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A Guide for Educators and Students TABLE of CONTENTS
The Munich Secession and America A Guide for Educators and Students TABLE OF CONTENTS FOR EDUCATORS GETTING STARTED 3 ABOUT THE FRYE 3 THE MUNICH SECESSION AND AMERICA 4 FOR STUDENTS WELCOME! 5 EXPERIENCING ART AT THE FRYE 5 A LITTLE CONTEXT 6 MAJOR THEMES 8 SELECTED WORKS AND IN-GALLERY DISCUSSION QUESTIONS The Prisoner 9 Picture Book 1 10 Dutch Courtyard 11 Calm before the Storm 12 The Dancer (Tänzerin) Baladine Klossowska 13 The Botanists 14 The Munich Secession and America January 24–April 12, 2009 SKETCH IT! 15 A Guide for Educators and Students BACK AT SCHOOL 15 The Munich Secession and America is organized by the Frye in GLOSSARY 16 collaboration with the Museum Villa Stuck, Munich, and is curated by Frye Foundation Scholar and Director Emerita of the Museum Villa Stuck, Jo-Anne Birnie Danzker. This self-guide was created by Deborah Sepulvida, the Frye’s manager of student and teacher programs, and teaching artist Chelsea Green. FOR EDUCATORS GETTING STARTED This guide includes a variety of materials designed to help educators and students prepare for their visit to the exhibition The Munich Secession and America, which is on view at the Frye Art Museum, January 24–April 12, 2009. Materials include resources and activities for use before, during, and after visits. The goal of this guide is to challenge students to think critically about what they see and to engage in the process of experiencing and discussing art. It is intended to facilitate students’ personal discoveries about art and is aimed at strengthening the skills that allow students to view art independently. -
Moments in Time: Lithographs from the HWS Art Collection
IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK. -
Art on the Page
Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it. -
1. Walter B. Douglas Rooster and Chickens, Ca. 1920 1952.038 2
3 22 2 4 21 28 32 1 17 14 10 33 40 8 18 45 19 23 49 29 6 38 24 34 5 43 41 46 51 11 15 36 30 35 25 47 53 7 9 12 13 16 20 26 27 31 37 39 42 44 48 50 52 54 1. Walter B. Douglas 7. Hermann-David Saloman 12. Franz von Defregger 18. Adolf Heinrich Lier 24. Johann Friedrich Voltz 28. Eugéne-Louis Boudin 33. Marie Weber 38. Léon Barillot 44. Charles Soulacroix 50. Emile Van Marcke Rooster and Chickens, ca. 1920 Corrodi The Blonde Bavarian, ca. 1905 Lanscape Near Polling, 1860-70 Cattle on the Shore, ca. 1883 View of the Harbor, Le Havre, Head of a Girl in Fold Costume, Three Cows and a Calf, ca. 1890 Expectation, ca. 1890 In the Marshes, ca. 1880 1952.038 Venice, ca. 1900 1952.034 1952.107 1952.182 1885-90 1870s-1880s 1952.005 1952.158 1952.178 1952.025 1952.010 1952.187 2. Edmund Steppes 13. Ludwig Knaus 19. Friedrich Kaulbach 25. Louis Gabriel Eugéne Isabey 39. William Adolphe Bouguereau 45. Arnold Gorter 51. Nikolai Nikanorovich Dubovskoi The Time of the Cuckoo, 1907 8. Franx-Xaver Hoch Drove of Swine: Evening Effect Portrait of Hanna Ralph, n.d. The Storm, 1850 29. Wilhelm Trüber 34. Henry Raschen The Shepherdess, 1881 Autumn Sun, n.d. Seascape with Figures, 1899 1952.160 Landscape with Church Towers, 1952.085 1952.080 1952.073 Three Fir Trees at Castle Old Man, n.d. 1952.012 1952.056 1952.039 1912 Hemsbach, 1904 1952.139 3. -
Surrealist Masculinities
UC-Lyford.qxd 3/21/07 12:44 PM Page 15 CHAPTER ONE Anxiety and Perversion in Postwar Paris ans Bellmer’s photographs of distorted and deformed dolls from the early 1930s seem to be quintessential examples of surrealist misogyny (see Fig. 4). Their violently erotic Hreorganization of female body parts into awkward wholes typifies the way in which surrealist artists and writers manipulated and objectified femininity in their work. Bellmer’s manipulation and reconstruction of the female form also encourage comparison with the mutilation and reconstruction that prevailed across Europe during World War I. By viewing the dolls in this context, we might see their distorted forms as a displacement of male anxiety onto the bodies of women. Thus, Bellmer’s work—and the work of other male surrealists who de- picted fragmented female bodies—might reflect not only misogyny but also the disavowal of emasculation through symbolic transference. The fabrication of these dolls also expresses a link to consumer society. The dolls look as if they could be surrealist mannequins made by the prosthetic industry; their deformed yet interlocking parts reflect a chilling combination of mass-market eroticism and wartime bodily trauma. These connections between misogyny and emasculation anxiety, between eroticism and the horror of war trauma, and between consump- tion and desire are not specific to Bellmer’s idiosyncratic visual rhetoric, however. The practice of joining contradictory approaches and blurring boundaries between objects, identities, and media was more prevalent among the male surrealists than is usually acknowledged. If we open our eyes to consider these contrasts as part of a broader surrealist agenda, we can see how the surrealists aimed to destabilize their viewers’ assumptions about the boundaries 15 Copyrighted Material UC-Lyford.qxd 3/21/07 12:44 PM Page 16 FIGURE 4 Hans Bellmer, Poupée, 1935. -
Albert Skira Et Ses Livres D'art
Albert Skira et ses livres d’art (1948-1973) Corisande Evesque To cite this version: Corisande Evesque. Albert Skira et ses livres d’art (1948-1973). Histoire. 2015. dumas-01256888 HAL Id: dumas-01256888 https://dumas.ccsd.cnrs.fr/dumas-01256888 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 Couverture : Albert Skira au milieu de ses reproductions, le 6 février 1954 BGE, Centre d’iconographie genevoise Fonds du photographe Paul Boissonnas !2 UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 !3 REMERCIEMENTS Tout d’abord, tous mes remerciements vont à Julie Verlaine qui m’a orientée et suivie tout au long de mes recherches, ainsi qu’à Pascal Ory et à Jean-Yves Mollier qui ont répondu à mes questionnements. -
Sabine Fehlemann (Hg.): Max Slevogt. Die Berliner Jahre
Sabine Fehlemann (Hg.): Max Slevogt. Die Berliner Jahre. Bearbeitet von Nicole Hartje, Köln: Wienand 2005, 206 S., 81 Farb-, 106 s/w-Abb., ISBN 3-87909-862-x, EUR 39,80 Rezensiert von: David Ogawa Indiana University, Bloomington The exhibition and catalog Max Slevogt: Die Berliner Jahre represents the third part of the ambitious program of the Von der Heydt-Museum to showcase masterpieces of their collections through exhibitions on the "Dreigestirns des deutschen Impressionismus," Lovis Corinth (in 1999), Max Liebermann (in 2004), and Max Slevogt. The handsomely designed catalogue is richly illustrated, with large, full-color illustrations of the eighty exhibited works accompanied by descriptive catalog entries. The catalogue is organized more or less by genre: a general survey of Slevogt's Berlin years is followed by a section on self-portraits and family portraits, a section on landscapes, and a section on theater-pieces. Each of these sections is preceded by a substantial essay; the editor also chose to include an essay on Slevogt's graphic work from this period, but evidently none of these works were shown in the exhibition. A concise but complete year-by-year biography closes the text of the catalog. Slevogt's move from Munich to Berlin in 1899 came at a decisive moment in his career. Trained in Munich, he had been operating as a "freischaffender Künstler" there since 1891. The "wachsendem Unverständnis" he encountered in the conservative art scene there became concrete in 1899 when his Danaë (1895) was withdrawn from the Munich Secession exhibition in June of that year (9). -
Table of Contents
196 1.1 Man Ray, Surrealist Chessboard, 1934. Collage, gelatin silver print, 46 x 30.2 cm. The Israel Museum, Jerusalem, Israel. 1.2 Man Ray, Picasso, 1933. Gelatin silver print. 35.2 x 27.9 cm. The Metropolitan Museum of Art, New York. 197 1.3 Pablo Picasso, Portrait of Man Ray, 1934. India ink on paper, 34.5 x 24.8 cm. The Kantor Collection, Beverley Hills, California. 1.4 Man Ray, Hands painted by Picasso, ca. 1935. Gelatin silver print. 20 x 30.5 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France. 198 1.5 Man Ray, Still life, 1933. Three-color carbon transfer print. 30.6 x 23 cm. The J. Paul Getty Museum, Los Angeles. 1.6 Brassaï, Picasso’s Palette, 1932–3. Minotaure, 1.1, (January 1933): 8. 199 1.7 Man Ray, Dust Breeding, ca. 1920. Gelatin Silver Print. 9.2 x 12 cm. Musée National d'Art Moderne, Centre Georges Pompidou, Paris. 1.8 Brassaï, Uncropped Print of Picasso’s Palette, 1932. Gelatin silver print. 23.5 x 18 cm. Picasso Archives, Musée Picasso, Paris. 200 1.9 Man Ray, Uncropped Print of Dust Breeding, 1920, printed later. Gelatin silver print, 30.4 x 40.3 cm. Private collection, courtesy Galerie 1900–2000, Paris. 1.10 Pablo Picasso, Bull’s Head, 1942. Bronze casting from bicycle saddle and handlebars. 42 x 41 x 15 cm. Musée Picasso, Paris. 201 1.11 Pablo Picasso, Painter and Model, 1928. Oil on canvas, 129.8 x 163. Museum of Modern Art, New York. -
Thementexte Max Slevogt Eine Retrospektive Zum 150. Geburtstag
thementexte max slevogt eine retrospektive zum 150. geburtstag max slevogt. eine retrospektive max slevogt. a retrospective Der 150. Geburtstag von Max Slevogt ist ein guter Grund, die eigenen Bestände in den Mittelpunkt einer Retrospektive zu stellen – im doppelten Sinn einer Erinnerungs- und Überblicksausstellung zugleich. Das Landesmuseum Hannover bewahrt heute 28 Gemälde Slevogts, von denen 19 aus der »Sammlung Wrede« stammen. Im Kupferstichkabinett der Landesgalerie werden dazu 23 Handzeichnungen und ein Skizzenbuch, 85 Einzelblattdrucke, 19 Mappen und 22 illustrierte Bücher bewahrt. Auf dieser Basis gibt die Ausstellung einen Überblick über Lebensstationen und Themengebiete. Sämtliche druckgrafische Exponate stammen aus dem Besitz der Landesgalerie. Deren Gemälde, dazu gehören auch die vier im Zweiten Weltkrieg verschmorten »Brandbilder«, sind um Leihgaben aus der Nationalgalerie Berlin, der Kunsthalle Bremen, der Gemäldegalerie Neue Meister Dresden, dem Städel Museum Frankfurt, der Hamburger Kunsthalle, dem Landesmuseum Mainz, dem Westfälischen Landesmuseum Münster, dem Saarlandmuseum Saarbücken, der Stuttgarter Staatsgalerie sowie aus Privatbesitz ergänzt. Max Slevogt’s 150th anniversary is a good reason for placing the museum’s own collections at the core of this retrospective – which serve both as a commemoration and as an overview of his works. The Landesmuseum Hannover now holds 28 paintings by Slevogt, 19 of which come from the ›Wrede Collection‹ – including 13 purchased directly from the artist before 1915. 23 hand drawings and a sketch book, 85 single sheet prints, 19 folders and 22 illustrated books are kept in the State Gallery’s collection of prints and drawings. Mainly the exhibition attempts an overview that is arranged chronologically, but also points at certain subject areas that the artists kept returning to for decades. -
Natee Utarit Demetrio Paparoni
Natee Utarit Demetrio Paparoni NATEE UTARIT Optimism is Ridiculous Contents Cover and Back Cover First published in Italy in 2017 by Photo Credits Special thanks for their support 6 The Perils of Optimism. Passage to the Song of Truth Skira editore S.p.A. © 2017. DeAgostini Picture Library/ and collaboration to and Absolute Equality, 2014 Palazzo Casati Stampa Scala, Firenze: pp. 14 (top), 76, 102 The Art of Natee Utarit (details) via Torino 61 © 2017. Digital image, The Museum Demetrio Paparoni 20123 Milano of Modern Art, New York/Scala, Art Director Italy Firenze: pp. 14 (bottom), 18, Makati Avenue corner Marcello Francone www.skira.net 124 (bottom) De La Rosa Street, Greenbelt Park, Makati City, 147 © 2017. Foto Austrian Archives/ 1224 Philippines Optimism is Ridiculous Design © All rights reserved by Richard Koh Scala, Firenze: p. 90 Luigi Fiore Fine Art, Singapore © 2017. Foto Joerg P. Anders. © 2017 Skira editore for this edition Editorial Coordination Foto Scala, Firenze/bpk, Bildagentur 241 Writings by the Artist © 2017 Demetrio Paparoni for his Vincenza Russo fuer Kunst, Kultur und Geschichte, text Berlin: p. 134 Editing © 2017 Natee Utarit for his works © 2017. Foto Klaus Goeken. 249 Appendix Valeria Perenze and texts Foto Scala, Firenze/bpk, Bildagentur © Joseph Beuys, Juan Muñoz, Layout fuer Kunst, Kultur und Geschichte, by SIAE 2017 Antonio Carminati Berlin: p. 82 Jl. Medan Merdeka Timur No. 14 © Man Ray Trust, by SIAE 2017 Jakarta Pusat 10110 - Indonesia © 2017. Foto Scala, Firenze: pp. 8, Translation © Succession Marcel Duchamp 29 (top left), 34, 48, 116 Natalia Iacobelli by SIAE 2016 © 2017. Foto Scala, Firenze/bpk, © Succession Picasso, by SIAE 2017 Iconographical Research Bildagentur fuer Kunst, Kultur © The Andy Warhol Foundation for Paola Lamanna und Geschichte, Berlin: pp. -
A Thesis Submitted to the College of the Arts of Kent State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts
FROM ANCIENT GREECE TO SURREALISM: THE CHANGING FACES OF THE MINOTAUR A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brenton Pahl December, 2017 Thesis written by Brenton Pahl B.A., Cleveland State University, 2009 M.A., Kent State University, 2017 Approved by —————————————————— Marie Gasper-Hulvat, Ph.D., Advisor —————————————————— Marie Bukowski, M.F.A., Director, School of Art —————————————————— John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES ………………………………………………………………………………….……iv ACKNOWLEDGMENTS ………………………………………………………………………………..vii I. INTRODUCTION Mythology in Surrealism ………………………………………………………………………….1 The Minotaur Myth ………………………………………………………………………………..4 The Minotaur in Art History …………………………………………………..…………………..6 II. CHAPTER 1 Masson’s Entry into Surrealism ……………………..…………………………………..…….…10 The Splintering of Surrealism …………..…………………….…………………………….……13 La Corrida …………………………………………………………………………………….….15 III. CHAPTER 2 The Beginnings of Minotaure ……………………………………………………………………19 The Remaining Editions of Minotaure …………………………………………………………..23 IV. CHAPTER 3 Picasso’s Minotaur ……………………………………………………………..………….……..33 Minotauromachy …………………………………………………………………………………39 V. CHAPTER 4 Masson and the Minotaur …………………..…………………………………………………….42 Acephalé ………………………………………………………………………………………….43 The Return to the Minotaur ………………………………………………………………………46 Masson’s Second Surrealist Period …………………..………………………………………….48 VI. CONCLUSION -
Frye Art Museum 2014 Annual Report
Frye Art Museum 2014 Annual Report CONTENTS LETTER FROM THE PRESIDENT AND DIRECTOR 3 STEWARDSHIP Collections and Acquisitions and Gifts of Art to the Museum 4 Artworks on Loan 12 EXHIBITIONS Exhibitions 14 Lenders 18 Publications 19 Selected Reviews 20 ARTS ENGAGEMENT PROGRAMS Youth 24 Educators 26 Lifelong Learners 26 Events 28 Community Partners 29 SUPPORT Foundations, Funding Agencies, Corporations, Media Sponsors, In- Kind Contributors, and Individual Donors 30 Sustained Support 32 Membership 35 Volunteers 40 STAFF 42 Cover: Franz von Stuck. Lucifer (detail), 1890. Oil on canvas. 63 3/8 x 60 1/16 in. The National Gallery for Foreign Art, Sofi a, Bulgaria. FRYE ART MUSEUM 2014 ANNUAL REPORT 1 MISSION STATEMENT The Frye Art Museum is a living legacy of visionary patronage and civic responsibility, committed to Photos: John Ulman and Assaye Abunie artistic inquiry and a rich visitor experience. A catalyst for our engagement with contemporary art and artists is the Founding Collection of Charles and Emma Frye, access to which shall always be free. 2 FRYE ART MUSEUM 2014 ANNUAL REPORT LETTER FROM THE PRESIDENT AND DIRECTOR 2014 was a wonderful year for the Frye. Support for the Museum has Art, New York, and the Museum of Fine Arts, Boston. We are indebted to never been greater, broader, or deeper. Our ongoing commitment to serve these museums, and other important private and public lenders, for their our diverse communities was received with remarkable enthusiasm and generous loans. curiosity. As attendance in our galleries soared to new heights, we also reached thousands of virtual visitors in dozens of countries around the We were pleased to be selected by the Andy Warhol Foundation for the world through our website and on social media.