Impressionist & Modern
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Collections Collections Privées
Contact presse : Musée 13 septembre Claudine Colin Communication 2018 Christelle Maureau 3 rue de Turbigo 75001 Paris Marmottan Tél : 01 42 72 60 01 / 06 45 71 58 92 10 février [email protected] Monet 2019 www.claudinecolin.com COLLECTIONS UN VOYAGE DES PRIVÉES IMPRESSIONNISTES AUX FAUVES SOMMAIRE 03 I - Avant-propos 04 II - Communiqué de presse 05 III - Parcours de l’exposition 27 IV - Un ensemble d’œuvres « inédites » réunies à Paris 31 V - Autour de l’exposition 32 VI - Commissariat 34 VII - Visuels presse 37 VIII - Le musée Marmottan Monet 39 IX - Programmation 2018-2019 40 X - Informations pratiques I AVANT-PROPOS Ils sont trente, trente passionnés, trente amateurs à avoir à la suite de Paul Marmottan offert au musée qui porte son nom, les œuvres qu’ils chérissaient pour orner les salons de l’hôtel de la rue Louis Boilly : Emile Bastien-Lepage, André Billecocq, Vicky Colombet, Simonne Dalimier, Xie Dingwei, Victorine et Eugène Donop de Monchy, Cila Dreyfus, Philippe Garel, Mme du Payrat, Maurice Fenaille, Florence Gould, Marie et Roger Hauser, Antoine Jacquand, Berthe de Korewo, Jean-Paul Léon, Henri Le Riche, Françoise Marquet-Zao, Michel Monet, Angèle de Montholon, Marc Rauffet, Annie et Denis Rouart, Thérèse et Julien Rouart, Nelly Sargent-Duhem, Madeleine Siney, Henriette Vicens-Bouguereau, Daniel Wildenstein. Ces « particuliers », artistes, descendants d’artistes, amoureux des arts ont fondé nos collections qui comptent notamment les premiers fonds mondiaux d’œuvres de Claude Monet et Berthe Morisot. Grâce à eux, la demeure de Paul Marmottan est devenue le musée ou mieux encore la maison des collectionneurs. -
Name of Object: Apollo and Daphne Location: Rome, Italy Holding
Name of Object: Apollo and Daphne Location: Rome, Latium, Italy Holding Museum: Borghese Gallery Date of Object: 1622–1625 Artist(s) / Craftsperson(s): Gian Lorenzo Bernini (1598, Naples-1680, Rome) Museum Inventory Number: CV Material(s) / Technique(s): Marble Dimensions: h: 243 cm Provenance: Borghese Collection Type of object: Sculpture Description: This sculpture is considered one of the masterpieces in the history of art. Bernini began sculpting it in 1622 after he finished The Rape of Proserpina. He stopped working on it from 1623 to 1624 to sculpt David, before completing it in 1625. With notable technical accuracy, the natural agility of this work shows the astonishing moment when the nymph turns into a laurel tree. The artist uses his exceptional technical skill to turn the marble into roots, leaves and windswept hair. Psychological research, combined with typically Baroque expressiveness, renders the emotion of Daphnes terror, caught by the god in her desperate journey, still ignorant of her ongoing transformation. Apollo, thinking he has achieved his objective, is caught in the moment he becomes aware of the metamorphosis, before he is able to react, watching astonished as his victim turns into a laurel tree. For Apollos head, Bernini looked to Apollo Belvedere, which was in the Vatican at the time. The base includes two scrolls, the first containing the lines of the distich by Maffeo Barberini, a friend of Cardinal Scipione Borghese and future Pope Urban VIII. It explores the theme of vanitas in beauty and pleasure, rendered as a Christian moralisation of a profane theme. The second scroll was added in the mid-1700s. -
Una Mirada a La Inmigración Española De 1939-40 En Santo Domingo
Una mirada a la inmigración española de 1939-40 en Santo Domingo Disertaciones presentadas en la Universidad APEC Semanas de España en la República Dominicana 2015 Santo Domingo, R.D. Octubre 2016 Una mirada a la inmigración española de 1939-40 en Santo Domingo : disertaciones presentadas en la Universidad APEC : Semanas de España en la República Dominicana 2015 / José del Castillo Pichardo ...[et al.] ; Jaime Lacadena, introducción. – Santo Domingo : Universidad APEC, 2016 168 p. : il. ISBN: 978-9945-423-39-6 1. Emigración - Española 2. Inmigración - República Dominicana 2. España - Historia - Guerra civil, 1936-1939 3. Exilio - España 4. República Dominicana - Influencias españolas 3. Arte dominicano - Influencias españolas 5. España - Vida intelectual - República Dominicana. I. Castillo Pichardo, José del. II. González Tejera, Natalia. III. Vega, Bernardo. IV. Gil Fiallo, Laura. V. Mateo, Andrés L. VI. Céspedes, Diógenes. VII. Lacadena, Jaime, introd. 304.8 I57e CE/UNAPEC Título de la obra: Una mirada a la inmigración española de 1939-40 en Santo Domingo Disertaciones presentadas en la Universidad APEC Semanas de España en la República Dominicana 2015 Primera edición: Octubre 2016 Gestión editorial: Oficina de Publicaciones Vicerrectoría de Investigación, Innovación y Relaciones Internacionales Composición, diagramación y diseño de cubierta: Departamento de Comunicación y Mercadeo Institucional Impresión: Editora Búho ISBN: 978-9945-423-39-6 Impreso en República Dominicana Printed in Dominican Republic JUNTA DE DIRECTORES DE LA UNIVERSIDAD APEC Lic. Opinio Álvarez Betancourt Presidente Lic. Fernando Langa Ferreira Vicepresidente Lic. Pilar Haché Tesorera Dra. Cristina Aguiar Secretaria Lic. Álvaro Sousa Sevilla Miembro Lic. Peter A. Croes Miembro Lic. Isabel Morillo Miembro Lic. -
Feininger Klee Bauhaus Feininger Klee Bauhaus
feininger klee bauhaus feininger klee bauhaus 01.05.2019 — 18.01.2020 New York Dortmund Wien Inhalt contents 06 Lyonel Feininger – vom Karikaturisten zum Bauhausmeister Wolfgang Büche 07 Lyonel Feininger —from Caricaturist to Bauhaus Master Wolfgang Büche 22 werke Lyonel Feininger 22 works by Lyonel Feininger 60 lyonel feininger über paul klee 61 lyonel feininger on paul klee 70 werke Paul Klee 70 works by paul klee 84 biografien 84 biographies 92 ausgestellte werke 92 exhibited works 104 impressum Die Bauhausmeister auf dem Dach des Bauhauses in Dessau anlässlich der Eröffnung am 4. und 5. Dezember 1926 The Bauhaus Masters on the roof of the Bauhaus in Dessau at its opening on December 4 & 5, 1926 104 imprint Lyonel Feininger 04 05 Lyonel Feininger Lyonel Feininger – vom Karikaturisten —from Caricaturist zum Bauhausmeister to Bauhaus Master Wolfgang Büche Wolfgang Büche Als Lyonel Feininger im Mai 1919 als der erstberufene Bau- When Lyonel Feininger was sitting on the train to Weimar hausmeister im Zug nach Weimar saß, gehörte er in Deutsch- in May 1919 on his way to become one of the first Bauhaus land bereits zu den arrivierten Malern. Es gab Sammler masters appointed to teach at the school, he was already seiner Werke und Museen begannen sich für sein Schaffen a well-established painter in Germany. There were already zu interessieren. Mit seiner ersten Einzelausstellung 1917 in a few collectors of his work, and museums were starting to der Galerie Der Sturm in Berlin war er endgültig als einer der take an interest in him. His first solo exhibition at the Galerie Protagonisten der Moderne in Deutschland eingeführt. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
RECENT ACQUISITIONS Dear Friends and Collectors
WALLY FINDLAY GALLERIES RECENT ACQUISITIONS Dear Friends and Collectors, Wally Findlay Galleries is pleased to present our most recent e-catalogue, Recent Acquisitions, featuring the newest additions to our collection. The catalogue features works by Aizpiri, Berthelsen, Brasilier, Cahoon, Calder, Cassignieul, Chagall, D’Espagnat, Jean Dufy, Gen Paul, Hambourg, Hervé, Indiana, Kluge, Leger, Le Pho, Miró, Outin, Sébire, Sipp-Green, Simbari, Simkohvitch, and Vu Cao Dam. For further information in regards to these works and the current collection, please contact the New York gallery. We look forward to hearing from you. WALLY FINDLAY GALLERIES 124 East 57th Street, New York, NY (212) 421 5390 [email protected] Aïzpiri Paul Aïzpiri (b. 1919) was born in Paris on May 14, 1919. Aïzpiri entered l’École Bulle to learn antique restoration, after his father insisted that he first learn a trade as a means of assuring his livelihood. After the course he entered the Beaux-Arts to study painting. Aïzpiri was certainly encouraged as a young painter in his early 20’s, during somber war-torn France, exhibiting amongst the painters of l’École Pont-Aven and the Nabis. He became a member of the Salon d’Automne in 1945, won Third Prize at the Salon de Moins de Trente Ans, of which he was a founding member and later showed at the Salon “Les Peintres Témoin de leur Temps”. In 1948, Aïzpiri won the Prix Corsica which allowed him to go to Marseilles. His stay there so impressed him, that he declared it was a turning point of his art. Not only did he find a whole new world to paint which was far different subjectively from any life he had known in Paris, but also a new world of color. -
Albert Marquet and the Fauve Movement, 1898-1908
Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/albertmarquetfauOOjudd ALBERT MARQUET AND THE FAirVE MOVEMENT 1898 -1908 by Norrls Judd A thesis submitted to the Faculty of the Department of Art History in partial fulfillment of the requirements for Senior Honors in Art History. ^5ay 1, 1976 /JP 1^1 Iff TABLE OF CONTENTS Page Introduction ...............< 1 I The Fauve Movement Definition of Fauvism, • 3 The Origins of the Fauve Movement 5 The Leaders of the Fauve Group 11 1905: The Crucial Year, Salon Exhibitions and Critical Reactions 26 Fauve Paintings of 1905 34 Critical Reaction to Fauvism.. 41 Denouement 45 II Albert Marquet Bordeaux: Origins 49 Paris: 1890 - 1898 50 Years of Activity with the Fauve Group: 1899-1908 Marquet and Matisse, 1898 - 1905 54 Marquet and Dufy, 1906. 78 Marquet, 1907-1908 83 Marquet: 1903-1910 87 III Summary 89 IV Footnotes 93 V Appendix Marquet Speaks on His Art 116 List of Reproductions 117 Photocopies of Selected Reproductions i 123 VI Bibl iography 142 Note: An asterisk will appear by a plate reference if the reproduction also appears in photocopy in the appendix. il ALBERT MARQUET AND THE FAUVE MOVEMENT 1898 - 1908 INTRODUCTION In 1905, when a group of violently coloured paintings was displayed at the Salon d'Automne, there were varying reactions from the critics. Some were outraged, others merely amused. At that time only a few of the critics were aware of the importance of the event. Even fewer critics realized that the special characteristics of these paintings would have a decisive influence on the future development of Gortain futur e twentieth century art. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT. -
FLETCHER-THESIS.Pdf
Copyright by Kanitra Shenae Fletcher 2011 The Thesis Committee for Kanitra Shenae Fletcher Certifies that this is the approved version of the following thesis: Damage Control: Black Women's Visual Resistance in Brazil and Beyond APPROVED BY SUPERVISING COMMITTEE: Supervisor: Moyosore Okediji Cherise Smith Damage Control: Black Women's Visual Resistance in Brazil and Beyond by Kanitra Shenae Fletcher, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Dedication To my beloved late aunt Aundra Thornton. Abstract Damage Control: Black Women's Visual Resistance in Brazil and Beyond Kanitra Shenae Fletcher, M.A. The University of Texas at Austin, 2011 Supervisor: Moyosore Okediji Jezebels, Mammies, and Matriarchs… These labels signify racialized and gendered social constructions that transnationally pervade the lives of black women. By contextualizing black women’s artwork as visual responses to social subjugation and objectification, one can discern the (literal) materialization of black feminist epistemology through artistic production and the aesthetic concerns that drive expressive work. This thesis therefore analyzes black Brazilian artist Rosana Paulino’s work as a visual form of resistance to three major “controlling images” of black women in Brazil as sexually promiscuous, domestic laborers, and unfit mothers. Her work represents not only the Brazilian black woman’s experience; it broadens and deepens the conversation on black women’s art in Africa and its diasporas, where similar stereotypes exist. Several v of Paulino’s personal statements and artworks address subjects that parallel those made by black women artists--María Magdalena Campos-Pons, Lorna Simpson, Zanele Muholi, and Wangechi Mutu, to name a few--whose artwork is also considered in this paper. -
A Cause for Reflection: Imagining Brazil at 100 Years of Independence
A Cause for Reflection: Imagining Brazil at 100 Years of Independence By Joseph M. Pendergraph Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History August, 2015 Nashville, Tennessee Approved: Marshall C. Eakin, Ph.D. Sarah E. Igo, Ph.D. “O Gigante: Vossos irmãoes na pátria nova passam tranquillos com riqueza largos annos… outro sistema de gouverno abraçam, que julgam mais propício para os humanos, porque nesse regimen, ali novo, dizem que manda simplesmente o povo.”1 “For my part I will say that, if my body leaves [Brazil], my heart stays, and that, if one day it should split, on it will be seen the words Brazil and Portugal, so intensely linked, so intimately intertwined, that it shall not be possible to separate one from the other.”2 1 Augusto de Lacerda, As duas patrias: poêma em homenagem a Portugal e Brasil por occasião do centenário da abertura dos portos brasileiros ao commércio do mundo (Porto: Oficinas do Commercio do Porto, 1908), 116 – The passage reads roughly, “The Giant: Your brothers in the new Pátria calmly live long years with richness / embracing another form of government that they believe to be more propitious for mankind / because in this new regime it is said that the people simply govern.” The timing of this quotation is key for understanding the critique. The work was published in 1908 just two years before the overthrow of the Portuguese monarchy. The decadence of the throne in the nineteenth century had led to intellectual criticism in the 1870s and republican revolts and conspiracies in the last years of the century. -
Documentary Introduction to the Ángel Ramos and Tina Hills Donation for a Young Institution Like the Museo De Arte De Puerto Ri
Documentary Introduction to the Ángel Ramos and Tina Hills Donation For a young institution like the Museo de Arte de Puerto Rico (MAPR), the bequest of thirty artworks donated by Ángel Ramos and Tina Hills represents both a responsibility and a commitment, a commitment that binds the Museum to continue the visionary, nation-building work done by these two exemplary philanthropists for so many years. Ángel Ramos was a pioneer of modern media communications in Puerto Rico. From a family of few resources and little formal education, he began as a proofreader and layout man at El Mundo newspaper and went on to hold several management positions until, in 1946, he became its editor and owner. His professional career almost literally skyrocketed. Along the way he created publications such as Puerto Rico Ilustrado and Puerto Rico World Journal, owned radio stations, and pioneered television in Puerto Rico. To these accomplishments he added the creation of the Ángel Ramos Foundation in 1958, a philanthropic organization unparalleled in the history of Puerto Rico. Ángel Ramos was also a person of great aesthetic sensitivity, which led him to become a patron of outstanding artists and an exemplary collector. Tina (Argentina S.) Hills took on the responsibilities of the El Mundo family of businesses on the death of her husband, Ángel Ramos, and in 1966 she achieved his dream of completing the establishment of the Foundation that bears his name. Today, after a long career in newspapers, radio, television, and philanthropy, she is the president of the Ángel Ramos Foundation and has also continued, with untiring enthusiasm, to collect works of art from Puerto Rico and abroad. -
Fine Modern Art Sale
PRESS RELEASE For Immediate Release July 19, 2012 Shawna Brickley +1-212-497-9700 ext. 162 [email protected] Eric Winkler +1-212-497-9700 ext. 144 [email protected] artnet Auctions presents the Fine Modern Art sale artnet Auctions is pleased to offer a special sale of Fine Modern Art, including paintings, drawings, prints, and sculptures, featuring Crucifixion (1946), the striking painting by Milton Avery (American, 1885-1965). Milton Avery Crucifixion, 1946 Oil on canvas Signed, titled, and dated in oil 44 x 34 in. Est. US$500,000−700,000 New York / Berlin / Paris, July 17, 2012—artnet Auctions presents the Fine Modern Art sale, a selection of over 30 important 20th century works by luminaries such as Milton Avery, Joan Miró, Alexander Calder, Marc Chagall, Angel Botello, Raoul Dufy, Jean Dubuffet, Pablo Picasso, and Henry Moore. Featured in the sale is Crucifixion (est. US$500,000–700,000), an oil on canvas by the American Modern master Milton Avery. The work was completed during a painting trip Avery took to Mexico in 1946. During his time in Mexico, he visited Frida Kahlo (Mexican, 1907–1954) and Diego Rivera (Mexican, 1886–1957), among other notable artists, and was inspired by the colors and shapes of the country’s landscape. Focusing on simple compositions and the profound role of object placement, these canvases were “infused with a great deal of poetry,” according to Avery’s wife Sally, who accompanied him on the trip. Crucifixion is a masterful example of Avery’s work at what is perhaps the most interesting stylistic stage of his career.