Modern Art: the Twentieth Century Art Scene As Documented in the Frick
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Review of Frances Spalding, Roger Fry: Art and Life
Reviews The education ofRoger Fry by Andrew Brink Frances Spalding. Roger Fry: Art and Life. Berkeley and Los Angeles: University of California Press, 1980. Pp. xvi+304; 97 illustrations. US $24.95. London: Elek, 1980. Pp. 256. £9.95. FRANCES SPALDlNG'S Roger Fry is a critical biography for which everyone interested in Bloomsbury culture should be grateful. Based on extensive correspondences, it is the fullest account ofhis life we are likely to see. And yet Spalding's biography should be taken in conjunction with Virginia Woolf's remarkable Roger Fry: A Biography (1940) which dis closes the sympathy offriendship no subsequent biographer can hope to regain. Frances Spalding ventured where Virginia Woolf had triumphed for two reasons: much more of Fry's private life now can be told safely, and a thoroughgoing critical estimate ofhis art, criticism and scholarship is in order. Not that Woolf avoided the critical personal or evaluative issues; for instance, her passage on the madness which overtook Fry's wife, Helen, is crafted for truthfulness and delicacy, extraordinarily moving in view of Woolf's own fate, the fate which overtook Woolf despite the solicitude ofher husband. Roger Fry, it can only be said, did all that he could to help his wife; his patience and sympathy were indefatigable, his resourcefulness beyond belief. But her obsessions increased. And finally, when they came back to England in the spring the blow fell. Madness declared itself. "I was a fool to be happy yesterday", he wrote to R. C. Trevelyan.... (P. 103) Spalding adds new information to this (that physiological causes were discovered at autopsy in 1937) but, despite skilful writing sometimes sounding like Woolfs own, she can't come close to the evocative power ofthese words. -
How to Make Analogies in a Digital Age*
How to Make Analogies in a Digital Age* WHITNEY DAVIS I will start with a truism even though, like all truisms, it reduces and con- flates distinctions and nuances to which I will need to revert: painting—in the sense of “painting as an art”—has been a classic analog mode of representation, whether or not every painter in the history of art has used it this way. It cannot be a surprise, then, that it might be specifically in painting—in its specifically painterly and pictorial achievements and reversions—that we might best be able to gauge the depth and direction of digital technologies of image production, as well as notions of phenomena, appearance, and representation associated with them in their theoretical foundation and recent history. I The best logical analysis of the analog property of painting as an art—for him, defining depiction as a symbol system—remains Nelson Goodman’s Languages of Art, published in 1968. It will be useful to recall Goodman’s terms, not least because “analog” and “digital” do not figure prominently among them despite their increasingly widespread circulation at the time his book was written.1 Indeed, Goodman seems to have intended Languages of Art partly as a founda- tional explication (and to some extent a critique) of contemporary vocabularies of information, computation, and representation—including a growing tendency to suppose that their domains of “analog” and “digital” exhaustively parse the * This essay originated in my response to a wide-ranging exhibition at the Kunstmuseum Wolfsburg in 2003, from which I have taken my examples of contemporary painting; see Gijs van Tuyl, ed., Painting Pictures: Painting and Media in the Digital Age, exh. -
The Sidney and Harriet Janis Collection : a Gift to the Museum of Modern Art
The Sidney and Harriet Janis Collection : a gift to the Museum of Modern Art Author Museum of Modern Art (New York, N.Y.) Date 1968 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1886 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art 1 The Sidney and Harriet Janis Collection A Giftto The Museum of Modem Art ) Trustees of The Museum of Modern Art cover: picasso. Painter and Model. 1928 David Rockefeller, Chairman of the Board; Henry Allen Moe, William S. Paley, and John Hay Whitney, Vice Chairmen; Mrs. Bliss Parkinson, President; James Thrall Soby, Ralph F. Colin, and Gardner Cowlcs, Vice Presidents; Willard C. Butcher, Treasurer; Walter Bareiss, Robert R. Barker, Alfred H. Barr, Printed in the United States of America by Clarke & Way, Inc. Jr., Mrs. Robert Woods Bliss*, William A. M. Burden, Ivan Chermayeff, Mrs. W. Murray Crane*, John dc Mcnil, Rene Color plates engraved by Briider Hartmann, West Berlin d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edscl B. Ford, Black-and-white plates by Horan Engraving Company, Inc. Mrs. Simon Guggenheim*, Wallace K. Harrison, Mrs. Walter Hochschild, James W. Hustcd*, Philip Johnson, Mrs. Albert D. Designed by Bert Clarke Lasker, John L. Loeb, Ranald H. Macdonald*, Mrs. G. Mac- culloch Miller*, Mrs. Charles S. Payson, Gifford Phillips, Mrs. © Copyright The Museum of Modern Art, 1968 John D. Rockefeller 3rd, Nelson A. -
John Smith Main Street USA, CA 90210
2908 W Bay To Bay Blvd. Tampa, FL 33629-8113 800-335-0513 APPRAISAL REPORT FOR John Smith Main Street USA, CA 90210 CLIENT ID: Clone of:440 PASSWORD: 1234 PURPOSE: Replacement Value New Introduction INTENDED USE: Insurance Coverage REPORT DATE: July 19, 2020 DATE OF INSPECTION: January 01, 2020 EFFECTIVE DATE OF VALUATION: January 11, 2020 Clone of:440 Replacement Value All Inclusive January 11, 2020 Page 2 of 269 Table of Contents TITLE PAGE ..................................................................................................................................1 TRANSMITTAL PAGE .................................................................................................................3 SCOPE OF WORK .........................................................................................................................4 PURPOSE .......................................................................................................................................5 PROCEDURES .............................................................................................................................. 6 CERTIFICATION AND LIMITING CONDITIONS ....................................................................7 DEFINITIONS OF VALUE ...........................................................................................................9 APPROACHES TO VALUE ........................................................................................................11 LINE-ITEM APPRAISALS ........................................................................................................ -
(Iowa City, Iowa), 1940-06-07
• Jbnmy Foxx II Partly Cloudy lOW A: Cloody, abower. ~d OIonte Homer In Ninth For Bosox Trlumllh 001 hi IOU~ lociay; ralr, ! omewha. ~r 10 wesl. See story on Pare 4 1- lova City'. Morning New'paper 5 j::L£ :;:s ~ = FrvE CENTS IOWA CITY, IOWA F'R1DA Y, J_UNE 7. 1940 VOLUME XL N MBER 212 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • GERMAN DRIVE "NACH PARIS" IS LAUNCHED •• Savage German Offen ive Along Bomb A gaIn Somme~ Aisne Break Throl1 o h French Launch Counterallack and Take T.ract:le~ Foothold iu World War Contt'Sted Nazi Warplanes Raid England Flood Scare Chemin.Des·Dam . Eases as Walers S-Roy PARIS. June &-(AP)-Stubbornly fighting French, C schOOl For Second Time in 24 Hour pread F artlzer thrown back on their right and their left by a savage Ger man offensive along the Somme and Aisne, launched coun No One Kmerl, No Seriou~ Damage Rcportrrl WEST POINT, Neb., June 6 terattacks at dusk tonight .and the struggle wa reported con tinuing through the night. high (AP)-Revised esUmates tonight As Alarms Sound iFrom, Northeast ot llood waters coming down The Fren ch counteratt.ack was launched on their right or To Southeast Tip Plum creek lead observers to be east flank where the German infantry, prec ded by mass 9 lieve no great difficulties will be of tanks and s upported by artillery, had pu. hed south from 011 the LONDON J 7 (F · ) AP encpuntered w hen the crest the Ailette river in the Soissons ector and tak n foothold • une - rlday -( ) - Bombs weI' drop· reaches West Point, probably yoU g) in the World war contested ridg of Chemin-D s·Dam ju never re- t ped near a Lincolnshire town in northeastern England today ~ome time tomorrow morning, north of the Aisne. -
Josie Dizon Henson Paintings
PDF Compressor Pro Résumé JOSIE DIZON HENSON Born in Angeles City, then a small town in the heart of Pampanga, Josefina Dizon Henson, or Josie for short, always knew she would spend her life as an artist. She grew up in a household filled with music and art as her mother, Ines Sadie Henson-Dizon was a piano student of Sister Baptista Battig before she married Vicente Alvarez Dizon in 1929. She learned her art from the guidance of her elder brother Dan, who learned the rudiments of drawing from their father, the late Professor Vicente Alvarez Dizon of the University of the Philippines. Professor Dizon earned his Diploma in Art from the Yale University School of Fine Arts in 1936. In 1939, at the historic International Competition on Contemporary Art of 79 Nations at the Golden Gate Exposition in San Francisco, California his painting titled “After the Day’s Toil” won First Place by popular vote. The entry of Spain by Salvador Dali won second place, and the entry of the United States by Robert Philipp placed third. The French Impressionist Maurice Utrillo also had an entry but did not win. “After the Day’s Toil” After high school, Josie enrolled at the University of Santo Tomas in Manila for a course in Fine Arts. Among her professors were National Artist Victorio Edades in Art History, Galo B. Ocampo in Design and Color, Antonio Garcia Llamas in Portraiture, Virgina Ty-Navarro in Freehand Drawing, Antonio Celis in Still-Life Painting, Diosdado Lorenzo in Landscape Painting and Professor Jose Monti in Sculpture. -
Roger Fry: Aligning Himself with the Half Idiot, Half Divine Sandra Boks, MA Curating the Art Museum ‘12
Roger Fry: Aligning Himself with the Half Idiot, Half Divine Sandra Boks, MA Curating the Art Museum ‘12 ‘I am not a great artist; I am only a serious artist with some sensitivity, enough taste and more intelligence than average painters.’ - Roger Fry, 1920 In his writings, Fry makes a distinction between great artists, serious artists and average painters. This suggests that there is some essential quality that Fry recognises in great artists but does not possess himself. Fry’s conception of the ideal artist was embodied by Paul Cézanne, whom he described as ‘the perfect realisation of the type of the artist’.1 He rejected the conventional idea of the artist celebrated by Giorgio Vasari during the Renaissance in order to create a new and modern characterisation of the artist. Before looking at Fry’s writings about Cézanne it is interesting to look at the type of the artist that he rejects in order for Cézanne to take its place. During the 16th century, Vasari valued artists not only for their artistic achievements but also principally for their intellectual abilities. He saw these two skills as essential to artistic success. Vasari regarded Michelangelo as the greatest artist of his time; he even elevated him to a divine being. In his introduction to Michelangelo in Lives of the Artists he writes: [God himself] wanted to join to this [artistic] spirit true moral philosophy and the gift of sweet poetry, so that the world would admire and prefer him for the wholly singular example of his life, his work, the holiness of his habits, and all his human undertakings.2 Michelangelo’s personal life and additional talents for philosophy and poetry were seen as inextricably intertwined with his artistic output, and the totality of this resulted in his reputation as a divine being. -
Sigrid Ruby the Give and Take of American Painting in Postwar Western Europe
The American Impact on Western Europe: Americanization and Westernization in Transatlantic Perspective Conference at the German Historical Institute Washington, D.C., March 25–27, 1999 Sigrid Ruby The Give and Take of American Painting in Postwar Western Europe www.ghi-dc.org/conpotweb/westernpapers/ruby.pdf ©Sigrid Ruby 1 The Give and Take of American Painting in Postwar Western Europe (Sigrid Ruby) The standard narrative of 20th century art maintains that with the advent of abstract expressionism in the late 1940s American painting for the very first time made a genuine contribution to the course of Western art history. This at first sight eurocentristic narrative relies on the conceptualization of modern art as an evolutionary process, mainly conditioned by the esthetic qualities of the autonomous art work and urged on by successive vanguard movements. Pointing out its formal inventiveness and radical newness, its painterly grandeur, purity of means, and artistic self-consciousness, art historical writing has naturalized abstract expressionism as an integral part - if not the climax or glorious finale1 - of the modernist adventure. In 1970, the American art critic Irving Sandler published „Abstract Expressionism. The Triumph of American Painting.“2 The book perpetuated the by then well- established modernist interpretation of abstract expressionism, but the somewhat self-congratulatory title suggests a bias which became crucial for a revisionist reading of this „triumph“ in the following years. Max Kozloff‘s article „American Painting During the Cold War,“3 Eva Cockroft’s „Abstract Expressionism. Weapon of the Cold War,“4 and, especially, Serge Guilbaut’s book „How New York Stole the Idea of Modern Art“5 are landmarks of a new, materialist approach in dealing with post- 1945 art history and its American contribution. -
Bridget Riley Born 1931 in London
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts -
The Significance and Insignificance of Clive Bell's Formalism I
Navorsingsartikels/Research articles The significance and insignificance of Clive Bell’s formalism i Johan Snyman Dept, of Philosophy Rand Afrikaans University JOHANNESBURG Abstract Clive Bell coined the phrase significant form. The way he initially defined the phrase and the way he implemented it were two different matters. In this article Bell's procedure is analysed as a characteristic of late moder nist aesthetics, i.e. an attempt to come to terms with the challenge o f the radically new in art. It is suggested that one should bear in mind that formalism in this sense is a theory of artistic material which explains how meaning is communicated and perceived through non-discursive qualities o f the artistic material. That is the relevance o f Susanne K. Longer's re- interpretation o f Bell's phrase. 1. Introduction Clive Bell’s aesthetics does not make for profound reading. Why bother then? The least one can say is that Bell contributed towards the modem aesthetic vocabulary by coining a phrase that has since become a cliché or hackneyed for that matter, viz. significant form. On the other hand, if one reflects from a distance on the Wirkungsgeschichte of Bell’s phrase as well as on the Wirkungs- geschichte of the problem he wanted to solve, significant form has an intriguing logic. Significant form as an aesthetic category has spawned quite a generation of related concepts, from Clive Bell to Susanne K. Langer’s unconsummated symbol, up to Nelson Goodman’s languages of art (Goodman, 1976), Peter A revised version of a paper read at a 2nd International Symposium on Formalism, organized by the Slovenian Society of Aesthetics in Ljubljana, 14-17 May 1992. -
Art and Form: from Roger Fry to Global Modernism by Sam Rose.’ Estetika: the European Journal of Aesthetics LVII/XIII, ESTETIKA No
Gal, Michalle. ‘Art and Form: From Roger Fry to Global Modernism by Sam Rose.’ Estetika: The European Journal of Aesthetics LVII/XIII, ESTETIKA no. 2 (2020): pp. 183–188. DOI: https://doi.org/10.33134/eeja.223 THE EUROPEAN JOURNAL OF AESTHETICS BOOK REVIEW Art and Form: From Roger Fry to Global Modernism by Sam Rose Michalle Gal Shenkar College, IL [email protected] A book review of Sam Rose, Art and Form: From Roger Fry to Global Modernism. University Park: Pennsylvania State University Press, 2019. 208 pp. ISBN 9780271082387. In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presump- tion that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only mas- ters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939).