FLAME TREE Arts Art Deco Edition
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Shakespeare First Folio Sells for $8.4M – the Oldest Undergraduate by Alex Capon College for Women in the Western US, Founded in 1852
To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2464 | antiquestradegazette.com | 24 October 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Shakespeare first folio sells for $8.4m – the oldest undergraduate by Alex Capon college for women in the western US, founded in 1852. The First An ‘original and complete’ Folio had come to the US in 1961 copy of William Shakespeare’s when it was sold by London First Folio of plays set an dealership Bernard Quaritch to auction record in the the real estate investor Allan Exceptional sale at Christie’s Bluestein. New York. Estimated at $4m-6m, the Fifth copy for US dealer copy drew competition on Loewentheil, whose 19th October 14 from three phone Century Rare Book and bidders. After six minutes it was Photograph Shop in Brooklyn, knocked down to US book New York, bid £1.5m for another dealer Stephan Loewentheil at First Folio at Sotheby’s in 2010, $8.4m (£6.46m), a sum that surpassed the previous auction Continued on page 4 high of $6.16m/£3.73m (including premium) for a First Right: the copy of Folio sold in the same saleroom Shakespeare’s First Folio in October 2001. that sold for a record $8.4m It was consigned by Mills (£6.46m) at Christie’s New College in Oakland, California York on October 14. -
Dialogues: Modern & Contemporary Art
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 26 JUNE 2 0 2 0 DIALOGUES: MODERN & CONTEMPORARY ART ONLINE-ONLY FROM 26 JUNE TO 14 JULY 2020 PART OF THE AUCTION PROGRAMME TO ACCOMPANY ONE: A GLOBAL SALE OF THE 20TH CENTURY Tamara de Lempicka, La couronne de fleurs II (c. 1932/c. 1950, estimate: £300,000-500,000), Glenn Ligon Figure #96 (2011, estimate: £280,000-350,000) and Peter Blake The National Gallery Madonna (1994-2000, estimate: £120,000-180,000) London – As part of the expanded online programme to accompany ONE: A Global Sale of the 20th Century, Christie’s presents Dialogues: Modern & Contemporary Art, an online auction running from 26 June to 14 July 2020, featuring painting, sculpture, works on paper and photography. Constructivism, Fauvism, Art Brut, Surrealism, Abstract Expressionism, Pop: the past century of Western art has been a period of vast change. As artists responded to events happening around them and the evolution of artistic practice, they also engaged with the work of other artists past and present. Dialogues: Modern & Contemporary Art highlights a selection of these conversations. Some dialogues are formal, as in the sharp, flat hues of Walter Dexel’s Constructivism and Josef Albers’ post-Bauhaus Homage to the Square: Oracle (1961, estimate: £220,000-320,000). Others are more visceral: an early work, Kallmünz – Regentag (1903, estimate: £150,000-200,000) by Wassily Kandinsky, from before his own revolutionary turn to abstraction, emits a sunny energy that echoes in Jack Butler Yeats’ bright, fluid California (1937, estimate: £500,000-800,000). Jean Dubuffet’s Art Brut figures share the totemic power of sculptures by Eduardo Paolozzi and Henri Laurens. -
Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on Panel, 35 X 27 Cm Private Collection
Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on panel, 35 x 27 cm Private Collection Designed by: Baseline Co Ltd 19-25 Nguyen Hue Bitexco Building, Floor 11th District 1, Ho Chi Minh City Vietnam © Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA © de Lempicka Estate / Artists Rights Society, New York, USA / ADAGP, Paris All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification. ISBN 978-1-78042-030-1 2 It can be argued that the Art Deco spirit expressed itself more naturally through portraiture than through any other kind of painting. The quintessential Art Deco portraitist is undoubtedly Tamara de Lempicka. The Fashionable society of the 1920s and 30s is now perceived very largely through her eyes. — Edward Lucie-Smith 3 Biography 1898 Born Tamara Gurwik-Gorska in Warsaw to wealthy, upper-class Polish parents. Her father, Bolris Gorski, was a lawyer with a French firm. Her mother was Malvina Decler. 1911 A trip to Italy with her grandmother helps Tamara discover her passion for art. 1914 Tamara moves in with her aunt Stephanie in St Petersburg, resenting her mother’s decision to remarry. She meets her future husband, Tadeusz Lempicki, a handsome lawyer from a wealthy Russian family. 1916 Tamara and Tadeusz marry in Petrograd in the chapel of the Knights of Malta. -
Holly Trostle Brigham Myths, Portraits, and the Self Holly Trostle Brigham Myths, Portraits, and the Self
Holly Trostle Brigham Myths, Portraits, and the Self Holly Trostle Brigham Myths, Portraits, and the Self August 5 - September 27, 2013 Mary H. Dana Women Artists Series / Douglass Library Guest Curators: Judith K. Brodsky and Ferris Olin Copyright: Institute for Women and Art, Rutgers, The State University of New Jersey, 2013 INSTITUTE FOR WOMEN AND ART Programs Mary H. Dana Women Artist Series At the Douglass Library Galleries and in partnership with Rutgers University Libraries, this exhibition series was founded in 1971 by Joan Snyder and is the oldest continuously running venue for women visual artists in the US. Estelle Lebowitz Visiting Artist-in-Residence Lectureship Brings to the Rutgers University community and general public the work of a renowned contemporary woman artist through exhibitions, classes and public lectures. The Feminist Art Project (TFAP) A collaborative international initiative promoting and documenting diverse feminist art events and publications celebrating the feminist art movement and the aesthetic, intellectual and political impact of women on the visual arts, art history, and art practice, past and present. IWA Exhibition Series Exhibitions curated by the IWA and presented at selected venues. Miriam Schapiro Archives This archival collection contains files related to women artists and art organizations and is housed in Rutgers University Libraries Special Collections and University Archives. In addition to the files for the Mary H. Dana Women Artists Series, the Schapiro archives also contain the Contemporary Women Artists Files (CWAF) of emerging and established contemporary women artists. On-Line Education E-courses about women artists, their achievements, and impact on culture and society; race and contemporary art; homosexuality and visual culture. -
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NEGOTIATING THE GENDERED MARGINS OF MODERNITY: TAMARA DE LEMPICKA AND HER ICONIC FEMALE FORMS A Thesis Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Allison Ann Muscolino ________________________________ Kathleen Pyne, Director Graduate Program in Art, Art History, and Design Notre Dame, Indiana April 2008 TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................iii ACKNOWLEDGMENTS .........................................................................................iv INTRODUCTION .....................................................................................................1 CHAPTER ONE: FEMININIZING THE STAGE OF MODERNITY.....................10 CHAPTER TWO: DEFINING THE MODERN FEMININE ...................................20 CHAPTER THREE: PERFORMING THE MODERN ............................................31 APPENDIX: FIGURES.............................................................................................39 BIBLIOGRAPHY......................................................................................................51 ii LIST OF FIGURES Figure 1. Portrait of Romana de La Salle, 1928, oil on panel, unknown Collection.................................................................................................39 Figure 2. The Slave, 1929, oil on canvas, private collection ...................................40 Figure 3. The Musician, 1929, -
Tamara De Lempicka: a Life of Deco and Decadence by Laura Claridge (1999), 436 Pages. a Casual Reader of Polish
Tamara de Lempicka: A Life of Deco and Decadence by Laura Claridge (1999), 436 pages. A casual reader of Polish painting in the 20th century may have only a limited idea of Tamara Lempicka's life and her contribution to the Deco history of the 20s and 30s, and thus this excellent biography will be a revelation. Her prominence was primarily recognized in Western Europe and America, where she spent most of her creative life. Firstly, there is her irrepressible individuality that fascinates. She was an “artiste” to the core, and it is often difficult to figure out the dividing line between reality (read: facts) and legend (read: Tamara's fantasies.) Was she born in Warsaw or in Moscow? Perhaps in 1898 but, maybe in 1896 or some other year. We know very little about her father, Boris Gurwik Gorski; her mother was Malwina Dekler, a welltodo Pole of French descent. Her teen years were certainly exciting, as she divided her time between the French Riviera chic and the splendors of St. Petersburg salons, where she met the handsome Tadeusz Lempicki; she fell hopelessly in love and married him just before the Revolution overtook Russia. Their escape with the baby to France was a true odyssey. And here, in Paris, her career began. Unquestionably she had a formidable talent for painting and also amazing energy. Her erotic works are not to everybody's liking, but her portraits are stunning. Soon she was in the forefront of Deco art, which marked a world event in architecture as well as other art forms. -
The Graduate School and University Center of the City University of New York Ph.D
The Graduate School and University Center of The City University of New York Ph.D. Program in Art History FALL 2003 - COURSE DESCRIPTIONS N.B. Lecture classes are limited to 20 students, Methods of Research is limited to 15 and seminar classes are limited to 12 students. Three overtallies are allowed in each class but written permission from the instructor and from the Executive Officer and/or the Deputy Executive Officer is required. ART 70000 - Methods of Research GC: Tues., 11:45 A.M.-1:45 P.M., 3 credits, Prof. Bletter, Rm. 3416, [45689] The course will examine the power of visual imagery over text first as a pre-literate, then as a populist, seemingly non-elitist system of information that dominates our culture today. It will deal with the impact of scientific rationalism (the role of perspective and axonometric projections) and Romanticism on the understanding of perception in general (Goethe, Friedrich, and Schinkel will be used as case studies). Notions of mimesis will be introduced through an analysis of the panorama, diorama, photography, and theories of polychromy. The psychological and social developments of perception and their formative influence on theory and practice of art in the nineteenth century will be stressed, as well as the impact of phenomenology and Gestalt psychology in the twentieth century. Jonathan Crary’s approach in Techniques of the Observer will be problematized through examples that contradict his thesis, such as the central place of emotive states in Charles Fourier’s social utopianism, the anti-rationalist program of the 19th c. pre-school and education reform movement (Pestalozzi, Froebel, Montessori) through its emphasis on the emotive (Cizek’s and Itten’s art classes for children in Vienna, Frank Lloyd Wright’s Froebel toys); and the influence of synaesthesia (Symbolism, Art Nouveau, Expressionism), and primitivism (Fauves, New Brutalists, etc.). -
National Register of Historic Places Inventory Nomination
NPS Form 10-900 (3-82) OMB No. 1024-0018 Expires 10-31-87 United States Department off the Interior National Park Service For NPS use only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections____________ 1. Name historic Rockefeller Center and or common 2. Location Bounded by Fifth Avenue, West 48th Street, Avenue of the street & number Americas, and West 51st Street____________________ __ not for publication city, town New York ___ vicinity of state New York code county New York code 3. Classification Category Ownership Status Present Use district public x occupied agriculture museum x building(s) x private unoccupied x commercial park structure both work in progress educational private residence site Public Acquisition Accessible _ x entertainment religious object in process x yes: restricted government scientific being considered yes: unrestricted industrial transportation no military other: 4. Owner of Property name RCP Associates, Rockefeller Group Incorporated street & number 1230 Avenue of the Americas city, town New York __ vicinity of state New York 10020 5. Location of Legal Description courthouse, registry of deeds, etc. Surrogates' Court, New York Hall of Records street & number 31 Chambers Street city, town New York state New York 6. Representation in Existing Surveys Music Hall only: National Register title of Historic Places has this property been determined eligible? yes no date 1978 federal state county local depository for survey records National Park Service, 1100 L Street, NW ^^ city, town Washington_________________ __________ _ _ state____DC 7. Description Condition Check one Check one x excellent deteriorated unaltered x original s ite good ruins x altered moved date fair unexposed Describe the present and original (iff known) physical appearance The Rockefeller Center complex was the final result of an ill-fated plan to build a new Metropolitan Opera House in mid-town Manhattan. -
Theories of Architecture Lecture-11- Architecture After World War I
Theories of Architecture Lecture-11- Architecture after World War I ART DECO & Rationalism Prepared by Tara Azad Rauof 1 This lecture Context: The Origin of ART DECO Key Ideas Characteristics of ART DECO Famous Art Deco Building Rationalism Rationalism in Architecture Pioneer of Rationalism in Europe 2 ART DECO [The Origin]: Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. Art Deco practitioners were often influenced by such as Cubism, De Stijl, and Futurism. Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the bright colors of de Stijl. The Art Deco style originated in Paris, but has influenced architecture and culture as a whole. Art Deco works are symmetrical, geometric, streamlined, often simple, and pleasing to the eye. This style is in contrast to avant-garde art of the period Key Ideas: * Art Deco, similar to Art Nouveau, is a modern art style that attempts to infuse functional objects with artistic touches. This movement is different from the fine arts (painting and sculpture) where the art object has no practical purpose or use beyond providing interesting viewing. * With the large-scale manufacturing, artists and designers wished to enhance the appearance of mass-produced functional objects - everything from clocks to cars and buildings. -
Vol IV No 1 2018.Pages
Vol. IV, No. 1, 2018 The Chrysler Building at 405 Lexington Avenue. Created by William Van Alen, it is considered Manhattan’s “Deco monument.” See “New York City’s Art Deco Era—with Anthony W. Robins,” p. 2. Photo credit: Randy Juster. "1 Vol. IV, No. 1, 2018 Contents New York City’s Art Deco Era— with Anthony W. Robins P. 2 New York City’s Art Deco by Melanie C. Colter Era—with Anthony W. Robins, by Melanie C. Colter After the Paris World’s Fair of 1925, Art Deco and Style P. 8 R.I. Inspires the Visual Moderne principles spread rapidly across the globe. Between Arts: Edward Hopper’s 1923 and 1932, Art Deco transformed the New York City Blackwell’s Island skyline into its present iconic spectacle, thrusting our city into the modern era. P. 9 Announcing the Roosevelt Island Historical Society 40th Anthony W. Robins is a 20-year veteran of the New York City Anniversary Raffle Landmarks Preservation Commission, and has worked extensively with the Art Deco Society of New York to bring P. 10 Metropolitan Doctor, New York’s modern architectural legacy to the attention of Part 4 city dwellers and visitors alike. In December, as a part of the Roosevelt Island Historical Society’s public lecture series, P. 12 RIHS Calendar; What Are Robins discussed the origins of the Art Deco style and gave Your Treasures Worth? Become an overview of some of New York’s finest Deco buildings. a Member and Support RIHS We encourage you to discover more of our city’s Art Deco period with Robins’ recent book, New York Art Deco: A Guide to Gotham’s Jazz Age Architecture, (SUNY Press, Excelsior Editions, 2017), which features fifteen thoughtful, self-guided walking tours (available at the Roosevelt Island Visitor Center Kiosk). -
BEAUX-ARTS APARTMENTS, 310 East 44Th Street, Borough of Manhattan
Landmarks Preservation Commission July 11, 1989; Designation List 218 LP-1669 BEAUX-ARTS APARTMENTS, 310 East 44th Street, Borough of Manhattan. Built 1929-30; Kenneth M. Murchison and Raymond Hood of the firm of Raymond Hood, Godley & Fouilhoux, associated architects. Landmark site: Borough of Manhattan Tax Map Block 1336, Lot 40. On July 12, 1988, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Beaux Arts Apartments and the proposed designation of the related Landmark Site (Item No. 7). The hearing had been duly advertised in accordance with the provisions of law. Sixteen witnesses spoke in favor of designation. Many letters and other expressions of support in favor of designation have been received by the Commission. The owner has expressed certain reservations about the proposed designation. DESCRIPTION AND ANALYSIS summary Designed by Raymond Hood, among the most prominent American architects of the twentieth century, and built in 1929-30, The Beaux-Arts Apartments is one of the earliest examples in New York City to reflect the trend toward horizontal emphasis in the aesthetic of modern European architecture of the 1920s. Conceived as a corollary to the neighboring Beaux-Arts Institute of Design (a designated New York City Landmark), the Beaux-Arts Apartments at 310 East 44th Street and its twin building on the opposite side of the street were intended to provide residential and studio accommodations for architects and artists, as well as others interested in living in what was anticipated as a midtown artistic community. The Beaux-Arts Development Corporation, a syndicate of architects associated with the Institute and allied professionals, joined forces to finance, build, and manage their own real estate venture. -
Sandro's Words on Website
Sandro’s words on website October 31 1965 - October 31 2015 50 Years of Art I was born on February 20, 1948 in Florence. Since I was a child I have had a fascination for painting and playing with clay. My elementary teacher would say: “I’m going to speak with the Headmaster! Sandro, go to the balckboard and keep everyone entertained with your drawings.” So, from an early age I experienced the creative thrill of drawing on a black back- ground with colored and white chalk, while the erasers thrown at me by my classmates flew overhead.... STUDIES In 1965, at the age of 17, I was finally allowed to attend an art school. At the Cappiello Academy I had the honor and fortu- ne of meeting the great Gastone Canessa, headmaster of the school - a painter, a graphic designer and a ceramist. A “dannunziano’ character [Gabriele D’Annunzio, Italian writer, poet, journalist and playwright 1863- 1938 considered a Renaissance man] with a goatee and mustache, ever positive, “amante” [lover] of all arts, Michelangelo in particular. He was obsessed with giving us the best possible education of art. His classroom and on site lessons were fascinating and he took us to see almost all of the museums in Florence and Rome. Professor Corrado Marsan [the most able orator I have ever met] was responsible for art history, the artist Mario Poggiali for etching and carving and we were also given instruction on the psychology of advertising. My destiny would have taken me into graphic publicity if an “explosive” episode had not changed my direction: a homemade ballistic experiment at the age of 18 amputated half of my right thumb.