TEFAF Art Market Report 2015
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(Chen Qiulin), 25F a Cheng, 94F a Xian, 276 a Zhen, 142F Abso
Index Note: “f ” with a page number indicates a figure. Anti–Spiritual Pollution Campaign, 81, 101, 102, 132, 271 Apartment (gongyu), 270 “......” (Chen Qiulin), 25f Apartment art, 7–10, 18, 269–271, 284, 305, 358 ending of, 276, 308 A Cheng, 94f internationalization of, 308 A Xian, 276 legacy of the guannian artists in, 29 A Zhen, 142f named by Gao Minglu, 7, 269–270 Absolute Principle (Shu Qun), 171, 172f, 197 in 1980s, 4–5, 271, 273 Absolution Series (Lei Hong), 349f privacy and, 7, 276, 308 Abstract art (chouxiang yishu), 10, 20–21, 81, 271, 311 space of, 305 Abstract expressionism, 22 temporary nature of, 305 “Academic Exchange Exhibition for Nationwide Young women’s art and, 24 Artists,” 145, 146f Apolitical art, 10, 66, 79–81, 90 Academicism, 78–84, 122, 202. See also New academicism Appearance of Cross Series (Ding Yi), 317f Academic realism, 54, 66–67 Apple and thinker metaphor, 175–176, 178, 180–182 Academic socialist realism, 54, 55 April Fifth Tian’anmen Demonstration (Li Xiaobin), 76f Adagio in the Opening of Second Movement, Symphony No. 5 April Photo Society, 75–76 (Wang Qiang), 108f exhibition, 74f, 75 Adam and Eve (Meng Luding), 28 Architectural models, 20 Aestheticism, 2, 6, 10–11, 37, 42, 80, 122, 200 Architectural preservation, 21 opposition to, 202, 204 Architectural sites, ritualized space in, 11–12, 14 Aesthetic principles, Chinese, 311 Art and Language group, 199 Aesthetic theory, traditional, 201–202 Art education system, 78–79, 85, 102, 105, 380n24 After Calamity (Yang Yushu), 91f Art field (yishuchang), 125 Agree -
Karbury's Auction House
Karbury's Auction House Antiques Estates & Collection Sale Saturday - September 8, 2018 Antiques Estates & Collection Sale 307: A Chinese Gilt Bronze Buddhist Figure USD 300 - 500 308: A Set of Four Bronze Cups USD 200 - 300 309: A Song Style Jizhou Tortoiseshell-Glazed Tea Bowl USD 1,000 - 2,000 310: A Bronze Snake Sculpture USD 100 - 200 311: A Wood Pillow with Bone Inlaid USD 100 - 200 312: A Carved Ink Stone USD 200 - 300 313: A Stone Carved Head of Buddha USD 100 - 200 314: A Doucai Chicken Cup with Yongzheng Mark USD 500 - 700 Bid Live Online at LiveAuctioneers.com Page 1 Antiques Estates & Collection Sale 315: A Jian Ware Tea Bowl in Silver Hare Fur Streak USD 800 - 1,500 316: A Celadon Glazed Double Gourd Vase USD 400 - 600 317: Three Porcelain Dog Figurines USD 200 - 400 318: A Jun ware flower Pot USD 1,500 - 2,000 319: A Pair of Famille Rose Jars with Cover USD 800 - 1,200 320: A Blanc-De-Chine Figure of Seated Guanyin USD 1,500 - 2,000 321: A Pair of Vintage Porcelain Lamps USD 200 - 300 322: A Chicken Head Spout Ewer USD 800 - 1,200 Bid Live Online at LiveAuctioneers.com Page 2 Antiques Estates & Collection Sale 323: Two sancai figures and a ceramic cat-motif pillow USD 200 - 300 324: A Teadust Glazed Vase with Qianlong Mark USD 500 - 800 325: A Rosewood Tabletop Curio Display Stand USD 300 - 500 326: A Blue and White Celadon Glazed Vase USD 300 - 500 327: A Wucai Dragon Jar with Cover USD 300 - 500 328: A Green and Aubergine-Enameled Yellow-Ground Vase USD 200 - 300 329: A Celadon Square Sectioned Dragon Vase USD 200 - 300 -
Russian Avant-Garde, 1904-1946 Books and Periodicals
Russian Avant-garde, 1904-1946 Books and Periodicals Most comprehensive collection of Russian Literary Avant-garde All groups and schools of the Russian Literary Avant-garde Fascinating books written by famous Russian authors Illustrations by famous Russian artists (Malevich, Goncharova, Lisitskii) Extremely rare, handwritten (rukopisnye) books Low print runs, published in the Russian provinces and abroad Title list available at: www.idc.nl/avantgarde National Library of Russia, St. Petersburg Editor: A. Krusanov Russian Avant-garde, 1904-1946 This collection represents works of all Russian literary avant-garde schools. It comprises almost 800 books, periodicals and almanacs most of them published between 1910-1940, and thus offers an exceptionally varied and well-balanced overview of one of the most versatile movements in Russian literature. The books in this collection can be regarded as objects of art, illustrated by famous artists such as Malevich, Goncharova and Lisitskii. This collection will appeal to literary historians and Slavists, as well as to book and art historians. Gold mine Khlebnikov, Igor Severianin, Sergei Esenin, Anatolii Mariengof, Ilia Current market value of Russian The Russian literary avant-garde was Avant-garde books both a cradle for many new literary styles Selvinskii, Vladimir Shershenevich, David and Nikolai Burliuk, Alexei Most books in this collection cost and the birthplace of a new physical thousands Dollars per book at the appearance for printed materials. The Kruchenykh, and Vasilii Kamenskii. However, -
Fine Art Papers Guide
FINE ART PAPERS GUIDE 100 Series • 200 Series • Vision • 300 Series • 400 Series • 500 Series make something real For over 125 years Strathmore® has been providing artists with the finest papers on which to create their artwork. Our papers are manufactured to exacting specifications for every level of expertise. 100 100 Series | Youth SERIES Ignite a lifelong love of art. Designed for ages 5 and up, the paper types YOUTH and features have been selected to enhance the creative process. Choice of paper is one of the most important 200 Series | Good decisions an artist makes 200SERIES Value without compromise. Good quality paper at a great price that’s economical enough for daily use. The broad range of papers is a great in determining the GOOD starting point for the beginning and developing artist. outcome of their work. Color, absorbency, texture, weight, and ® Vision | Good STRATHMORE size are some of the more important Let the world see your vision. An affordable line of pads featuring extra variables that contribute to different high sheet counts and durable construction. Tear away fly sheets reveal a artistic effects. Whether your choice of vision heavyweight, customizable, blank cover made from high quality, steel blue medium is watercolor, charcoal, pastel, GOOD mixed media paper. Charcoal Paper in our 300, 400 and 500 Series is pencil, or pen and ink, you can be confident that manufactured with a traditional laid finish making we have a paper that will enhance your artistic them the ideal foundation for this medium. The efforts. Our papers are manufactured to exacting laid texture provides a great toothy surface for specifications for every level of expertise. -
Ming Dynasty Porcelain Plate Laura G
Wonders of Nature and Artifice Art and Art History Fall 2017 Blue-and-White Wonder: Ming Dynasty Porcelain Plate Laura G. Waters '19, Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/wonders_exhibit Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, History of Science, Technology, and Medicine Commons, Industrial and Product Design Commons, and the Intellectual History Commons Share feedback about the accessibility of this item. Waters, Laura G., "Blue-and-White Wonder: Ming Dynasty Porcelain Plate" (2017). Wonders of Nature and Artifice. 12. https://cupola.gettysburg.edu/wonders_exhibit/12 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/wonders_exhibit/12 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Blue-and-White Wonder: Ming Dynasty Porcelain Plate Abstract This authentic Ming Dynasty (1368-1644) plate is a prime example of early export porcelain, a luminous substance that enthralled European collectors. The eg nerous gift of oJ yce P. Bishop in honor of her daughter, Kimberly Bishop Connors, Ming Dynasty Blue-and-White Plate is on loan from the Reeves Collection at Washington and Lee University in Lexington, Virginia. The lp ate itself is approximately 7.75 inches (20 cm) in diameter, and appears much deeper from the bottom than it does from the top. -
Dino Rosin Fine Art Sculptor in Glass;
Dino Rosin Fine Art Sculptor in Glass; By Debbie Tarsitano This past January I was privileged to teach encased flamework design at the Corning Museum School’s Studio. Before traveling to Corning I looked through the course catalogue to see who else was teaching during the week I would be there. There was the name, “Dino Rosin,” and his class “solid sculpture.” As I looked at the small photo of his work in the Corning catalogue, I thought to myself, “I wished I could take his class.” That lone picture in the Corning catalogue told me that here was an artist who understood the true meaning of sculpture. Dino Rosin was born in Venice, Italy on May 30, 1948 and his family moved to the island of Murano while he was still a baby. At age 12 Dino left school to work as an apprentice at the prestigious Barovier and Toso glassworks. In 1963 at age 15, Dino joined his older brothers Loredano and Mirco in their own glass studio “Artvet.” Two years later Loredano and Dino joined Egidio Costantini of Fucina Degli Angeli; while working at this renowned studio, Dino and Loredano collaborated with Picasso and other well-known artists of the time. In 1975, Loredano Rosin opened his own studio and Dino, then aged 27, joined his brother’s new venture, supporting him whole-heartedly. Dino progressed and matured as an artist as he worked alongside his brother Loredano to keep the studio strong. Dino perfected his skills in every area of the studio from mixing batch, the raw materials of glass making, to creating new designs. -
Art Market Trends Tendances Du Marché De L'art
Art market trends Tendances du marché de l'art THE WORLD LEADER IN ART MARKET INFORMATION Art market trends Tendances du marché de l'art 2005 $ 4.15 billion (€ 3.38 billion) 3.38 (€ billion 4.15 $ worldwide: auctions Art Fine at Turnover offer. on lots 320,000 of volume stable practically billion, vs. 3.6 $ billion the previous year, In despite 2005 the a turnover for record-breaking! Fine are gures Art sales fi The exceeded 4 $ well. so performed never has market art international The a million dollars, compared with compared in only 393 2004 dollars, a and million than more for hammer the under went lots 477 than less into of a rise sales 1 multiplication $ exceeding No million 19% the from translated ation on in recorded infl 2004. price This following already year, last 10.4%* of increase came on the of back a progression price incredible This Tendances du marché de l'art de marché du Tendances Art market trends trends market Art Artprice Global Index: Paris - New York - London (1994 - 2005) Base January 1994 = 100 - Quarterly data Artprice Indices are calculated with the Repeated Sales method (Econometric calculations on sales/resales of similar works) 10 000 $, 10 et 56% en deçà de 000 $.2 Ce segment est en 2005 en publiques ventes ont adjugés été moins de cette cette année, faisant suite aux d’affaires 19% mondial, de une hausse élévation déjà des A prix l’origine de de cette 10,4% incroyable progression du chiffre (3,38 d’euro) dollars de milliards milliards 4,15 : mondiales enchères Artaux Fine de ventes des Produit présentés. -
Best Management Practices for Fine Art Painting Studios
NARRAGANSETT BAY COMMISSION Environmental, Health & Safety MANAGEMENT BEST PRACTICES for FINE ART PAINTING STUDIOS The purpose of this brochure is to guide you in protecting your health and preserving the environment as you work with various supplies and materials in your studio. It is also intended to help you save money and to comply with existing environmental regulations. Following these guidelines will keep you and your environment safe. Sources of health & safety information on the Internet for artists Disposal of household hazardous waste in RI: www.rirrc.org/site/ecodepot/eco_depot_broc.pdf A searchable health & safety database by medium: www.ci.tuc- son.az.us/arthazards/home.html List of references and more: www.library.unisa.edu.au/internet/pathfind/arthazards.htm Comprehensive list of articles covering many mediums: www.croetweb.com/outreach/croetweb/ links.cfm?topicID=2 List of books, periodicals and organizations: http://wally.rit.edu/pubs/guides/healthhaz.html Comprehensive list of articles: www.library.wwu.edu/ref/subjguides/art/arthazards.html Article entitled Art Painting and Drawing www.uic.edu/sph/glakes/harts/HARTS_library/paintdrw.txt Very comprehensive list of resources for many media: www.trueart.info/hazards.htm Safety Primer with references: www.ianr.unl.edu/pubs/consumered/nf126.htm Safety Primers: www.artspaceseattle.org/solutions/safety.html www.uwlax.edu/ehs/arthaz.html www.gamblincolors.com/safety.html Paint MSDSs available under Health & Safety section: www.winsornewton.com/index2.php Studio Ventilation: -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
Issue 5 • Winter 2021 5 Winter 2021
Issue 5 • Winter 2021 5 winter 2021 Journal of the school of arts and humanities and the edith o'donnell institute of art history at the university of texas at dallas Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 185 11/6/20 1:24 PM 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM 1 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 1 11/6/20 1:23 PM This issue of Athenaeum Review is made possible by a generous gift from Karen and Howard Weiner in memory of Richard R. Brettell. 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM Athenaeum Review Athenaeum Review publishes essays, reviews, Issue 5 and interviews by leading scholars in the arts and Winter 2021 humanities. Devoting serious critical attention to the arts in Dallas and Fort Worth, we also consider books and ideas of national and international significance. Editorial Board Nils Roemer, Interim Dean of the School of Athenaeum Review is a publication of the School of Arts Arts and Humanities, Director of the Ackerman and Humanities and the Edith O’Donnell Institute of Center for Holocaust Studies and Stan and Art History at the University of Texas at Dallas. Barbara Rabin Professor in Holocaust Studies School of Arts and Humanities Dennis M. Kratz, Senior Associate Provost, Founding The University of Texas at Dallas Director of the Center for Asian Studies, and Ignacy 800 West Campbell Rd. JO 31 and Celia Rockover Professor of the Humanities Richardson, TX 75080-3021 Michael Thomas, Director of the Edith O’Donnell Institute of Art History and Edith O’Donnell [email protected] Distinguished University Chair in Art History athenaeumreview.org Richard R. -
Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza
PLACE UNDER THE LINE PLACE UNDER THE LINE : july / august 1 vol.9 no. 4 J U L Y / A U G U S T 2 0 1 0 VOLUME 9, NUMBER 4 INSIDE New Art in Guangzhou Reviews from London, Beijing, and San Artist Features: Gu Francisco Wenda, Lin Fengmian, Zhang Huan The Contemporary Art Academy of China Identity Politics and Cultural Capital in Contemporary Chinese Art US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 9, NUMBER 4, JULY/AUGUST 2010 CONTENTS 2 Editor’s Note 33 4 Contributors 6 The Guangzhou Art Scene: Today and Tomorrow Biljana Ciric 15 On Observation Society Anthony Yung Tsz Kin 20 A Conversation with Hu Xiangqian 46 Biljana Ciric, Li Mu, and Tang Dixin 33 An interview with Gu Wenda Claire Huot 43 China Park Gu Wenda 46 Cubism Revisited: The Late Work of Lin Fengmian Tianyue Jiang 63 63 The Cult of Origin: Identity Politics and Cultural Capital in Contemporary Chinese Art J. P. Park 73 Zhang Huan: Paradise Regained Benjamin Genocchio 84 Contemporary Art Academy of China: An Introduction Christina Yu 87 87 Of Jungle—In Praise of Distance: Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza 97 Shanghai: Art of the City Micki McCoy 104 Zhang Enli Natasha Degan 97 111 Chinese Name Index Cover: Zhang Huan, Hehe Xiexie (detail), 2010, mirror-finished stainless steel, 600 x 420 x 390 cm. Courtesy of the artist. Vol.9 No.4 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien legal counsel Infoshare Tech Law Office, Mann C.C. -
Unified Style
8 L a c k i n g a u n i fi e d s t y l e Note: you are reading an excerpt from: James Elkins, “Failure in Twentieth-Century Painting” (unpublished MS) Revised 9.2001 This page was originally posted on: www.jameselkins.com Send all comments to: [email protected] A painter who lacks all style, who is compelled to mimic others, is unoriginal: the subject of Chapter 3. It is a different matter to be unable to find a voice, a manner, or a consistent approach, so that it’s necessary work work by cobbling together different styles. Stylistic mixture was frequently a deliberate strategy in twentieth-century painting, for example in cubist collage, dada, surrealism, pop art, and some postmodernism: but in the majority of cases a lack of unity remains the inevitable sign of beginner’s painting. When a student painter hasn’t found a voice, she will try different things, sampling one and then another, until eventually (hopefully, in graduate school) something emerges that ties the work together, and a unified style emerges—it’s a mysterious accomplishment, one that is not prone to clear analysis.1 Outside the West, lack of unified style is a serious problem, not only because intentionally disunified styles such as surrealism tend to be less popular, but because each artist has to face the problem of bringing their own country’s art into some reapprochement with aspects of Western painting. In this chapter I consider disunified painting in several regions of Asia: China, India, Japan, and the Central Asian Republics.