Hirshhown Sculpture Garden Revitalization Letters of Comment
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Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection Paul Cézanne Mont Sainte-Victoire, c. 1904–06 (La Montagne Sainte-Victoire) oil on canvas Collection of the Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum TEACHER’S STUDY GUIDE WINTER 2015 Contents Program Information and Goals .................................................................................................................. 3 Background to the Exhibition Cézanne and the Modern ........................................................................... 4 Preparing Your Students: Nudes in Art ....................................................................................................... 5 Artists’ Background ...................................................................................................................................... 6 Modern European Art Movements .............................................................................................................. 8 Pre- and Post-Visit Activities 1. About the Artists ....................................................................................................................... 9 Artist Information Sheet ........................................................................................................ 10 Modern European Art Movements Fact Sheet .................................................................... 12 Student Worksheet ............................................................................................................... -
COLOR in the CONSTRUCTED RELIEF a Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment Of
COLOR IN THE CONSTRUCTED RELIEF A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of Art College of Arts and Science University of Saskatchewan Saskatoon, Saskatchewan by David Stewart Geary Saskatoon, Saskatchewan 0 1985 D.S.Geary The author has agreed that the Library, University of Saskatchewan, may make this thesis freely available for inspection. Moreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who super- vised the thesis work recorded herein or, in their absence, by the Head of the Department or the Dean of the College in which the thesis work was done. It is understood that due recognition will be given to the University of Saskatchewan in any use of the material in this thesis. Copying or publi- cation or any other use of the thesis for financial gain, without the approval of the University of Saskatchewan and the author's written permission, is prohibited. Requests for permission to copy or to make any other use of material in this thesis in whole or in part should be addressed to: Head of the Department of Art University of Saskatchewan Saskatoon, Canada. ACKNOWLEDGEMENTS I wish to express my appreciation and thanks to Professor Eli Bornstein for his invaluable help and support in the form of advice, assistance and example during the course of my graduate studies and before. Also I wish to thank the College of Graduate Studies and Research who provided me with much needed financial assistance in the form of scholarships. -
Musee Des Annees 30
MUSEE DES ANNEES 30 Inauguré en décembre 1998 au sein de l’Espace Landowski, le musée des Années 30 présente un panorama de l’art figuratif de l’entre-deux-guerres. Ses collections s’organisent autour de peintures, sculptures, d’objets d’art décoratifs et de maquettes d’architecture. MODALITES DES VISITES TACTILES Les visites tactiles s’organisent autour des œuvres originales. Sont exclues les œuvres en plâtre et céramique ainsi que les meubles et les maquettes d’architecture. Merci d’ôter les bijoux pour effectuer la visite. Le musée se répartit en 4 niveaux. Un ascenseur et un escalier permettent la circulation dans ces différents niveaux. Les toilettes sont situées au sous-sol. REZ-DE-CHAUSSÉE La sculpture monumentale Une place de choix est dédiée aux sculpteurs – 32 ateliers à Boulogne-Billancourt entre 1920 et 1940 – qui ont participé aux grandes expositions et aux grands décors de l’entre- deux-guerres : Paul Landowski, Alfred Janniot, Robert Wlérick, Joseph Bernard, Charles Despiau, Jan et Joël Martel... Raymond SUBES et Jean MAYODON, Grilles d’intérieur, vers 1942, fer forgé et céramique émaillée Auteur d’une œuvre abondante, Raymond Subes sait s’adapter au style en vogue ce qui lui permet de rester d’actualité des années 20 à 1960. Un grand nombre de commandes prestigieuses viennent récompenser son talent (grilles du Musée des Colonies, nombreuses ferronneries pour les paquebots, de quarante-deux épées d’académiciens...). Ici, les grilles ajourées en fer forgé noir, composées d'entrelacs, lignes courbes élégantes ; reçoivent en leurs centres un médaillon en forme d'amande, œuvres du céramiste Jean Mayodon. -
The Schematic of God
The Schematic of God For The First Time An Extraordinary Journey Into Humanity’s Nonphysical Roots Warning! Reading this material may change your reality. William Dayholos January/2007 © E –mail address: [email protected] ISBN: 978-1-4251-2303-1 Paperback copy can be ordered from Trafford Publishing – www.trafford.com Illustrations by Wm. Dayholos ©Copyright 2007 William Dayholos II Acknowledgments The value of ones existences can always be measured by the support they receive from others. Be it family or not it is still unselfish support for another human being who is asking for help. Thank you Rose Dayholos, Marjory Marciski, Irene Sulik, Grace Single, Janice Abstreiter, and Robert Regnier for your editing help. This book is dedicated to my partner in life. To me a partner is one whom you can share your ideas with, one who can be trusted not to patronize these ideas, one who can differentiate their own truth from yours. A person who has an equal spiritual level and understanding, and encourages only through support of your ideas and not to through expectation. A true partner is one who balances out any weaknesses you have in the same fashion as you do for them. One’s weakness is the other’s strength, together you create a whole, a relationship that is stronger than the individuals themselves. In true fashion my partner has both helped and supported this book’s creation. Without this partner’s help it might have run the risk of being too much “me”! This was never the reason for the book. -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
The Prometheus Challenge1 Arnold Cusmariu
The Prometheus Challenge1 Arnold Cusmariu Abstract: Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the history of art. Keywords: Brâncuşi, Dali, Degas, Horace, Lipchitz, Manet, Picasso. Tout ce qui est beau et noble est le résultat de la raison et du calcul. Charles Baudelaire The Prometheus Legend Prometheus was the Greek Titan who gave mankind fire he stole from Mount Olympus in defiance of Zeus, king of the Olympian gods. For this transgression, Prometheus was made to endure horrific punishment. He was chained to a mountain where a vulture would peck at his liver day after day. Because Prometheus was a demigod, the liver would heal overnight but the vulture would return the next day. This gruesome cycle continued for many years until Hercules killed the vulture and freed Prometheus.2 Brâncuşi Poses a Conundrum In the winter of 1985, about a year after I began making sculpture, I visited the Hirshhorn Museum in Washington, DC and saw Constantin Brâncuşi’s masterpiece Prometheus (1911). 3 A simple and beautifully understated composition, it seemed to show Prometheus sleeping, perhaps trying to get 1 Owing to actual, possible or potential copyright restrictions, only links in footnotes are provided to internet sites where images of artworks under discussion are available; apologies for the inconvenience. -
French Sculpture Census / Répertoire De Sculpture Française
FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE LIPCHITZ, Ossip/Jacques Druskieniki, Lithuania 1891 - Capri, Italy 1973 Marin à la guitare Sailor with Guitar 1914 bronze statuette 5 1 31 x 11 ?8 x 8 ?2 in. Acc. No.: 1949-78-1 Credit Line: Gift of Mrs. Morris Wenger in memory of her husband, 1949 Photo credit: Philadelphia Museum of Art © Artist : Philadelphia, Pennsylvania, Philadelphia Museum of Art www.philamuseum.org Provenance 1949, Gift of Mrs. Morris Wenger in memory of her husband Bibliography Museum's website, 15 March 2015 Comment Museum's website, 15 March 2015: The earliest work by Lipchitz in the Museum's collection, Sailor with Guitar marks an important transition in the artist's career, in which the vestiges of his academic training gave way to the influence of Cubist painters like Pablo Picasso and Diego Rivera. This "proto-cubist" work still retains a degree of realism, however, since it was based on Lipchitz's direct observation of a young Spanish sailor attempting to charm a pretty girl by dancing and playing his guitar. Ann Temkin, from Philadelphia Museum of Art: Gifts in Honor of the 125th Anniversary (2002), p. 141: Philadelphia is an important destination for admirers of Jacques Lipchitz's sculpture. Work from all periods of the artist's long and prolific career has an important presence inside and outside the Museum, in the center of the city, and along the Schuylkill River, as well as at The Barnes Foundation in Merion, just beyond the city limits. Throughout his life, Lipchitz enjoyed a special connection with area collectors, including Dr. -
Introduction Methodology
Introduction The City of Sacramento implemented a three-week virtual community workshop for the Sacramento Valley Station Master Plan to engage with community members and station users in the Sacramento Region. The virtual workshop was open to the public from Wednesday, January 15, 2020 to Friday, February 7, 2020. The project team received more than 280 responses from community members. In 2018, the City concluded work on an initial conceptual planning that resulted in two master plan concepts. Currently, the City is developing a preferred option and multi-phase implementation plan. In addition, the Bus/Mobility Center has moved forward to 30% design documents for the construction funds grant application. In 2020, the Sacramento Valley Station Specific Plan will be completed and provide a pathway for expanding regional transportation services and developing the Sacramento Valley Station site, with transportation in mind. The goals of the design concept are to establish a well-connected transit center, be a gateway to the city, and provide a mixed-use destination with infill development for the 17-acres of property around the historic depot. The plan area on the City-owned site will be designed with sustainable principles, under the framework of the International Living Futures Institute’s Living Community Challenge Vision Plan certification. Methodology This Virtual Community Workshop served as a forum for participants to learn about the project and Master Plan, as well as contribute their input on the design elements and concepts to be integrated into the new station area. The project team implemented a three-week virtual workshop to notify and engage with community members who frequent the Sacramento Valley Station. -
Synthetic Cubism at War: New Necessities, New Challenges
RIHA Journal 0250 | 02 September 2020 Synthetic Cubism at War: New Necessities, New Challenges. Concerning the Consequences of the Great War in the Elaboration of a Synthetic-Cubist Syntax Belén Atencia Conde-Pumpido Abstract When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism. Contents Cubism and war. The beginning of the end or infinite renewal? At a crossroads: tradition, figuration, synthesis and abstraction The Beaulieu group, the purification of shape and the crystallization of Cubism in 1918 and 1919 Epilogue Cubism and war. The beginning of the end or infinite renewal? [1] The exhibition "Cubism and War: the Crystal in the Flame", held in the Picasso Museum in Barcelona in 2016,1 highlighted the renewed production undertaken in Paris during the war years by a small circle of artists who succeeded in taking Synthetic Cubism to its ultimate consequences. 1 Cubism and War: the Crystal in the Flame, ed. -
UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky. -
The Acoustic City
The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.