DOCSLIB.ORG

OBJECT LIST by ARTIST Lorenzo Baldissera Tiepolo (Italian, 1736–1772) St

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OBJECT LIST by ARTIST Lorenzo Baldissera Tiepolo (Italian, 1736–1772) St OBJECT LIST BY ARTIST Lorenzo Baldissera Tiepolo (Italian, 1736–1772) St. Thecla Freeing the City of Este from the Plague, c. 1760 Etching, 29 5/8 x 20 3/4 " Gift of Dr. Malvern B. Clopton, 1938 WU 1274 \ Giovanni Domenico Tiepolo (Italian, 1727–1804) Virtue and Fortitude Chasing Avarice, 1740–45 Etching, 21 1/2 x 29 3/4 " Gift of Dr. Malvern B. Clopton, 1938 WU 1275 \ Antonio Lafreri (Italian, 1512–1577) Tomb, from Speculum Romanae Magnificentiae, 1551 Engraving, 18 1/8 x 13 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.11 \ Ambrogio Brambilla (Italian, 1549–1629) Circus Maximus, from Speculum Romanae Magnificentiae, published 1581 Engraving, 16 7/8 x 22 1/2 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.16 \ Ambrogio Brambilla (Italian, 1549–1629) Baths of Diocletian and Maximian, from Speculum Romanae Magnificentiae, published 1582 Engraving, 15 5/8 x 21 1/2 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.17 \ Antonio Lafreri (Italian, 1512–1577) Triumphal Arch of Marcus Aurelius, from Speculum Romanae Magnificentiae, 16th century Engraving, 18 x 13 1/4 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.18 \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 1 of 21 OBJECT LIST BY ARTIST Antonio Lafreri (Italian, 1512–1577) Tomb of M. Antonii Antii Lupi, from Speculum Romanae Magnificentiae, 1551 Engraving, 18 x 13 1/8 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.2 \ Antonio Lafreri (Italian, 1512–1577) Temple of Antonio Faustita, from Speculum Romanae Magnificentiae, 1565 Engraving, 18 x 13 1/8 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.21 \ Antonio Lafreri (Italian, 1512–1577) Triumphal Arch of Caesar Augustus, from Speculum Romanae Magnificentiae, 1566 Engraving, 19 1/4 x 13 5/8 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.22 \ Antonio Lafreri (Italian, 1512–1577) Porta Maggiori, Rome, from Speculum Romanae Magnificentiae, 1540 Engraving, 14 1/4 x 18 1/2 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.23 \ Antonio Lafreri (Italian, 1512–1577) Fighting Warriors, from Speculum Romanae Magnificentiae, 16th century Engraving, 13 1/4 x 18 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.24 \ Antonio Lafreri (Italian, 1512–1577) Fighting Warriors, from Speculum Romanae Magnificentiae, 1553 Engraving, 13 1/4 x 18 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.25 \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 2 of 21 OBJECT LIST BY ARTIST Ambrogio Brambilla (Italian, 1549–1629) Tomb of C. Cestius, from Speculum Romanae Magnificentiae, published 1582 Engraving, 17 13/16 x 15 1/8 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.26 \ Antonio Lafreri (Italian, 1512–1577) Circus Oalminius, from Speculum Romanae Magnificentiae, 16th century Engraving, 14 1/4 x 21 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.27 \ Antonio Lafreri (Italian, 1512–1577) Tomb of the Caeciliae, from Speculum Romanae Magnificentiae, 1549 Engraving, 18 x 13 1/4 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.28 \ Ambrogio Brambilla (Italian, 1549–1629) St. Peter's Basilica, Michelangelo's Project, Exterior View, from Speculum Romanae Magnificentiae, published c. 1581–86 Engraving, 15 3/8 x 21 1/2 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.5 \ Antonio Lafreri (Italian, 1512–1577) Marbe Slab Commemorating M. Pompey, from Speculum Romanae Magnificentiae, 1551 Engraving, 13 1/2 x 19 3/16 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.7 \ Antonio Lafreri (Italian, 1512–1577) Sheet of Agricultural Symbols, from Speculum Romanae Magnificentiae, 1564 Engraving, 18 x 13 1/4 " Gift of the Art and Archaeology Department, Washington University, 1980 WU 1980.5.8 \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 3 of 21 OBJECT LIST BY ARTIST Giovanni Battista Piranesi (Italian, 1720–1778) Guercino, 18th century Etching, 19 1/8 x 14 " Gift of Professor and Mrs. Thomas Hall, 1983 WU 1983.12 \ Franco Fontana (Italian, b. 1933) Paesaggio, Luciana, from the portfolio Color Nature Landscapes I, 1978 Cibachrome print, 19 5/8 x 23 1/2 " Gift of Steven and Marilyn Teitelbaum, 1984 WU 1984.14.7 \ Franco Fontana (Italian, b. 1933) Paesaggio, Baia Della Zagare, from the portfolio Color Nature Landscapes I, 1970 Cibachrome print, 23 5/8 x 19 1/2 " Gift of Steven and Marilyn Teitelbaum, 1984 WU 1984.14.8 \ Lucio Fontana (Italian, b. Argentina, 1899–1968) Abstract Composition Plate #4, 20th century Screenprint with embossed area and tears, 19 1/2 x 25 1/8 " Gift of The Betty Parsons Foundation, 1985 WU 1985.10.4 \ Marcantonio Raimondi (Italian, 1480–1530) Jesus as a Boy, Talking with the Edlers in the Temple, n.d. Engraving, 11 5/8 x 8 1/4 " Gift of Professor and Mrs. Thomas Hall, 1986 WU 1986.24.42 \ Enrico Baj (Italian, 1924–2003) Glove, from S.M.S. No. 3, 1968 Pink tissue and pink plastic glove, 10 1/2 x 6 3/4 " University purchase, 1990 WU 1990.13.3 H \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 4 of 21 OBJECT LIST BY ARTIST Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 13 3/8 x 9 1/2 " University purchase, 1990 WU 1990.13.4 G.i \ Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 7 x 5 " University purchase, 1990 WU 1990.13.4 G.ii \ Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 7 x 5 " University purchase, 1990 WU 1990.13.4 G.iii \ Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 7 x 5 " University purchase, 1990 WU 1990.13.4 G.iv \ Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 7 x 5 " University purchase, 1990 WU 1990.13.4 G.v \ Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 4 1/8 x 5 3/4 " University purchase, 1990 WU 1990.13.4 G.vi \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 5 of 21 OBJECT LIST BY ARTIST Mimmo Rotella (Italian, 1918–2006) Six Prison Poems, from S.M.S. No. 4, 1968 Mixed media, 6 1/2 x 7 15/16 " University purchase, 1990 WU 1990.13.4 G.vii \ Paolo Soleri (Italian, b. 1919) Winged Angel, 1960 Lithograph, 25 x 38 " Gift of Reese Palley and Marilyn Arnold Palley, 1991 WU 1991.25.3 \ Sandro Chia (Italian, b. 1946) Interior with Dog, 1990 Lithograph, 28 1/2 x 25 " Gift of Joseph R. Atkin, 1991 WU 1991.28.10 \ Sandro Chia (Italian, b. 1946) Children's Holiday, 1984 , 35 7/8 x 26 7/8 " Gift of Joseph R. Atkin, 1991 WU 1991.28.11 a \ Sandro Chia (Italian, b. 1946) Children's Holiday, 1984 , 35 7/8 x 26 7/8 " Gift of Joseph R. Atkin, 1991 WU 1991.28.11 b \ Sandro Chia (Italian, b. 1946) Children's Holiday, 1984 , 35 7/8 x 26 7/8 " Gift of Joseph R. Atkin, 1991 WU 1991.28.11 c \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 6 of 21 OBJECT LIST BY ARTIST Sandro Chia (Italian, b. 1946) Children's Holiday, 1984 , 35 7/8 x 26 7/8 " Gift of Joseph R. Atkin, 1991 WU 1991.28.11 d \ Sandro Chia (Italian, b. 1946) Children's Holiday, 1984 , 35 7/8 x 26 7/8 " Gift of Joseph R. Atkin, 1991 WU 1991.28.11 e \ Sandro Chia (Italian, b. 1946) Children's Holiday, 1984 , 26 7/8 x 35 7/8 " Gift of Joseph R. Atkin, 1991 WU 1991.28.11 f \ Sandro Chia (Italian, b. 1946) Southern Comfort, 1990 Lithograph, 29 1/4 x 26 " Gift of Joseph R. Atkin, 1991 WU 1991.28.12 \ Sandro Chia (Italian, b. 1946) Outdoor Scene, 1990 Lithograph, 30 1/2 x 25 3/4 " Gift of Joseph R. Atkin, 1991 WU 1991.28.13 \ Sandro Chia (Italian, b. 1946) Bread and Wine, 1990 Lithograph, 28 3/4 x 26 " Gift of Joseph R. Atkin, 1991 WU 1991.28.14 \ Washington University in St. Louis, Campus Box 1214, One Brookings Drive, St. Louis, Missouri 63130-4899 (314) 935-5490, Fax: (314) 935-7282, [email protected] Printed: 4/26/2016 Page 7 of 21 OBJECT LIST BY ARTIST Sandro Chia (Italian, b.
Load more

Recommended publications
  • Catalogo 144 TENDENZE INFORMALI
    COMUNE DI BRESCIA CIVICI MUSEI D’ARTE E STORIA PROVINCIA DI BRESCIA ASSOCIAZIONE ARTISTI BRESCIANI TENDENZE INFORMALI DAGLI ANNI CINQUANTA AI PRIMI ANNI classici del contemporaneo SETTANTA NELLE COLLEZIONI BRESCIANE mostra a cura di Alessandra Corna Pellegrini 144 aab - vicolo delle stelle 4 - brescia 22 settembre - 17 ottobre 2007 orario feriale e festivo 15.30 - 19.30 edizioni aab lunedì chiuso L’AAB è orgogliosa di inaugurare la stagione 2007/2008 con una prestigiosa esposizione, di rilievo certamente non solo locale, che propone opere di artisti fra i più rappresentativi dell’Informale. La mostra prosegue la fortunata serie “Classici del contemporaneo” dedicata al collezionismo della nostra provincia, che ha già proposto artisti come Kolàr, Demarco, Fontana, Munari, Birolli, Dorazio, Vedova, Fieschi, Adami, Baj ed esponenti della Nuova Figurazione. La curatrice della rassegna, la storica dell’arte Alessandra Corna Pellegrini, ha selezionato un nucleo essenziale di opere (34) che rappresentano esempi molto significativi dell’esperienza e del linguaggio di un movimento pur tanto complesso e così difficile da circoscrivere come l’Informale e dimostrano l’alta qualità delle collezioni bresciane, sia pubbliche sia private. L’impegno dell’AAB, scientifico organizzativo finanziario, può ben essere documentato dall’importanza internazionale degli autori proposti, da Dubuffet Mathieu Schneider a Afro Basaldella Corpora Dorazio Fontana Morlotti Santomaso Scanavino Scialoja Tancredi Turcato. L’esposizione, come è prassi costante dell’Associazione,
    [Show full text]
  • Giuseppe Capogrossi. Catalogo Ragionato
    Presentazione del volume Giuseppe Capogrossi. Catalogo ragionato. Tomo primo (1920-1949) Skira editore a cura di Guglielmo Capogrossi, Francesca Romana Morelli Mercoledì 9 ottobre 2013, ore 17.30 Galleria nazionale d'arte moderna Viale delle Belle Arti 131, Roma Mercoledì 9 ottobre 2013, ore 17.30 Giuseppe Capogrossi. Catalogo ragionato Tomo primo (1924-1949) pubblicato da Skira editore. alla Galleria nazionale d’arte moderna di. Roma sarà presentato il volume:, Maria Vittoria Marini Clarelli. Valerio Rivosecchi, Carla Fendi, Bruno Mantura. Introduce: Intervengono: Questo tomoSaranno del Catalogoinoltre presenti ragionato i curatori dell’opera del catalogo. di Giuseppe Capogrossi (Roma 1900-1972) - voluto dalla Fondazione Archivio Capogrossi - è curato da Guglielmo Capogrossi, Presidente della Fondazione Archivio Capogrossi e da Francesca Romana Morelli, docente di Storia dell’Arte Contemporanea presso l’Accademia di Belle Arti di Napoli, membro del Comitato scientifico della Fondazione. Il volume è stato realizzato anche grazie al contributo di Fendi, che continua così quel suo legame con Capogrossi, di cui acquistò l’opera Il temporale (in copertina), poi donata alla Galleria nazionale d’arte moderna. Quella per Capogrossi, allora e oggi, è per Fendi una “scelta sentimentale”, per la profonda consonanza con un artista che ha saputo rappresentare e interpretare Roma, la vita del tempo, le luci, il fiume, con spirito nuovo e idealmente affine alla ricerca che l’azienda ha intrapreso fin dal 1925. Il volume raccoglie per la prima volta in modo esaustivo la ricerca del pittore dai suoi esordi fino al 1949, cioè fino alla nascita del segno. Si scopre, leggendo il saggio introduttivo, che questa conquista iconografica è stata preceduta da una lenta e travagliata crisi artistica durata una decina di anni.
    [Show full text]
  • Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.
    [Show full text]
  • Rome – Milan: Space and Colour, Rhythm and Matter 1 October
    Press Release Rome – Milan: Space and Colour, Rhythm and Matter 1 October – 28 November 2020 Private View: 1 October 2020, 12-8pm by appointment Mazzoleni is delighted to announce the launch of the new exhibition season in its London gallery on 1 October 2020, with the group show Rome – Milan: Space and Colour, Rhythm and Matter. The show brings together a number of the leading figures of the Italian art scene that were operating in these two major Italian cities with works realised mainly between the 1950s and 1960s. Acclaimed for their artistic revolutions, pioneers Lucio Fontana (1899-1968) and Alberto Burri (1915-1995) were the points of departure and reference for the experimentation later conducted by the artists born in the 1930s such as Agostino Bonalumi (1935-2013), Enrico Castellani (1930-2017), Dadamaino (1930-2004), Jannis Kounellis (1936-2017), Piero Manzoni (1933-1963) and Mario Schifano (1934-1998). They were to explore new and further strands of research as their artistic careers evolved. Fontana’s innovative reflections on space and Burri’s in-depth experimentation with materials were to be the driving forces behind the development of new artistic idioms. In parallel, predominantly through painting, Giulio Turcato (1912-1995), Piero Dorazio (1927-2005) and Carla Accardi (1924 -2014) (already members of the group Forma 1) combined a skilled use of shapes and colours with new “painterly” materials such as, foam rubber, enamels and casein. Meanwhile Giuseppe Capogrossi (1900-1972), the founder with Burri of the Origine group, developed a personal sign alphabet. In sculpture, from his debut alongside Lucio Fontana, Fausto Melotti (1901-1986) developed a lyrical and poetic dimension that led him to a truly unique artistic path of the Italian art scene.
    [Show full text]
  • Alberto Burri: the Art of the Matter
    Alberto Burri: The Art of the Matter Judith Rozner A thesis submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy Volume I – Text Volume II - Illustration March 2015 School of Culture and Communication. The University of Melbourne. Produced on archival quality paper i VOLUME I ii For Avraham and Malka Ur iii iv ABSTRACT "Alberto Burri, an Italian artist of the immediate post WWII period, introduced common, everyday materials into his art. In so doing material became both the subject of his work as well as the object out of which the work was made. This thesis argues that the primary purpose of Burri's work throughout his career was to provoke a tactile, sensuous response in the viewer, a response which can best be understood through the lens of phenomenology." v vi DECLARATION This is to certify that: I. The thesis comprises only my original work. II. Due acknowledgment has been made in the text to all other material used. III. The thesis is less than 100.000 words in length exclusive of tables, maps, bibliography and appendices. Judith Rozner vii viii Preface In 1999, following an introduction by a mutual friend, I was invited by Minsa Craig- Burri, the widow of the artist Alberto Burri, to help her compile a biography of her life with her husband.1 I stayed and worked on the manuscript at their home at 59, Blvd. Eduard VII, in Beaulieu-sur-Mar, in the South of France for about six weeks. I had not seen the artist’s work before my arrival, and on my first encounter with it I just shrugged my shoulders and raised my eyebrows at the high prices it commanded in the market.
    [Show full text]
  • Sean Scully, Jim Dine, Zhang Huan, Wang Guangyi and Historian and Scholar Barry Schwabsky
    Skira Skira Spring 2020 SKIRA EDITORE Spring 2020 Palazzo Casati Stampa via Torino 61 I - 20123 Milan T: +39 02 72 444 1 F: +39 02 72 444 211 [email protected] www.skira.net DISTRIBUTION in USA, Canada, Central & South America through ARTBOOK | D.A.P. (see Trade Information page) in the rest of the world by Thames & Hudson (see Trade Information page) SkiraSpring2020 Skira Group Milan Genève Spring2020 Skira editore All prices apply in the UK, 7 Palazzo Casati Stampa US and Canada only Via Torino, 61 and are subject to alteration Highlights and New Titles I – 20123 Milano without notice. For Value Limited Editions T +39 02 724441 Added Tax (VAT) purposes, F +39 02 72444211 books are zero rated. Photography www.skira.net Information contained Design and Applied Arts Marketing, Publicity and Rights Enquiries in this catalogue was Please contact the International Marketing correct at the time of going Special Editions Manager at Skira: [email protected] to press but is liable to Ancient Art alteration without notice. Editions d’Art Skira Genève Contemporary Art Place du Molard 3 CH 1204 Genève Fashion Distribution details are listed on the Architecture Trade Information pages of this catalogue. Printed in Italy 51 Backlist visit our website Limited Editions www.skira.net Sports find us on Japanese and Oriental Art facebook.com/skiraeditore Modern and Contemporary Art follow us on twitter.com/skiraeditore Catalogues raisonnés instagram.com/skiraeditore pinterest.com/skiraeditore Ancient Art youtube.com/skiraeditore Louvre Abu
    [Show full text]
  • Hutchinson Higherres.Pdf
    1 One Drop of Water Contains as Much Electricity as Would Make a Thunderstorm 2 3 One Drop of Water Contains as Much Electricity as Would Make a Thunderstorm James N. Hutchinson 4 5 Contents 1 Of Time and the Hill: An Introduction Edinburgh 11 Looking at Pictures, Thinking about Exhibitions Dieppe | Varengeville-sur-mer 39 A Symmetrical Echo: Some Thoughts on Art and Biography Rouen | Wädenswill 59 Three Moves Around a Problem Fontainebleau | The Peak District | Cape Town 89 Dyads or A Review of Römerstrasse Car Park for Google Guides Baden | Viamala | Bologna 113 An Asterism of Absences: Four Short Texts Bad Ragaz | Soncino | Como | Chiavenna 133 From Art Objects to Art Things: The Broken Artworks of Mark Landis and Guglielmo Achille Cavellini Brescia | Laurel 145 Sidhe Vicious Bolca | Eigg 6 1 Of Time and the Hill An Introduction Edinburgh 2 3 This book contains a set of site-specific essays, written to be read on Calton Hill, Edinburgh. They are part of a wider project, Rumours of a New Planet, which I have undertaken over the last two years, following an invitation from Collective to devise an alternative way to access the potentialities present in a site rich in historical and associative narratives. My approach – both in this book and in the wider project – has been to consider Calton Hill as a central node in a network of ideas, events, people and spaces. As such, the essays in this book are not about Calton Hill, but instead represent a view from it, or more specifically, a view from a building positioned on its peak: the City Observatory.
    [Show full text]
  • The New Decade : 22 European Painters and Sculptors Edited by Andrew Carnduff Ritchie, with Statements by the Artists
    The New decade : 22 European painters and sculptors Edited by Andrew Carnduff Ritchie, with statements by the artists Date 1955 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2878 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 The New Decade LIBRARY Museumof ModernArt ARCHIVE M/IJ6CLEB. MEMBERSHIdepartP ment DO NOT REMOVE The New Decade Bazaine Dubuffet Hajdu Manessier Pignon Richie) Soulages Uhltnann Wcyucy WintcY AYYYiita^c Bacon ButleY Chadwick Scott Afro Buyyi CapogYossi Minguzzi Muko Appcl Vu.ua da Silva The New Decade 22 European Painters and Sculptors edited by Andrew Carndujj Ritchie with statements by the artists The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Arts Los Angeles County Museum San Francisco Museum of Art Copyright 1955. The Museum of Modern Art, New York Printed in the United States of America Acknowledgments On behalf of the Trustees of the Museum of Modern Art, New York, The Minneapolis Institute of Arts, the Los Angeles County Museum and the San Francisco Museum of Art, I wish to convey my deepest gratitude to: the artists in the exhibition, for their statements and their cooperation; the collectors, museums and dealers whose generosity in lending has made the exhibition possible and whose names appear on page 107; Mrs. Lilian Somerville and the staff of the British Council for extraordinary help in select ing and securing British loans and artists' statements; Francis J.
    [Show full text]
  • ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction
    ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction ITALIAN MODERN ART - ISSUE 3 | INTRODUCTION italianmodernart.org/journal/articles/introduction-3 Raffaele Bedarida | Silvia Bignami | Davide Colombo Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 https://www.italianmodernart.org/journal/issues/methodologies-of- exchange-momas-twentieth-century-italian-art-1949/ ABSTRACT A brief overview of the third issue of Italian Modern Art dedicated to the MoMA 1949 exhibition Twentieth-Century Italian Art, including a literature review, methodological framework, and acknowledgments. If the study of artistic exchange across national boundaries has grown exponentially over the past decade as art historians have interrogated historical patterns, cultural dynamics, and the historical consequences of globalization, within such study the exchange between Italy and the United States in the twentieth-century has emerged as an exemplary case.1 A major reason for this is the history of significant migration from the former to the latter, contributing to the establishment of transatlantic networks and avenues for cultural exchange. Waves of migration due to economic necessity in the late nineteenth and early twentieth centuries gave way to the smaller in size but culturally impactful arrival in the U.S. of exiled Jews and political dissidents who left Fascist Italy during Benito Mussolini’s regime. In reverse, the presence in Italy of Americans – often participants in the Grand Tour or, in the 1950s, the so-called “Roman Holiday” phenomenon – helped to making Italian art, past and present, an important component in the formation of American artists and intellectuals.2 This history of exchange between Italy and the U.S.
    [Show full text]
  • IV. Documenta II, 1959
    IV. Documenta II, 1959 4.1 Un dialogo mancato: i progetti della seconda documenta Uno degli aspetti che emerge con maggiore chiarezza da unʼindagine sui materiali progettuali e sugli exposé della seconda documenta è come lʼidea della mostra - e in particolare quella proposta da Bode - presenti elementi sostanzialmente differenti da quella che sarà poi la sua dimensione realizzativa. Come sarà illustrato, a partire dal concorrere di diversi fattori, anche legati al modificarsi dellʼassetto organizzativo, lʼipotesi di fare di Kassel un luogo di indagine e riflessione critica in cui si confrontino diverse forme espressive viene sempre più marginalizzata, in particolare con lʼesclusione delle sezioni inizialmente previste dedicate al design e allʼarchitettura. Risulta quindi particolarmente rilevante ricostruire le ipotesi progettuali non realizzate, che testimoniano una costante tensione da parte dellʼideatore della manifestazione verso una differente concezione espositiva nel momento di istituzione di documenta come manifestazione con una reiterazione stabile. Il 4 novembre del 1956, a poco più di un anno dalla conclusione della prima documenta, Bode scrive una lettera al sindaco della città Lauritz Lauritzen riprendendo “gli argomenti del loro ultimo incontro”1, ossia il successo di critica e di pubblico ottenuto, lʼimportanza avuta dalla manifestazione per la città e la programmazione della sua eventuale ripetizione periodica. Per quanto un programma dettagliato sia ancora da definire, egli propone già come tema della nuova edizione “gli sviluppi dellʼarte a partire dal secondo dopoguerra” e afferma che la mostra non solo dovrebbe eguagliare quella che lʼaveva preceduta ma superarla. In particolare ritiene che, per ottenere un simile risultato, non si possa limitare la manifestazione alle arti visive ma si debba - in linea con quanto proposto alle Biennali e alle Triennali - fornire un quadro delle ricerche relative “allʼarchitettura, allʼabitazione, allʼarte applicata, allʼindustrial design”.
    [Show full text]
  • A Conversation Between Giuseppe Iannaccone and Alberto Salvadori Alberto Salvadori
    to Tommaso and Leonardo Volume I Italy 1920-1945 A New Figurative Art and Narrative of the Self Design Concept Particular thanks to Photographic Credits Studio Mousse Giuseppe Iannaccone Alessandro Barca, Romina © 2017. De Agostini Picture Note to the reader Bettega, Viviana Birolli, Arianna Library/Scala, Firenze: p. 129 Editorial Coordination Catalogue Editors Borroni, Italo Carli, Stefano © 2017. Scala. Foto Art Resource/ Emma Cavazzini Alberto Salvadori Carluccio, Claudio Centimeri, Scala, Firenze/John Bigelow Rischa Paterlini The first volume on the Collezione Giuseppe Iannaccone covers the works Copy Editor Giulia Centonze, Paolo Colonna, Taylor: p. 133 Anna Albano Texts by Caterina Corni, Marcello © 2017. Foto Scala, Firenze: produced in the period 1920–45, personally chosen by the collector and Giuseppe Iannaccone Francone, Paolo Frassetto, pp. 160 left, 178 left, 182 right, Layout Alberto Salvadori Elisabetta Galasso, Alessandro 194 left, 258 top, 294 left purchased up to the date of 30 November 2016. The reconstruction of Giorgia Dalla Pietà Rischa Paterlini Guerrini, Giovanni Lettini, © 2017. Foto Scala, Firenze/ every detail was made possible by the extensive, scholarly records kept Iconographic Research Fabio Benzi Martino Mascherpa, Matteo Fondo Edifici di Culto - Ministero Paola Lamanna Giorgina Bertolino Mattei, Riccardo Mavelli, dell’Interno: p. 306 ever since the first purchase in 1992. The collection was built up spe- Paola Bonani Oblò Architetti, Claudia Santrolli, © 2017. Foto Scala, Firenze/ First published in Italy in 2017 by Fabrizio D’Amico Beppe Sarno, Maura Sarno, Luciano Romano - su concessione cifically as a homogeneous group of works essentially representing the Skira editore S.p.A. Flavio Fergonzi Violante Spinelli, the Studio del Ministero dei Beni e delle course of artistic developments from 1920 to 1945 outside the canons of Palazzo Casati Stampa Lorella Giudici Legale avvocato Giuseppe Attività Culturali e del Turismo: via Torino 61 Mattia Patti Iannaccone e Associati, p.
    [Show full text]
  • Stedelijk Museum Schiedam Nai Publishers the Dutch Nul Group In
    nul = 0 The Dutch Nul Group in an International Context Edited by Colin Huizing Tijs Visser Stedelijk Museum Schiedam NAi Publishers Nul-ENG_DEF.indd 1 18/08/11 19:43 Nul-ENG_DEF.indd 2 18/08/11 19:43 Nul-ENG_DEF.indd 3 18/08/11 19:43 Jan Schoonhoven, Armando, Henk Peeters, Trier, 1961 Jan Henderikse, Henk Peeters, Herman de Vries, nul Amsterdam, 1962 Nul-ENG_DEF.indd 4 18/08/11 19:43 Henk Peeters Jan Armando Schoonhoven nul Henk Peeters Jan Herman Henderikse de Vries Nul-ENG_DEF.indd 5 18/08/11 19:43 0 Nul-ENG_DEF.indd 6 18/08/11 19:43 8 118 136 156 162 Nul Two Group Reflections Yes, Of Too Much is Thousand Exhibitions Course, Not Enough! and Eleven 1957-1967 Provocation A Foreword Antoon Colin Huizing Melissen in Diana A. Wind, in conversation conversation Tijs Visser, with Armando with Jan Colin Huizing Henderikse 12 56 nul = 0 nul = 0 / The Dutch 0 = nul Avant-Garde of the 1960s Colin in a European Huizing Context Antoon Melissen 168 174 There Must Inspiration Be a New Art. in White Or a New Public! Diana Stigter and Pietje Tijs Visser in Tegenbosch conversation in conversa- with Henk tion with Jan Peeters Schoonhoven 58 74 Zero / Nul / Zero and/or Azimut / OREZ Nouveaux Réalistes Tijs Meetings, Visser Correspond- ence and Cultural Influences in the European ZERO Avant- Garde of 180 1956-1962 Vacuity Squared Renate Wiehager 0 Colin Huizing and Tijs Visser in conversation with Herman de Vries 76 84 ZERO / Gutai / Kusama ZERO and Nul An Interna- Atsuo tional Cross- Yamamoto road of the Art of Social Engagement Midori Yamamura 88 187 190 Zero on Sea List of works About the in the exhibi- Authors Caroline de tion Westenholz Nul-ENG_DEF.indd 7 18/08/11 19:43 Nul Two Thousand and Eleven A Foreword 8 Nul-ENG_DEF.indd 8 18/08/11 19:43 The Nul group was a collective of Dutch artists who Nul wants to signify a new start, manifested themselves between 1961 and 1966.
    [Show full text]