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Impressionist & Modern
Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale. -
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. -
November Artists of the Western Hemisphere: Precursors of Modernism 1860- 1930 Dr
1967 ● September – November Artists of the Western Hemisphere: Precursors of Modernism 1860- 1930 Dr. Atl (Gerardo Murillo), Juan Manuel Blanes, Humberto Causa, Joaquín Clausell, Maurice Gallbraith Cullen, Stuart Davis, Thomas Eakins, Pedro Figari, Juan Francisco González, Childe Hassam, Saturnino Herrán, Winslow Homer, George Inness, Francisco Laso, Martín Malharro, John Marin, Vicente do Rego Monteiro, James Wilson Morrice, José Clemente Orozco, Amelia Peláez, Emilio Pettoruti, José Guadalupe Posada, Maurice Brazil Prendergast, Armando Reverón, Diego Rivera, Julio Ruelas, Albert P. Ryder , Andrés de Santa María, Eduardo Sivori , Joseph Stella, Tarsila do Amaral, Tom Thomson, Joaquín Torres-García, José María Velasco Elyseu d’Angelo Visconti Curator: Stanton Loomis Catlin ● December 1967 – January 1968 Five Latin American Artists at Work in New York Julio Alpuy , Carmen Herrera, Fernando Maza, Rudolfo Mishaan, Ricardo Yrarrázaval Curator: Stanton Loomis Catlin 1968 ● February – March Pissarro in Venezuela Fritz George Melbye, Camille Pissarro Curator: Alfredo Boulton ● March – May Beyond Geometry: An Extension of Visual-Artistic Language in Our Time Ary Brizzi, Oscar Bony, David Lamelas, Lía Maisonave, Eduardo Mac Entyre, Gabriel Messil, César Paternosto, Alejandro Puente , Rogelio Polesello, Eduardo Rodríguez, Carlos Silva, María Simón, Miguel Angel Vidal Curator: Jorge Romero Brest ● May – June Minucode 1 Marta Minujín ● September From Cézanne to Miró1 Balthus (Balthazar Klossowski de Rola), Max Beckmann, Umberto Boccioni, Pierre Bonnard, -
Chapter.11.Brazilian Cdr.Cdr
BRAZIL Chapter 11 Art, Literature and Poetry Brazil was colonized by Portugal in the middle of the 16th century. In those early times, owing to the primitive state of Portuguese civilization there, not much could be done in regard to art expression. The original inhabitants of the land, pre-Columbian Indigenous peoples, most likely produced various forms of art, but very little is known about this. Little remains, except from elaborate feather items used as body adornments by all different tribes and specific cultures like the Marajoara, who left sophisticated painted pottery. So, Brazilian art - in the Western sense of art - began in the late 16th century and, for the greater part of its evolution until early 20th century, depended wholly on European standards. 170 BRAZIL Pre-Columbian traditions Main article: Indigenous peoples in Brazil Santarém culture. Museu Paraense Emílio Goeldi Bororo Indian with feather headdress and body painting 171 BRAZIL The oldest known art in Brazil is the cave paintings in Serra da Capivara National Park in the state of Piauí, dating back to c. 13,000 BC. More recent examples have been found in Minas Gerais and Goiás, showing geometric patterns and animal forms. One of the most sophisticated kinds of Pre- Columbian artifact found in Brazil is the sophisticated Marajoara pottery (c. 800–1400 AD), from cultures flourishing on Marajó Island and around the region of Santarém, decorated with painting and complex human and animal reliefs. Statuettes and cult objects, such as the small carved-stone amulets called muiraquitãs, also belong to these cultures. The Mina and Periperi cultures, from Maranhão and Bahia, produced interesting though simpler pottery and statuettes. -
Emiliano Di Cavalcanti Ingressa No Campo Das Artes Quando a Revista Fon-Fon Publica Uma Caricatura De Sua Autoria, Em 1914
acervoroteiros de visita O Museu de Arte Contemporânea da Universidade oferece diversas atividades e serviços como de São Paulo (MAC USP) foi criado em 1963, disciplinas optativas, cursos de extensão cultural, 19 quando a Universidade de São Paulo recebeu de ateliês, visitas orientadas, site na internet e isita e não deve ser utilizada individualmente Francisco Matarazzo Sobrinho, Ciccillo, então biblioteca especializada. presidente do Museu de Arte Moderna de São A Divisão Técnico - Científica de Educação e Arte Paulo, o acervo que constituía o MAM SP. Além (DTCEA) concentra sua atuação no desse acervo transferido para a USP, Matarazzo e desenvolvimento de materiais educativos, na Acervo: Roteiros de V sua mulher, Yolanda Penteado, doaram ao novo formação de monitores, na organização de museu suas coleções particulares, às quais se exposições didáticas, em programas para públicos somaram aquelas efetuadas pela Fundação Nelson diversos, cursos à comunidade e em publicações ação Rockfeller e os prêmios das Bienais Internacionais que têm como objetivo geral favorecer um contato de São Paulo. mais efetivo entre a obra e público visitante, Hoje o MAC USP possui mais de 8 mil obras entre especialmente professores e estudantes. pinturas, desenhos, gravuras, fotografias, Dentro dessa proposta e com o patrocínio da Esta ficha é parte integrante do programa esculturas, objetos, instalações e trabalhos Fundação Vitae, a equipe de educadores produziu conceituais, constituindo um importante acervo de o Acervo: Roteiros de Visita. Esse material propicia arte moderna e contemporânea, relevante aos pesquisadores, professores e alunos recursos patrimônio cultural na América Latina. preparatórios e avaliativos de visitas ao museu Como museu universitário, o MAC USP é um local universitário. -
The First Year How Have Artists Responded to the US President’S First 12 Months in Office?
FOR MORE NEWS AND ANALYSIS, VISIT THEARTNEWSPAPER.COM U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXVII, NO. 297, JANUARY 2018 UK £8.50/US $14.99/RoW £10.50 PUTIN’S PULL THE YEAR AHEAD GOOGLE IT Artists react Where to go, what Director Amit Sood to Russian to see: our pick on how the Google president’s bid of the big shows, Cultural Institute for fourth term biennials and museum is driving visitors openings in 2018 to museums NEWS REVIEW REVIEW PAGE 14 PAGES 4-15 PAGE 19 Trump: the first year How have artists responded to the US president’s first 12 months in office? WASHINGTON, DC. It has been one year it’s making me less productive. Trump is since Donald Trump’s inauguration as the parasite that won’t stop sucking on the 45th president of the United States. my brain stem,” he says. Tomaselli first In that time, he has presided over a started incorporating pages from the profound degeneration in public life, New York Times in his art more than a actively discouraging trust in institu- decade ago, but this source material now tions and belief in the concept of truth, has renewed relevance, he says, as the and inciting hatred and division. The press is “the only institution still holding art world, a predominantly liberal col- Trump and his collaborators accounta- lective, has reacted with indignation to ble for their lies”. this degradation of democracy in the US. Many artists say that they now feel Many artists profess themselves to be impelled to make work that expresses their sense of dread. -
ART DECO and BRAZILIAN MODERNISM a Dissertation
SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s. -
Emiliano Di Cavalcanti L. N. Tallur
neatly filed away in an album. Buried in these artifacts are material the artist’s hometown, Rio de Janeiro. From 1925 to 1935, his style traces of many nationalities and languages, religions and sects. oscillated between Art Nouveau and Art Deco in drawings and water- Together, they testify not just to the quotidian lives of their owners but colors depicting cabaret and carnival scenes, which pioneered the artis- to a thriving multicultural and cosmopolitan community. However, tic representation of urban musical culture in Brazil. Two stints in Paris Al-Ghoussein’s inclusion of the physical objects themselves, like relics undeniably influenced Di Cavalcanti’s practice. The first was in 1923, of past lives, seemed to question photography’s capacity to access the when he established contact with Braque, Léger, Matisse, and Picasso, residue of history. As a Palestinian born in exile in Kuwait, unable to and the second from 1936 to 1940, when he discovered in the work of return to his parents’ native home, he may better understand the true the Mexican muralists an idiom more suited to his historical and social weight of what must be left behind. convictions. Unlike Amaral, he never developed a distinct style of his —Murtaza Vali own. But he was a stalwart proponent of figurative painting even at the end of his career, when geometric abstraction was the dominant force in Brazilian art. SÃO PAULO Di Cavalcanti’s images of the life of prostitutes might at times make one think of the Picasso of Les Demoiselles d’Avignon, but rather than Emiliano Di Cavalcanti the violent urgency of sharp Cubist forms, Di Cavalcanti emphasizes PINACOTECA DO ESTADO sensual vitality in a tropical context, in paintings such as Bordel (Brothel), ca. -
Marina Barbosa De Almeida As Mulatas De Di Cavalcanti
MARINA BARBOSA DE ALMEIDA AS MULATAS DE DI CAVALCANTI: REPRESENTAÇÃO RACIAL E DE GÊNERO NA CONSTRUÇÃO DA IDENTIDADE BRASILEIRA (1920 E 1930) Dissertação apresentada como requisito parcial para a obtenção do grau de mestre em História, ao Departamento de História do Setor de Ciências, Letras e Artes da Universidade Federal do Paraná. Orientador: Prof. Dr. Luiz Carlos Ribeiro Co-orientadora: Profa. Dra. Maria José Justino CURITIBA 2007 MARINA BARBOSA DE ALMEIDA AS MULATAS DE DI CAVALCANTI: REPRESENTAÇÃO RACIAL E DE GÊNERO NA CONSTRUÇÃO DA IDENTIDADE BRASILEIRA (1920 E 1930) CURITIBA 2007 ii AGRADECIMENTOS Diversas pessoas colaboraram de alguma maneira durante o desenvolvimento desta pesquisa. Agradeço, inicialmente, ao meu orientador, Prof. Dr. Luiz Carlos Ribeiro, pela dedicação e paciência e, sobretudo, seu comprometimento e orientação crítica constantes durante reuniões, conversas e leituras do texto. Agradeço também as generosas e importantes contribuições de minha co-orientadora, Prof. Dra. Maria José Justino, e as leituras atentas das professoras Dra. Ana Paula Vosne Martins e Dra. Marion Brepohl de Magalhães quando da qualificação deste trabalho. Agradeço aos professores, funcionários e colegas do Programa de Pós-Graduação em História, em especial às secretárias Doris e Maria Cristina, sempre atenciosas e prestativas. Gostaria de agradecer ainda à CAPES (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior) pela bolsa que permitiu minha dedicação exclusiva ao mestrado. Desejo também demonstrar minha gratidão à enorme dedicação e atenção de Elizabeth Di Cavalcanti na localização das obras e dos colecionadores. Sua contribuição foi indispensável a este trabalho. Ao Sr. Lucien Finkelstein e aos Sr. e Sra. Jean Boghici, agradeço a gentileza dispensada nas visitações às obras, as histórias contadas e as conversas sobre a produção artística modernista brasileira. -
Goiter in Brazilian Modernism Paintings Bócio Em Pinturas Da Arte Moderna Brasileira
ARTIGO ORIGINAL Goiter in Brazilian modernism paintings Bócio em pinturas da arte moderna brasileira Luís Jesuíno de Oliveira Andrade1, Gustavo Magno Baptista1, Ana Paula Rodrigues dos Santos1, Alcina Maria Vinhaes Bittencourt2, Gabriela Correia Matos de Oliveira3 ABSTRACT RESUMO Objective: To evaluate Di Cavalcanti’s artworks in which Objetivo: Avaliar as obras de Di Cavalcanti em que bócios estão goiters are represented before and after the introduction of representados, antes e após a introdução da iodação do sal para iodized salt to the Brazilian population. Methods: One hun- a população brasileira. Método: Foram avaliadas 130 pinturas de dred and thirty paintings by Di Cavalcanti from the 20’s to 70’s Di Cavalcanti entre os anos 1920 e 1970 demonstrando pescoços. demonstrating necks were evaluated. All the paintings were Todas as pinturas foram observadas em reproduções. A circunfe- observed in reproductions. The neck circumference in the pain- rência do pescoço nas pinturas foi mensurada. Como não existia tings was measured. Since there were no standard thresholds limite-padrão da circunferência do pescoço, os limites foram ba- of neck circumference, cutoffs were based on the median. Ba- seados na mediana. As características básicas das obras de arte seline characteristics of artworks were compared based on foram comparadas por categorias da circunferência do pescoço high and normal neck circumference categories using Student’s em elevadas e normais, usando o teste t de Student, o teste de t-test, Mann-Whitney-Wilcoxon test, or chi square test. Results: Mann-Whitney-Wilcoxon ou o teste qui-quadrado. Resultados: We analyzed 29 artworks which portray the neck of 60 women Analisamos 29 obras de arte que representavam o pescoço de 60 (84.5%), 8 men (11.3%) and 3 children (4.2%). -
For Immediate Release May 11, 2011
For Immediate Release May 11, 2011 Contact: Sophia Chabbott tel +1 212 636 2680 [email protected] CHRISTIE’S NEW YORK LATIN AMERICAN ART SALES TO OFFER A RANGE OF MASTERPIECES OF MEXICAN AND CUBAN MODERNISM AND REDISCOVERED WORKS OF ARGENTINE POP TWO-DAY AUCTIONS EXPECTED TO REALIZE UPWARDS OF $20 MILLION Miguel Covarrubias (Mexican 1904-1957) Offering of Fruits for the Temple, 1932 Estimate: $ 200,000-300,000 Public Exhibition: May 21 to May 26, 2011 Auctions: May 26 – 27, 2011 at 6:30 p.m. and 10 a.m. New York — This month, Christie’s New York will present an array of Latin American Art to astound and excite. The Latin American Evening and Day sessions, to be held on May 26 and 27 are in keeping with the Season of Discoveries at Christie’s, with fresh to market works by outstanding artists such as Miguel Covarrubias, Claudio Bravo and the Argentinean 1960s Pop artist Jorge de la Vega. The auctions are comprised of nearly 350 works by more than 145 artists from 16 countries spanning across Latin America including Argentina, Venezuela, Puerto Rico, Chile, Cuba, Brazil, Colombia, Mexico and Nicaragua. The works hail from the late 18th Century to Contemporary including prime examples from Colonial, Modernism, Kinetic Abstraction and Pop and Op Art. This resplendent sale is expected to realize upwards of $20 million. Fernando Botero (Colombian b. 1932) Colombian Landscape, 1986. Estimate: $800,000 - 1,200,000 Virgilio Garza, Head of Latin American Paintings at Christie’s comments: “Christie’s Latin American sales offer an impressive survey of fine paintings and sculptures that transcend the borders of the Latin American market. -
Gabarito Exercício De Arte
GABARITO EXERCÍCIO DE ARTE 01) A partir do século XVI, artistas estrangeiros, integrantes das diversas expedições artísticas e científicas que percorreram o território brasileiro, produziram imagens documentando, em detalhes, aspectos da paisagem, da flora e da fauna. Nesse contexto, destacam-se as pinturas do gênero “natureza-morta”. Analise as figuras a seguir. Com base no texto, nas imagens e nos conhecimentos sobre o tema, é correto afirmar que são pinturas do gênero natureza- morta e que se inserem no contexto retratado pelos viajantes daquele período no Brasil apenas as imagens: Resposta correta: alternativa A ( São naturezas-mortas as obras I e III) Imagem referente as questões 02 – 03 - 04 Ao longo do tempo, o tema trabalho tem aparecido na obra de diferentes artistas. Cândido Portinari, um dos artistas mais representativos da arte brasileira, apresenta, em 1934, a pintura “Lavrador”. Em 1985, Sebastião Salgado fotografa um trabalhador rural da região cacaueira. Com base nas imagens e nos conhecimentos sobre o tema, considere as afirmativas a seguir I. Em ambas as imagens, a condição de trabalhador se revela nos instrumentos e no corpo dos indivíduos. II. Ambas demonstram a busca da elegância e do requinte formal pelos artistas que se atêm à minúcia descritiva dos objetos representados. III. Ambas enaltecem o homem trabalhador, valorizando a sua imagem, a despeito das condições em que vive e trabalha. IV. A pintura de Portinari apresenta uma visão pessoal e poética do artista, diferentemente da fotografia que se limita a registrar um fato. Estão corretas apenas as afirmativas: Resposta correta: alternativa A 03- Cândido Portinari e Sebastião Salgado, recorrendo a distintas manifestações artísticas, respectivamente pintura e fotografia, podem ser considerados “intérpretes do Brasil”.