wisdom, Waismann), and (iv) ‘ordinary language’ analysis (Austin). Weitz ( 1966 ) similarly comments that ‘it has become established practice in anthologies and histories of twentieth century philosophy to divide its analytic parts into (a) Realism, (b) Logical Analysis or Logical Atomism, (c) Logical Positivism, and (d) Linguistic, Ordinary Language, or Conceptual Analysis’ (p. 1). Russell ( 1959 , p. 216) talked of three waves in British philosophy 1914–1959, Wittgenstein’s Tractatus , Logical Positivism, and the later Wittgenstein. More recently, Hacker ( 1996 , pp. 4–5; 2007 ) proposed a similar understanding of analytic philosophy as a series of phases in the history of philosophy, rather than defining it as either a set of necessary and sufficient conditions or as a family resem- blance concept. Whereas Urmson emphasises the ‘decisive break’ (1960 , p. -
The Art of Alberto Giacometti for the First Time in the Czech Republic
THE ART OF ALBERTO GIACOMETTI FOR THE FIRST TIME IN THE CZECH REPUBLIC 10 July 2019 – For the very first time in the Czech Republic, the National Gallery Prague presents the work of one of the most important, influential and beloved artists of the 20th century, the sculptor and painter Alberto Giacometti (1901–1966). This extensive retrospective exhibition maps Giacometti’s artistic development across five decades. It follows its course from the artist’s early years in the Swiss town of Stampa, through his avantgarde experiments in inter-war Paris and up to its culmination in the unique manner of figural representation for which the artist is known best. His impressive elongated figures, which Giacometti created after World War II and which carry a sense of existential urgency, reflect his sense for the fragility and vulnerability of the human being. Walking Man, 1960 The Cage, 1950–1951 © Alberto Giacometti Estate, (Fondation Giacometti, Paris + ADAGP, Paris) 2019 ”Thanks to a joint collaboration with the Fondation Giacometti in Paris, who administers the estate of Annette and Alberto Giacometti, we are able to present over one hundred sculptures, including a series of valuable plaster statuettes, to the Czech audience. The exhibition will also feature several of Giacometti’s key paintings and drawings that testify to the breadth of his technical ability and thematic ambit,” says Julia Bailey, the exhibition’s curator from the NGP’s Collection of Modern and Contemporary Art. The exhibition at the Trade Fair Palace will feature such notable examples of Giacometti’s works as Walking Man, Standing Woman or his Women of Venice, which intrigued audiences at the famous Italian Biennale in 1956, as well as several other of his iconic works such as Spoon Woman, Woman with Chariot, Nose and valuable miniature plaster sculptures, intimate portraits of the artist’s family and friends who have been Giacometti’s favourite models all life long. -
ALBI – DOSSIER DE PRESSE , Giacomettien Partenariat Avec La Fondation Giacometti, Paris
16 MARS 30 JUIN, 2019 – MUSÉE TOULOUSE- LAUTREC ALBI – DOSSIER DE PRESSE , GIACOMETTIEn partenariat avec la Fondation Giacometti, Paris Avec le soutien de ADNOF -NOIT GIACOMETTI Œuvre multiple fruit d’une recherche inlas- Le dessin est un préliminaire indispensable sable, l’art d’Alberto Giacometti occupe une et le rapprochement proposé entre sculptures, place essentielle parmi les avant-gardes du dessins ou estampes, dont plusieurs sont début du XXe siècle. inédits, éclaire de façon significative l’art de Giacometti. Fruit de multiples séances de La figure humaine, et en particulier le visage, poses, l’image se construit en lignes-stries en est le motif privilégié, et l’exposition nerveuses, enchevêtrement de traits répétés d’Albi est centrée sur le rapport au modèle. qui n’ont pas pour fonction de délinéer un Le sujet prend tout son sens dans un musée contour mais de donner à la représentation où l’œuvre de Toulouse-Lautrec affirme la sa force, sa réalité et sa vibration. liberté d’un artiste qui rejette la représenta- tion d’imitation et simplifie son écriture dans Renonçant à toute description littérale une démarche allusive et synthétique au Giacometti explique : « ce n’était plus la forme service de la vérité du sujet. extérieure des êtres qui m’intéressait mais ce que je sentais effectivement », démarche Alberto Giacometti côtoie le Cubisme, se de nature existentielle qui le laisse souvent rapproche du Surréalisme, puis revient à la insatisfait, dont témoignent notamment les figuration vers 1935 et prône le retour au multiples représentations de sa femme, modèle vivant. Annette, ou le travail acharné pour repré- senter son ami japonais Isaku Yanaihara. -
CP Giacometti GB
In spring 2019, following the success of Amedeo Modigliani. The Inner Eye in 2016, the LaM will be inviting the public to take a fresh look at one of the 20th century’s greatest artists: Alberto Giacometti, whose works have ALBERTO GIACOMETTI, previously been little exhibited in the museums of Northern Europe. Almost 150 works will be brought together for an unparalleled exploration A MODERN ADVENTURE of the founding myths of the history of modern art. Inscribed in the collective imagination, Alberto Giacometti’s fragile elongated sculptures render the profiles of men and women either EXHIBITION/EVENT motionless or captured in movement. Presentation of these masterpieces 13 MARCH > 11 JUNE 2019 will be complemented by a wealth of outstanding loans shedding light on Giacometti’s unique artistic career: his early works influenced by cubism, his passion for Ancient Egypt (a source of inspiration and revitalisation throughout his life), his encounter with the surrealists, and his later pictorial works. Offering a fresh viewpoint on the work of an artist whose career spanned almost half a century, the visit will continue on into Museum galleries providing a series of counterpoints to his body of work, including photographs of the artist in his studio and a work by Annette Messager paying tribute to Giacometti. Born in Les Grisons in 1901 and active in Paris throughout his career, Alberto Giacometti divided his time between painting, sculpture and drawing up to his death in 1966. His links with cubism and surrealism, attraction for ancient and non-western arts and fascination for the human form made him an artist like no other, yet one who was fully involved in the 20th century’s artistic issues. -
Dossier De Presse : Alberto Giacometti
Villeneuve d’Ascq www.musee-lam.fr La Métropole Européenne de Lille présente Une aventure moderne 13 mars — 11 juin 2019 Dossier de presse Une aventure moderne 13 mars — 11 juin 2019 Vernissage : mardi 12 mars 2019, 19 h Contacts presse Presse nationale et internationale Claudine Colin Communication Romain Delecour Tél. : +33 (0)1 42 72 60 01 E-mail : [email protected] Presse régionale Véronique Petitjean Visuel de couverture : E-mail : [email protected] Alberto Giacometti Florentine Bigeast Grande femme I, 1960. Tél. : + 33 (0)3 20 19 68 80 Fondation Giacometti, Paris. © Succession Alberto Giacometti (Fondation Giacometti, Paris + ADAGP, Paris), 2019 E-mail : [email protected] Annette Giacometti Alberto Giacometti modelant un buste de Yanaihara dans l’atelier, septembre 1960. Fondation Giacometti, Paris. © Succession Alberto Giacometti (Fondation Giacometti, Paris + ADAGP, Paris), 2019) Sommaire Communiqué de presse Communiqué de presse p. 5 Après le succès d’Amedeo Modigliani. L’œil Né en 1901 dans les Grisons, actif à Paris pendant Plan de l’exposition p. 7 intérieur en 2016, le LaM invite le public à porter toute sa carrière, Alberto Giacometti s’est partagé un nouveau regard sur l’un des rares artistes qui entre la peinture, la sculpture et le dessin jusqu’à sa Parcours détaillé p. 9 permet d’embrasser toute l’histoire des avant- mort en 1966. Ses rapprochements avec le cubisme Catalogue p. 9 gardes : Alberto Giacometti. Célébré par les et le surréalisme, son attrait pour les arts antiques Liste des œuvres exposées p. 14 poètes, les écrivains et les philosophes les plus Biographie d’Alberto Giacometti p. -
Bacon – Giacometti April 29 – September 2, 2018
Media release Bacon – Giacometti April 29 – September 2, 2018 From April 29, 2018, the Fondation Beyeler is staging an exhibition devoted to Alberto Giacometti and Francis Bacon: two outstanding protagonists of modern art who were at once friends and rivals, and whose creative vision exerted a powerful influence that still persists today. This is the first-ever joint museum exhibition involving Giacometti and Bacon, illuminating the relationship between the two artistic personalities. Different as their art may at first appear, the dual presentation of their work reveals many striking similarities. The exhibition brings together well-known key works by both artists with other works that are rarely shown—including, in particular, a series of original plaster figures from Giacometti’s estate that have never been publicly displayed before, and four triptychs by Bacon. A multimedia room offers spectacular insights into the artists’ studios. The exhibition has been organized by the Fondation Beyeler in cooperation with the Fondation Giacometti, Paris. The British painter Bacon and the Swiss sculptor Giacometti were introduced to one another in the early 1960s by a mutual friend, the painter Isabel Rawsthorne. By 1965, their friendship had grown close enough for Bacon to visit Giacometti at the Tate Gallery in London, where he was setting up a retrospective. This meeting is documented in a series of pictures taken by the English photographer Graham Keen, showing the two artists engaged in animated conversation. Over fifty years later, they meet again at the Fondation Beyeler, where their dual portrait, in the photograph by Graham Keen, stands at the start of the present exhibition. -
Picasso's Portraits of Isabel Rawsthorne
Picasso’s portraits of Isabel Rawsthorne by CAROL JACOBI PABLO PICASSO’S PICTURES of the painter Isabel Rawsthorne visiting Picasso’s studio with Balthus. Picasso greeted her with (1912–92), who was also portrayed by Jacob Epstein, André the words: Derain, Alberto Giacometti and Francis Bacon, have remained ‘I have something to show you’ [. and] went to the next unidentified for sixty years. This article discusses three por- room and came back with three paintings, turned them traits that arose from Rawsthorne’s friendship with Picasso. round and, fancy, myself. They were dated 1940. He had, The first published clue that such pictures existed was a indeed, when he made that remark to Alberto – ‘I know passage in James Lord’s 1985 biography of Alberto Giacometti how to do it’ – gone away to prove it. I was so surprised that relating an encounter in pre-war Paris: I forgot to ask for one. I am sure that if I had he would have Alberto and Isabel went often to the Brasserie Lipp at Saint- given me one.6 Germain-des-Prés. Picasso and Dora Maar also were regu- According to Rawsthorne’s manuscript, she, Giacometti, Pi- lar customers. Picasso formed the habit of staring intently at casso and Maar were briefly together in Paris between February Isabel. He was a famous admirer of beautiful women and it and May 1940, and she was the first civilian English artist to seemed clear that his stare was intended to annoy. To prove return there in May 1945.7 Rawsthorne’s memory accords with it he stopped at their table one day and said, ‘I know how to other sources; Balthus’s arrival in Paris from Switzerland is gen- make her!’1 erally dated 1946, but a letter written to his wife, Antoinette, The anecdote was based on a conversation Lord had with Raws- on a short visit in June 1945 described an emotional reunion thorne on 15th November 1972 while researching his book.2 with Rawsthorne.8 Further corroboration comes from a letter This was well after Giacometti’s death (1966) and a few months sent by Giacometti from Switzerland to Rawsthorne the fol- before Picasso’s (April 1973). -
Jacob Epstein: Babies and Bloomsbury
JACOB EPSTEIN: BABIES AND BLOOMSBURY Catalogue essay by Gill Hedley for exhibition at The Foundling Museum, Jan 2015 IN BLOOMSBURY Antony Gormley said in 2009 that Epstein was solely responsible for the arrival of Modernism, and in particular for bringing direct carving to Britain. Since Jacob Epsteins first public commission in London in 1908, he had been criticised, often viciously, for his monumental avant-garde sculpture. Throughout his career, he also consistently produced lyrical, intimate portraits of his wife, his lovers and their children. Epstein lived for many years in Bloomsbury but was never part of the literary, painterly Bloomsbury Group often characterised as people who lived in squares, moved in circles and loved in triangles. This might also serve as a desiptio of Epsteis o complex family life. He knew Bloomsbury for over twenty years. It was where he first stayed in London, had a series of studios and stores, a family home and where his first children were born. It was also the location of the British Museum whose collections of ancient and non-European sculpture were his early inspiration. Jacob Epstein was born in 1880, the second son of a businessman Max Epstein and his wife Mary Solomon who were middle-class, Orthodox Russian-Polish Jewish refugees in New York. He was the third of eight surviving children and his interest in drawing came from long periods of enforced rest due to pleurisy. Aged 22, Epstein moved to Paris to study art formally in academies and then independently, regularly visiting museums. In 1904, he made a brief exploratory trip to London and stayed in Bloomsbury visiting more museums, above all the British Museum.