DOCSLIB.ORG

Géneros Y Subjetividades En Las Prácticas Artísticas Contemporáneas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Géneros Y Subjetividades En Las Prácticas Artísticas Contemporáneas Géneros y subjetividades en las prácticas artísticas contemporáneas Eva Mª Ramos Frendo (dir.) Este volumen es fruto de trabajo llevado a cabo Teresa Sauret en el proyecto I+D Prácticas de la subjetividad Universidad de Málaga en las artes contemporáneas. Recepción crítica Rosario Camacho y ficciones de la identidad desde la perspectiva Universidad de Málaga de género (HAR2016-75662-P), financiado Beatriz Caballero Rodríguez por el Programa estatal de fomento de la University of Strathclyde investigación científica y técnica de excelencia, Ana Navarrete subprograma estatal de generación del Universidad de Castilla La Mancha conocimiento del Ministerio de Ciencia, Riánsares Lozano Innovación y Universidades. Instituto de Investigaciones Estéticas de la UNAM Yayo Aznar DIRECCIÓN UNED Eva Mª Ramos Frendo Sayak Valencia El Colegio de la Frontera Norte-CONACYT COMITÉ EDITORIAL: Julia Ramírez Sección I: Universidad de Barcelona Inmaculada Hurtado Suárez Clelia Martínez Sección II: Universidad de Málaga Eva Mª Ramos Frendo Juana Rodríguez Sección III: University of California, Berkeley Haizea Barcenilla García Filippo Fimiani y Belén Ruiz Garrido Università di Salerno Sección IV: Laura Iamurri Isabel Garnelo Díez, Università Roma Tre Clotilde Lechuga Jiménez y Elo Vega Annarosa Buttarelli Università Statale di Milano COMITÉ CIENTÍFICO: Marisa Belausteguigoitia Maite Méndez Baiges Instituto de Estudios Latinoamericanos Universidad de Málaga Rosa Fernández Gómez Jacinto Lageira Universidad de Málaga Université Paris 1 Panthéon-Sorbonne Rosalía Torrent ILUSTRACIÓN DE CUBIERTA: Universitat Jaume I Cintia Gutiérrez Reyes Patricia Mayayo Universidad Autónoma de Madrid DISEÑO Y MAQUETACIÓN: Carmen Moreno Álvarez Rocío de la Villa Universidad Autónoma de Madrid © De los capítulos, sus autores/as Estela Ocampo Universitat Pompeu Fabra ISBN: 978-84-15335-99-3 Carla Subrizi Universitat degli Studi di Roma La Sapienza ARCIBEL EDITORES Eva Fernández del Campo www.arcibel.es Universidad Complutense de Madrid Sevilla, 2020 Queda rigurosamente prohibida, sin la autorización escrita de los titulares del “Copyright”, bajo las sanciones establecidas por las leyes, la reproducción parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, y la distribución de ejemplares mediante alquiler o préstamo. Departamento de Historia del Arte Géneros y subjetividades en las prácticas artísticas contemporáneas Eva Mª Ramos Frendo (dir.) En el horizonte de una historiografía atenta a la complejidad de la creación contemporánea, Prácticas de la subjetividad en las artes contemporáneas aborda la presencia y las formas poliédricas que adopta la subjetividad en la producción artística contemporánea, así como en el mosaico de interpretaciones que recibe por parte de la crítica y la historiografía. Dentro de este marco, y proponiendo la perspectiva metodológica y el enfoque multidisciplinar proporcio- nado por los estudios de género, se acometen en los diferentes capí- tulos las siguientes temáticas: 1. Las ficciones de la identidad y cuanto se contiene en la noción de autopoiesis desde la perspectiva de género. Esta línea de trabajo se pregunta por las diversas figuraciones —objetuales o acontecimen- tales— que ha cobrado el postulado de “invención de sí” en las prác- ticas de los/as artistas a lo largo de los siglos XX y XXI (sin excluir la atención a ciertas génesis y arqueologías que nos conduzcan a periodos anteriores). En este sentido, nos interesaremos por cómo el espacio del arte es una encrucijada privilegiada para acceder a la noción —de uso con frecuencia reductor— de “identidad de género”. Los diferentes trabajos abordan cómo la creación, tomando en con- sideración la diversidad de los géneros, gana para sí la libertad de elaborarse subjetivamente, con lo que se propicia un mosaico de acciones emancipatorias de enorme interés ético y político. Capítulo editado por Inmaculada Hurtado Suárez de la Universidad de Málaga. 2. Las vidas y prácticas biográficas y autobiográficas de las artistas modernas y contemporáneas. La biografía del genio o artista, vin- culada a hitos y grandes obras, es la base del relato historiográfico desde Vasari. La perspectiva de género deconstruye estos discur- sos hegemónicos y se interesa, sirviéndose de las biografías y auto- biografías de artistas, por las experiencias vitales. En este sentido, atendemos, a través de los diferentes ensayos, a aspectos como los afectos y emociones, la sexualidad, la vivencia del cuerpo y los elementos performativos en la constitución de la identidad. Este capítulo se centrará en narraciones biográficas y autobiográficas alternativas a las canónicas: diarios, epistolarios, oralidad, colec- ciones fotográficas, además de las imágenes generadas por las nuevas tecnologías. Capítulo editado por Eva Mª Ramos Frendo de la Universidad de Málaga. 3. Los componentes de subjetividad y de “irracionalidad” que inter- vienen en la conformación de los discursos críticos e historiográfi- cos sobre la creación artística contemporánea contemplados desde una perspectiva de género. Se pretende analizar cómo se elaboran esos discursos críticos e histórico-artísticos. Es relevante ver de qué manera lo que pasa por ser objetivo y científico tiene su génesis en creencias de difícil argumentación racional, pues tanto la creación como la recepción crítica están marcadas por complejidades cultu- rales en términos ideológicos. En confrontación con esto, los dis- cursos de género se han apropiado de la mirada dominante de forma estratégica para subvertir la supuesta objetividad de instituciones, academias y grandes relatos, desarrollando nuevos lenguajes y dis- cursos teóricos. Capítulo editado por Haizea Barcenilla García de la Universidad del País Vasco y Belén Ruiz Garrido de la Universidad de Málaga. 4. La potencia de la que se dotan ciertas acciones artísticas en tér- minos de creación social de subjetividades colectivas, relativas a la diversidad de géneros. Este apartado aborda la relación entre géne- ros y creación artística a partir, especialmente, de las posibilidades de producción política y social de “subjetividades colectivas” pro- piciadas por las interdependencias planteadas en diferentes ámbi- tos de la práctica artística y el pensamiento. Desde planteamientos diversos, como feminismo y transfeminismo, LGTB+, teoría queer y nuevas masculinidades, a través de propuestas de investigación artística, tanto teórica como práctica, se reflexiona en torno al arte y la cultura visual contemporánea como configuradoras de subjetivi- dades colectivas. Capítulo editado por Isabel Garnelo Díez, Clotilde Lechuga Jiménez, ambas de la Universidad de Málaga, y Elo Vega, artista independiente. Estos cuatro ángulos conforman los espacios de reflexión e inves- tigación en los que se ha indagado para hallar los vínculos que se establecen entre las artes de la contemporaneidad y los equívo- cos de la subjetividad humana propia de nuestro tiempo. Cabría explorar nuevas vías de interpretación (e integración) interesadas por la construcción —en todos sus planos de presencia— de una subjetividad que extrema su singularidad, que se nutre de su propia diferencia, que afirma la notoriedad misma de su exclusividad. Así, en clave de género, conviene atender a la intervención, tanto en las producciones artísticas como en la elaboración de los discur- sos críticos por las que estas son “identificadas”, de factores tradi- cionalmente excluidos de las metodologías ortodoxas: elementos como los excesos de la subjetividad, las alteraciones emocionales, los modos de patologización de la violencia o, en particular, los estados de la intimidad. Así como, por otra parte, en paralelo, los componentes de irracionalidad que minan los discursos más de lo que habitualmente se acepta y reconoce. Los diferentes ensayos que integran esta publicación surgen del encuentro mantenido, los días 28, 29 y 30 de marzo de 2019, en el Congreso Internacional Géneros y Subjetividades en las Prácticas Artísticas Contemporáneas (siglos XX y XXI), celebrado en el Centro de Cultura Contemporánea La Térmica, en la ciudad de Málaga, y organizado por los miembros del Proyecto I+D+I Prácticas de la Subjetividad en las Artes Contemporáneas (HAR-2016-75662-P), que se desarrolla en el departamento de Historia del arte de la Universidad de Málaga bajo la dirección de Maite Méndez Baiges, financiado por el Ministerio de Ciencia, Innovación y Universidades/ MINECO, mediante su Programa Estatal de fomento de la inves- tigación científica y técnica de excelencia. Este evento contó con el apoyo de otras instituciones públicas: el Ministerio de Asuntos Exteriores y de Cooperación, la Real Academia de España en Roma, el Departamento de Historia del Arte de la Universidad de Málaga, la Università degli Studi di Roma La Sapienza, el Centro de Cultura Contemporánea La Térmica, la Delegación del Rector para la Igualdad y la Acción Social de la Universidad de Málaga, el Máster en Desarrollos Sociales de la Cultura Artística, el Comité Español de Historia del Arte, las asociaciones MAV (Mujeres en las artes visua- les) y Colectiva, el Museo Carmen Thyssen de Málaga, el Área de Estética y Teoría de las Artes del Departamento de Filosofía de la Universidad de Málaga, la Asociación de Estudios Históricos sobre la Mujer de la Universidad de Málaga, el Vicedecanato de Investigación y Transferencia de la Facultad de Filosofía y Letras de la Universidad de Málaga y el Proyecto Feminismo en la Aulas Universitarias (PIE- 128). A todas
Load more

Recommended publications
  • Karl Wolf-Into the Woods-Fauvism Landscape Leaaon Plan
    Legends Legacies & connectionsFROM THE PERMANENT COLLECTION KarlWolf Into The Woods: Fauvist Landscapes THE KELLY Kelly Fitzpatrick Memorial Gallery P. O. Box 641, Wetumpka, AL 36092 | 408 S. Main St., Wetumpka, AL 36092 | Web: thekelly.org | Email: [email protected] Karl Wolf, 1904-1984 The Dixie Art Colony, 1940, Watercolor on Paper, 20” x 14.” Gift of Elizabeth "Bebe" Wolfe, 2015 Acquisition Karl Wolfe was born in Brookhaven, Mississippi in the year 1904. He was the oldest son of Wiley Wilson Wolfe and Elizabeth Heuck. He was still a boy when his family moved to Columbia Mississippi. Karl graduated from the Columbia High School and went to Soule Business College in New Orleans where he studied bookkeeping. He later was accepted to the Chicago Art Institute, graduating in 1928. In his last year of study he won the William R French Traveling Scholarship, and spent the next year traveling and studying in Europe. Karl met his future wife, Mildred Nungester, at the Dixie Art Colony, near Montgomery, Alabama in the 1930’s. Karl and Mildred were friends and colleagues for many years before they married in 1944. In 1942 Karl was drafted into the Army Air Corps and spent the War years at Lowry Field in Colorado, assigned to work as a photographer. After the war Karl and Mildred returned to Jackson, Mississippi, where Karl had begun to establish a clientele before the war. They homesteaded on land Karl had bought before the war, built and shared a studio there and raised a family. Karl became an accomplished and widely respected portrait painter.
    [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]
  • Press Dossier
    KEES VAN DONGEN From 11th June to 27th September 2009 PRESS CONFERENCE 11th June 2009, at 11.30 a.m. INAUGURATION 11th June 2009, at 19.30 p.m. Press contact: Phone: + 34 93 256 30 21 /26 Fax: + 34 93 315 01 02 [email protected] CONTENTS 1. PRESENTATION 2. EXHIBITION TOUR 3. EXHIBITION AREAS 4. EXTENDED LABELS ON WORKS 5. CHRONOLOGY 1. PRESENTATION This exhibition dedicated to Kees Van Dongen shows the artist‘s evolution from his student years to the peak of his career and evokes many of his aesthetic ties and exchanges with Picasso, with whom he temporarily shared the Bateau-Lavoir. Born in a suburb of Rotterdam, Van Dongen‘s career was spent mainly in Paris where he came to live in 1897. A hedonist and frequent traveller, he was a regular visitor to the seaside resorts of Deauville, Cannes and Monte Carlo, where he died in 1968. Van Dongen experienced poverty, during the years of revelry with Picasso, and then fame before finally falling out of fashion, a status he endured with a certain melancholy. The exhibition confirms Kees Van Dongen‘s decisive role in the great artistic upheavals of the early 20th century as a member of the Fauvist movement, in which he occupied the unique position of an often irreverent and acerbic portraitist. The virulence and extravagance of his canvases provoked immediate repercussions abroad, particularly within the Die Brücke German expressionist movement. Together with his orientalism, contemporary with that of Matisse, this places Van Dongen at the very forefront of the avant-garde.
    [Show full text]
  • EUI Working Papers
    DEPARTMENT OF HISTORY AND CIVILIZATION EUI Working Papers HEC 2010/02 DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Giulia Calvi and Isabelle Chabot (eds) EUROPEAN UNIVERSITY INSTITUTE , FLORENCE DEPARTMENT OF HISTORY AND CIVILIZATION Moving Elites: Women and Cultural Transfers in the European Court System Proceedings of an International Workshop (Florence, 12-13 December 2008) Edited by Giulia Calvi and Isabelle Chabot EUI W orking Paper HEC 2010/02 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. ISSN 1725-6720 © 2010 Giulia Calvi and Isabelle Chabot (eds) Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract The overall evaluation of the formation of political decision-making processes in the early modern period is being transformed by enriching our understanding of political language. This broader picture of court politics and diplomatic networks – which also relied on familial and kin ties – provides a way of studying the political role of women in early modern Europe. This role has to be studied taking into account the overlapping of familial and political concerns, where the intersection of women as mediators and coordinators of extended networks is a central feature of European societies.
    [Show full text]
  • Allestimenti Di Ritratti E Narrative Storico Genealogiche Nei Palazzi Fiorentini, Ca
    COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO PASQUALE FOCARILE Allestimenti di ritratti e narrative storico genealogiche nei palazzi fiorentini, ca. 1650-1750 COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO V - IL RITRATTO Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo Sede legale: Corso Vittorio Emanuele II, 75 – 10128 Torino Sede operativa: Piazza Bernini, 5 – 10138 Torino Tel. 011 4401401 – Fax 011 4401450 – [email protected] Codice fiscale: 97520600012 Consiglio di Amministrazione 2018-2020: Piero Gastaldo (Presidente), Walter Barberis (Vicepresidente) Consiglieri: Allegra Alacevich, Laura Barile, Blythe Alice Raviola Direttore scientifico del Programma Barocco: Michela di Macco Direttore: Anna Cantaluppi Vicedirettore: Elisabetta Ballaira Consiglio di Amministrazione 2015-2017: Rosaria Cigliano (Presidente), Michela di Macco (Vicepresidente) Consiglieri: Allegra Alacevich, Walter Barberis, Stefano Pannier Suffait Direttore: Anna Cantaluppi Responsabile culturale: Elisabetta Ballaira Programma di Studi sull’Età e la Cultura del Barocco Borse di Alti Studi 2017 Tema del Bando 2017: Il Ritratto (1680-1750) Assegnatari: Chiara Carpentieri, Pasquale Focarile, Ludovic Jouvet, Fleur Marcais, Pietro Riga, Augusto Russo Tutor dei progetti di ricerca: Cristiano Giometti, Cinzia M. Sicca, Lucia Simonato, Alain Schnapp, Beatrice Alfonzetti, Francesco Caglioti Cura editoriale: Alice Agrillo È vietata la riproduzione, anche parziale e con qualsiasi mezzo effettuata, non autorizzata. L’Editore si scusa per
    [Show full text]
  • In Turn-Of-The-Century Paris, an Explosion of Brash New Art
    1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it.
    [Show full text]
  • Museo Di Palazzo Davanzati
    Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze collana diretta da Antonio Paolucci 29 Museo di Palazzo Davanzati Guida alla visita del museo a cura di Rosanna Caterina Proto Pisani e Maria Grazia Vaccari Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze Musei del Collezionismo storico Museums of Historical Collecting Museo di Palazzo Davanzati Sotto l’Alto Patronato del Presidente della Repubblica / Under the High Patronage of the President of the Italian Republic Con il patrocinio di / Under the sponsorship of Ministero per i Beni e le Attività Culturali Enti promotori / Promoted by Ente Cassa di Risparmio di Firenze Regione Toscana Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze In collaborazione con / In collaboration with Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana Comune di Firenze Realizzazione / Production Ente Cassa di Risparmio di Firenze – Ufficio Progetti Culturali motu proprio Supervisione generale / General supervision Antonio Gherdovich Coordinamento generale e di progetto / General and project coordination Marcella Antonini e Barbara Tosti Segreteria scientifica / Secretary Paola Petrosino Comitato Scientifico / Committee of Experts Presidente / President Antonio Paolucci Cristina Acidini Luchinat, Kirsten Aschengreen Piacenti, Rosanna Caterina Proto Pisani, Cristina
    [Show full text]
  • Nuova Raccolta Di Lettere Sulla Pittura, Scultura Ed Architettura, Scritte Da'più Celebri Personaggi Dei Secoli XV. A
    Ulrich Middeldorf V ' I ARTS|t; > u \ { 8K NUOVA RACCOLTA DI LETTERE SULLA ITTURA , SCULTURA ED ARCHITETTURA scritte dai più celebri personaggi DEI SECOLI XV. A XIX. CON NOTE ED ILLUSTRAZIONI DI MICHELANGELO GUALANDI * in aggiunta a quella data in luce DA MONS. BOTTÀRI E DAL TICOZZI Voi. III. BOLOGNA 1856. a spese dell'Editore ed Annotatore. .\ • <vf ... ... izS Sdfào^e ec/S&nno/a/ore intende cu acacie ctce 0-enrA.zi accow/déi aacca convenzione tù/iuta/a fea ale. cfta/t 'Jcg/iani óeu/a/iro/iwefà S&réidàtca , ec. Tipografia all' ANCORA. 65Ò Wr5 Jl volume terzo della pre- sente raccolta , che poteva com- parire alcuni anni or sono, vede ora soltanto la luce ; una sequela di avvenimenti più o meno in- fausti , come già dicemmo nel nostro manifesto del 18 maggio corrente anno, ci obbligarono di protrarre a tempi migliori il no- stro divisamento. Ora che le cose del mondo sembrano promettere 4 giorni più tranquilli, e che molti onorevoli personaggi ed amici ci sollecitano air opera , eccoci a continuare la nostra raccolta di Lettere artistiche. Possano le nostre incessanti cure essere ognora gradite, per darci animo a compiere V altra raccolta di — Memorie Originali di Belle Arti , della quale pub- blicammo sei Serie , cui farà se- guito un'Appendice quasi con- dotta a termine. Bologna 15 settembre 1856. *M>ccne/anaeio GaaCanc/i "'~' rr,r m~T*mlt*m ' <'* t 7zzz» :/ m-i-r-~" NUOVA RACCOLTI DI LETTERE N. 301. ANNO 1536. Pàolo Sanmicheli da Porlezza (1) scultore a GìahFrancesco de Grata al- tro scultore.
    [Show full text]
  • La Politica Espositiva Del Musée Du Jeu De Paume Tra 1931 E 1939 Il Caso Di Origines Et Développement De L’Art International Indépendant
    Corso di Laurea magistrale in Storia delle arti e conservazione dei beni artistici ordinamento ex D.M. 270/2004 Tesi di Laurea La politica espositiva del Musée du Jeu de Paume tra 1931 e 1939 Il caso di Origines et développement de l’art international indépendant Relatore Ch.ma Prof.ssa Maria Chiara Piva Correlatore Ch.ma Prof.ssa Stefania Portinari Laureando Costanza Ballardini Matricola 853481 Anno Accademico 2015 / 2016 Indice generale 1. Introduzione ............................................................................................................................ 2 2. La nascita e lo sviluppo del Musée des écoles étrangères contemporaines tra anni Venti e Trenta .............................................................................................................................................. 9 2.1. Le origini del Musée du Jeu de Paume ............................................................................ 9 2.2. Il sistema delle arti in Francia dall'inizio della Terza Repubblica al 1930 .................... 10 2.3. Il Musée du Luxembourg, museo dell'art vivant ........................................................... 16 2.4. La prima ristrutturazione del Musée du Jeu de Paume tra 1920 e 1922 ........................ 25 2.5. La trasformazione del sistema delle arti negli anni Trenta ............................................ 30 2.6. Nuovi principi museografici negli anni Trenta, la Conferenza di Madrid del 1934 ...... 36 2.7. I sistemi di presentazione delle collezioni e la gestione del loro ampliamento
    [Show full text]
  • Daniel-Henry Kahnweiler's Perilous Internationalism
    CHAPTER 5 Dealing with Cubism: Daniel-Henry Kahnweiler’s Perilous Internationalism Fae Brauer Just after the Court d’Appel exonerated Captain Alfred Dreyfus of all charg- es of German-Jewish espionage, the twenty-three year-old Daniel-Henry Kahnweiler opened his discrete two-room Galerie Kahnweiler at rue Vignon. Strategically close to Bernheim-Jeune and the Madeleine, this zone was fast becoming what Kahnweiler called “the commercial art centre”.1 Following Louis Vauxcelles’ concept of the modern dealer as a rebel independent of the Paris gallery hierarchy known as “la bande des requins”, Kahnweiler put his faith in the avant-garde of his generation and they in him, as captured by him being photographed in Picasso’s studio (Fig. 5.1).2 Zealously he attended the Salon des Artistes Indépendants and began buying the Fauve paintings of André Derain and Maurice Vlaminck, as well as those of Georges Braque and Kees Van Dongen.3 Intrepidly he exhibited Braque’s early Cubist paint- ings rejected by the 1908 Salon d’Automne. So avidly did he collect Cubism that by the time Pablo Picasso had painted his Cubist portrait of him during thirty sittings (Fig. 5.2), Kahnweiler had invested much of his 25,000 francs yearly income in acquiring two-thirds of Picasso’s studio with more artwork 1 Daniel-Henry Kahnweiler and Francis Crémieux, My Galleries and Painters; 1st pb. Mes Galeries et Mes Peintres (Paris: Éditions Gallimard, 1961; London: Thames & Hudson Ltd., 1971) pp. 34– 35: I had to look for a shop. The commercial art centre, after having been for dozens and dozens of years in rue Le Peletier and rue Lafitte, was in the process of shifting into the neighbourhood of the Madeleine.
    [Show full text]
  • Georges Braque. Dance of Shapes 10 October 2020 to 30 April 2021
    GEORGES BRAQUE. DANCE OF SHAPES 10 OCTOBER 2020 TO 30 APRIL 2021 The Bucerius Kunst Forum is devoting a retrospective to Georges Braque starting in autumn 2020, the first comprehensive survey of his paintings in Germany in over thirty years. Braque is regarded as the initiator of Cubism and one of the premier artists of the twentieth century. Presenting 80 works, the chronologically arranged exhibition traces his astonishing creative diversity: from his early Fauvist works, through the development of Cubism, to his last, almost abstract series in the post-war period. The exhibition is a collaborative project with the Centre Pompidou, Musée national d’art moderne, Paris, whose collection will be the source of the majority of the works on loan. “Monsieur Braque is a very young and brave man. [...] [He] reduces everything – landscapes, figures, houses – to geometric patterns, to cubes,” remarked art critic Louis Vauxcelles upon viewing Braque’s first solo exhibition in 1908, which is considered to be the public debut of Cubism. From 10 October 2020 to 30 April 2021, the Bucerius Kunst Forum will host a large-scale retrospective devoted to Georges Braque (1882–1963), the pioneer of Cubism. His work was exhibited extensively in Germany particularly in the 1930s to 1960s, with the last big show taking place in 1988. However, while the Grand Palais in Paris (2013) and the Guggenheim Bilbao (2014) recently honoured Braque with major exhibitions, not much has been seen on the German exhibition circuit by this important French painter since the late 1980s. Now, after a hiatus of over 30 years, a comprehensive selection of his paintings will finally be on view again in Germany in an exhibition featuring 80 important works on loan, most of them from the Centre Pompidou in Paris.
    [Show full text]
  • Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K
    University of Minnesota Morris Digital Well University of Minnesota Morris Digital Well Art History Publications Faculty and Staff choS larship 2008 Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K. Dabbs University of Minnesota, Morris, [email protected] Follow this and additional works at: https://digitalcommons.morris.umn.edu/arthistory Part of the Other History of Art, Architecture, and Archaeology Commons, and the Women's History Commons Recommended Citation Dabbs, “Anecdotal Insights: Changing Perceptions of Italian Women Artists in 18th-century Life Stories.” Eighteenth-Century Women 5 (2008): 29-51. This Article is brought to you for free and open access by the Faculty and Staff choS larship at University of Minnesota Morris Digital Well. It has been accepted for inclusion in Art History Publications by an authorized administrator of University of Minnesota Morris Digital Well. For more information, please contact [email protected]. Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K. Dabbs “Why can’t a woman be more like a man?” Professor Henry Higgins’s androcentric lament from the musical My Fair Lady would have resounded with male biographers of the eighteenth century who wrote about the perplexing phenomenon of the woman artist. Since the Renaissance, writers of artistic biographical compendia had char- acterized the few female artists included in their volumes in distinctly different ways from their
    [Show full text]