J. Pedro Lorente, Monuments Devoted to Artists in Public Spaces Around
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Direct PDF Link for Archiving
Andrew Eschelbacher book review of Les Bronzes Bardedienne: l’oeuvre d’une dynastie de fondeurs by Florence Rionnet Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Citation: Andrew Eschelbacher, book review of “Les Bronzes Bardedienne: l’oeuvre d’une dynastie de fondeurs by Florence Rionnet,” Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017), https://doi.org/10.29411/ncaw.2017.16.2.6. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Eschelbacher: Les Bronzes Bardedienne: l’oeuvre d’une dynastie de fondeurs by Florence Rionnet Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Florence Rionnet, Les bronzes Barbedienne: l’oeuvre d’une dynastie de fondeurs. Paris: Arthena, 2016. 571 pp.; 1300 illus. (200 color and 1100 b&w illus.); bibliography; index. €140 ISBN: 978-2-903239-58-9 Florence Rionnet’s monumental study on the history of the Barbedienne foundry and the bronze sculptures it created between 1834 and 1954 is a timely and vast reference tome. Lushly illustrated and rich with archival research, Les bronzes Barbedienne sheds substantial new light on the operations of one of France’s most significant foundries in an age when sculptural production increased through its intersection with industrial processes. The Maison Barbedienne was at the center of this phenomenon and Rionnet’s book, which includes a catalogue of over 2000 objects, proves expansive in its history of the foundry and in its connections to broader trends of French artistic society in the nineteenth and twentieth centuries. -
Joan of Arc" in the Artistic Development of Anna Hyatt Huntington
Syracuse University SURFACE The Courier Libraries Fall 1975 The Significance of the questrianE Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington Myrna Garvey Eden Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons Recommended Citation Eden, Myrna Garvey. "The Significance of the questrianE Monument 'Joan of Arc' in the Artistic Development of Anna Hyatt Huntington." The Courier 12.4 (1975): 3-12. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. JOAN OF ARC Bronze, 11.4 times life. 1915. Riverside Drive and 93rd Street, New York, New York. Anna Hyatt Huntington, Sculptor THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XII, NUMBER 4 Table of Contents Fall 1975 Page The Significance of the Equestrian Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington. 3 Myrna Garvey Eden The Sculpture of Anna Hyatt Huntington in the Syracuse University Art Collection. 13 Myrna Garvey Eden Clara E. Sipprell: American Photographer, In Memoriam 29 Ruth-Ann Appelhof News of the Library and Library Associates 33 Portrait of Anna Hyatt Huntington from Beatrice G. Proske's Archer M. Huntington, New York, Hispanic Society of America, 1963. Courtesy of Hispanic Society of America. The Significance of the Equestrian Monument "Joan of Arc" In the Artistic Development of Anna Hyatt Huntington by Myrna Garvey Eden The manuscript collection of Anna Hyatt Huntington, sculptor, 1876-1973, left to the George Arents Research Library at Syracuse University by Mrs. -
Portraits Peints Et Sculptés Du XIX E
In Situ Revue des patrimoines 31 | 2017 Patrimoines de la santé : essais de définition - enjeux de conservation Portraits peints et sculptés du XIXe siècle dans les hôpitaux de Bourgogne, entre imaginaire et réalisme Nineteenth-century painted and sculpted portraits in the hospitals of the Burgundy region, between imaginary qualities and reality Michaël Vottero Édition électronique URL : http://journals.openedition.org/insitu/14034 DOI : 10.4000/insitu.14034 ISSN : 1630-7305 Éditeur Ministère de la Culture Référence électronique Michaël Vottero, « Portraits peints et sculptés du XIXe siècle dans les hôpitaux de Bourgogne, entre imaginaire et réalisme », In Situ [En ligne], 31 | 2017, mis en ligne le 01 mars 2017, consulté le 10 octobre 2020. URL : http://journals.openedition.org/insitu/14034 ; DOI : https://doi.org/10.4000/ insitu.14034 Ce document a été généré automatiquement le 10 octobre 2020. In Situ Revues des patrimoines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Portraits peints et sculptés du XIXe siècle dans les hôpitaux de Bourgogne, e... 1 Portraits peints et sculptés du XIXe siècle dans les hôpitaux de Bourgogne, entre imaginaire et réalisme Nineteenth-century painted and sculpted portraits in the hospitals of the Burgundy region, between imaginary qualities and reality Michaël Vottero 1 Le patrimoine hospitalier de Bourgogne est aujourd’hui bien connu. L’étude conduite conjointement par l’agence régionale de l’hospitalisation et le service régional de l’Inventaire général ainsi que le travail mené par les conservations des antiquités et objets d’art de la région ont permis de dresser un état des collections conservées dans les établissements de soins et de protéger un certain nombre d’objets au titre des monuments historiques1. -
Le Livre De Comptes De Xavier Schanosky
LE LIVRE DE COMPTES DE XAVIER SCHANOSKY par M. Bernard SONNET à la mémoire de Gustave Pouffier, son petit-fils La discrétion innée de Xavier Schanosky semble entourer sa mémoire. Depuis son éloge funèbre et sa biographie tracés par Henri Chabeuf en 19161, aucun article, nulle commémoration dont nous sommes pourtant si friands, pas même une plaque2 ne sont venus le rappeler à notre attention. Ce silence était entretenu jusqu'à présent par l'absence d'archives concernant son œuvre, la plupart ayant disparu. Aussi la communica- tion par une de ses descendantes, de son livre de comptes, le seul sub- sistant semble-t-il, représente-t-elle un témoignage inestimable de son inlassable activité3. Grâce à sa chronologie méthodique et des détails techniques rigou- reux, il est possible de préciser la contribution essentielle de cet artiste méconnu aux grands travaux publics et privés conduits à la charnière de deux siècles : du 18 janvier 1896 à décembre 1914. Auparavant, il n'est pas sans intérêt d'évoquer brièvement quelques aspects de sa vie. Xavier Schanosky est né à Dijon, le 20 mars 1867. Il est initié par son père, Jules4, lui-même sculpteur de grand talent, dont l'œuvre est tout aussi ignorée, puis entre à l'école des Beaux-Arts de Dijon, foyer important d'artistes et d'architectes dont il conviendrait de reconnaître les mérites dans le développement artistique local. C'est là qu'il rencontre, entre autres, le sculpteur Paul Gasq5 avec 1. Cf. CHABEUF (H.), « Éloge funèbre de Xavier Schanosky », Mémoires de la Commission des Antiquités de la Côte-d'Or, tome XVII, p. -
Quatre Maquettes De L'arc De Triomphe De L'étoile Restées Dans L'atelier De
In Situ Revue des patrimoines 39 | 2019 Imagerie numérique et patrimoine culturel : enjeux scientifiques et opérationnels Quatre maquettes de l’arc de triomphe de l’Étoile restées dans l’atelier de Georges Chedanne Emily Rawlinson-Mazeri et avec la collaboration d’Agnès Le Boudec Édition électronique URL : http://journals.openedition.org/insitu/22202 DOI : 10.4000/insitu.22202 ISSN : 1630-7305 Éditeur Ministère de la Culture Référence électronique Emily Rawlinson-Mazeri et avec la collaboration d’Agnès Le Boudec, « Quatre maquettes de l’arc de triomphe de l’Étoile restées dans l’atelier de Georges Chedanne », In Situ [En ligne], 39 | 2019, mis en ligne le 12 juin 2019, consulté le 11 juillet 2019. URL : http://journals.openedition.org/insitu/22202 ; DOI : 10.4000/insitu.22202 Ce document a été généré automatiquement le 11 juillet 2019. In Situ Revues des patrimoines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Quatre maquettes de l’arc de triomphe de l’Étoile restées dans l’atelier de G... 1 Quatre maquettes de l’arc de triomphe de l’Étoile restées dans l’atelier de Georges Chedanne Emily Rawlinson-Mazeri et avec la collaboration d’Agnès Le Boudec 1 Tour à tour dessiné, gravé, photographié, peint, sculpté, miniaturisé, commercialisé, l’arc de triomphe de la place de l’Étoile à Paris a été reproduit inlassablement depuis sa construction en 1836. C’est bien une histoire de reproduction et de diffusion qui unit quatre grandes maquettes en plâtre du monument réalisées avant la Seconde Guerre mondiale, aujourd’hui inventoriées et dispersées dans autant d’institutions muséales différentes. -
2012 Sculpture
NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE MAY 3rd – JULY 6th, 2012 SHEPHERD & DEROM GALLERIES © Copyright: Robert J. F. Kashey and David Wojciechowski for Shepherd Gallery, Associates, 2012 TECHNICAL NOTE: All measurements are approximate and in inches and centimeters. Prices on request. All works subject to prior sale. CATALOG ENTRIES by Jennifer S. Brown, Elisabeth Kashey, and Leanne M. Zalewski. NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Exhibition organized by Robert Kashey and David Wojciechowski Catalog compiled and edited by Jennifer Spears Brown SHEPHERD & DEROM GALLERIES 58 East 79th Street New York, N.Y. 10075 Tel: 212 861 4050 Fax: 212 772 1314 [email protected] www.shepherdgallery.com NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Shepherd Gallery presents an exhibition of Nineteenth and Early Twentieth Century European Sculpture, which has been organized in conjunction with our new publication, Nineteenth and Early Twentieth Century European Sculpture: A Handbook. The exhibition corresponds to the handbook’s exploration of the materials, casting techniques, founders and editors involved in the making of sculpture in Europe from 1800 to 1920. On display are reductions and enlargements of individual models; plaster casts produced for special purposes; sculptures in a variety of media; and works that exemplify the aesthetic differences in chasing and modeling techniques from 1800 to 1920. Together, the handbook and the exhibition help the viewers to identify the complexities involved in the appreciation of sculpture from this period. CATALOG ALEXY, Károly 1823-1880 Hungarian School PRINCE EUGENE OF SAVOY, 1844 Bronze on square base. -
Sculpture and Modernity in Europe, 1865-1914
ARTH 17 (02) S c u l p t u r e a n d M o d e r n i t y i n E u r o p e , 1 8 6 5 - 1 9 1 4 Professor David Getsy Department of Art History, Dartmouth College Spring 2003 • 11 / 11.15-12.20 Monday Wednesday Friday / x-hour 12.00-12.50 Tuesday office hours: 1.30-3.00 Wednesday / office: 307 Carpenter Hall c o u r s e d e s c r i p t i o n This course will examine the transformations in figurative sculpture during the period from 1865 to the outbreak of the First World War. During these years, sculptors sought to engage with the rapidly evolving conditions of modern society in order to ensure sculpture’s relevance and cultural authority. We will examine the fate of the figurative tradition in the work of such sculptors as Carpeaux, Rodin, Leighton, Hildebrand, Degas, Claudel, and Vigeland. In turn, we will evaluate these developments in relation to the emergence of a self-conscious sculptural modernism in the work of such artists as Maillol, Matisse, Brancusi, Gaudier-Brzeska, and Picasso. In addition to a history of three-dimensional representation in the late-nineteenth and early-twentieth centuries, this course will also introduce the critical vocabularies used to evaluate sculpture and its history. s t r u c t u r e o f t h e c o u r s e Each hour session will consist of lectures and discussions of images, texts, and course themes. -
Hans Arp & Other Masters of 20Th Century Sculpture
Hans Arp & Other Masters Stiftung Arp e. V. Papers of 20th Century Sculpture Volume 3 Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 3 Hans Arp & Other Masters of 20th Century Sculpture Edited by Elisa Tamaschke, Jana Teuscher, and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Hans Arp & Other Masters of 20th Century Sculpture An Introduction Jana Teuscher 20 Negative Space in the Art of Hans Arp Daria Mille 26 Similar, Although Obviously Dissimilar Paul Richer and Hans Arp Evoke Prehistory as the Present Werner Schnell 54 Formlinge Carola Giedion-Welcker, Hans Arp, and the Prehistory of Modern Sculpture Megan R. Luke 68 Appealing to the Recipient’s Tactile and Sensorimotor Experience Somaesthetic Redefinitions of the Pedestal in Arp, Brâncuşi, and Giacometti Marta Smolińska 89 Arp and the Italian Sculptors His Artistic Dialogue with Alberto Viani as a Case Study Emanuele Greco 108 An Old Modernist Hans Arp’s Impact on French Sculpture after the Second World War Jana Teuscher 123 Hans Arp and the Sculpture of the 1940s and 1950s Julia Wallner 142 Sculpture and/or Object Hans Arp between Minimal and Pop Christian Spies 160 Contributors 164 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp is one of the established greats of twentieth-century art. As a founder of the Dada movement and an associate of the Surrealists and Con- structivists alike, as well as co-author of the iconic book Die Kunst-ismen, which he published together with El Lissitzky in 1925, Arp was active at the very core of the avant-garde. -
Joan of Arc in the Moder N Imagination
SETON HALL UNJ V R5 1TY WALSH LIBR_ARY CALLER_Y \ JOAN OF ARC IN THE MODER_N IMAGINATION NOVEMBER_ 3 - DECEMBER_ 16, 2005 C URATED BY ALI A O UR-ELSAYED A D BETSY MALI SKY CRADLI ATE TUDENTS I Tl-I[ MA rROCRAM IN MU ELIM rR FESSIONS Introduction Joan of Arc is one of the most celebrated female historical figures in modern times. A symbol of courage, patriotism, faith, and female heroism, her appeal has transcended both geographic boundaries and time limitations. In the fifteenth century, this young girl in rural France followed her calling by leading the army of the crown prince to defeat the English, thereby put ting Charles VII on the throne. Later, captured and tried, Joan was burned alive at the stake when she was only nineteen years old. Yet, in spite of her heroism, she remained relatively unnoticed, until the nineteenth century, when Joan became the subject of an enormous body of historical studies and Exhibition Team literary works. She also became an icon in the visual arts, theater, cinema, Curators: Alia Nour-Elsayed and Betsy Malinsky and pop culture; a symbol for numerous political movements; and an inspi Gallery Exhibition Consultant: Jo Ann Cott ration to children, women and soldiers. Faculty Consultant: Petra ten-Doesschate Chu Joan ofArc in the Modern Imagination focuses on some of the abun dant and diverse representations of this universal heroine and saint from the nineteenth century to our present day. The exhibition, comprising five sec tions, covers the story of Joan's life, her iconography, her representation in literature, theater and film, her occurrence in pop culture, and finally her legacy. -
Joan of Arc in Secular Art
Suivez le guide Joan of Arc museum The Joan of Arc museum was inaugurated in 1997. It is located in the right wing of the City Hall. It replaces the initial municipal museum which had existed since 1958 and whose collections, essentially comprising donations, explored the history of the region. During the 1990s, the Museum’s contents were changed and a major acquisition campaign was conducted. The Museum is now dedicated exclusively to the subject of imagery pertaining to Joan of Arc. It contains four sections, exploring the various different icons associated with Joan of Arc throughout the ages. First Section: Joan of Arc, from legend to historical truth Joan of Arc is one of the most well-known figures of the 15th century, notably due to the large number of written sources on her subject. Even during her lifetime, she was the object of myth-making, combining historical truth and legend. She was somewhat overlooked until the 19th century, the rationalism of the age of Enlightenment not being particularly receptive to the ‘voices’ and callings of providence. Written sources The first historical research work on the subject of Joan of Arc was conducted in the 19th century. Between 1840 and 1849, Jules Quicherat, a young archivist, studied the documents from Joan of Arc’s trial and published them. This essential research work was an initial scientific and critical approach to the written sources relating to her history. Fac-similé du procès en condamnation ou lettre autographe originale de Pierre de Refuge, encre sur vélin, datée du 1er septembre 1463 The "relics" A mystic and irrational dimension has always been associated to the figure of Joan of Arc. -
Download Book
1 INTRODUCTION The history of these magnificent marble busts featuring France’s first Emperor Napoleon Bonaparte (1769–1821) and his second wife the Empress Marie-Louise (1791–1847) is as fascinating as the characters portrayed. Dating from circa 1810, the two busts remained together for the following seven decades, having been passed down to Napoleon Bonaparte’s nephew Napoleon III (1808–73), who housed them at his residence, the Palais de Compiègne. Almost certainly, it was in 1881 that they were then separated, when Napoleon III’s widow the Empress Eugénie (1826–1920) gave the bust of Napoleon to her husband’s devoted former equerry Firmin Rainbeaux (1834–1916). Meanwhile, the bust of Marie-Louise remained with Eugénie who, when exiled in England, displayed it at her home at Farnborough Hill in Hampshire. After her death, it was sold to the Paris art dealer Élie Fabius (1864–1942) in 1927. Nine years later Fabius was able to buy the bust of Napoleon and thus after a separation lasting fifty–five years, this important pair of marbles were once more united. Certain parallels can be made between Napoleon and Marie-Lou- ise’s unusual marriage and the history of the two busts for although the Austrian archduchess was initially opposed to marrying her country’s greatest enemy, their matrimony resulted in love and deep mutual respect. Thus, like the busts themselves, theirs was a story of estrangement followed by union. Napoleon was not only a powerful military leader and astute politician but a man of intellect with great appreciation for the arts. -
Nos Espaces Publics Retrouvés P
DIJON mag LE MAGAZINE DE LA VILLE DE DIJON MAI 2018 • N° 312 www.dijon.fr Nos espaces publics retrouvés P. 22 P. 20 | BRUNCH DES HALLES C’EST PARTI POUR LA SAISON 3 P. 28 | FONTAINE D’OUCHE LA MÉTAMORPHOSE P. 12 | 6 PAGES SPÉCIALES DU QUARTIER MAI 68 À DIJON VOUS AVEZ L’ŒIL Le patrimoine dijonnais Lieu de vie et de culture. Jade, danseuse au sein de l’atelier Nastasia, pose dans le somptueux escalier Gabriel du palais des États sous l’œil de la photographe Ilkeys (@justinenrmnd). 2 I DIJON MAG N°3112 OMCATIO 2B0R18 E 2017 ÉDITORIAL Égalité, mixité, diversité François Rebsamen Maire de Dijon Président de Dijon métropole Ancien ministre La ville de Dijon, Dijon métropole et le centre communal d’action sociale viennent de se voir attribuer, par l’Afnor, le label Diversité, qui récompense l’engagement de la collectivité en faveur de la lutte contre les discriminations de toutes sortes et de la promotion de la diversité. Il s’agit d’un label créé par l’État pour encourager les organisations publiques comme privées à intégrer dans leur politique de recrutement et de management les principes de l’égalité entre toutes et tous, quels que soient l’âge, le handicap, l’origine, le genre, l’orientation ProchAin conseil sexuelle, les opinions syndicales ou religieuses… Peu de villes en France l’ont MUniciPAl lUnDi 25 JUin décroché. Très peu l’ont obtenu en même temps que le label Égalité, auquel à 18h30 Dijon est également candidate et que nous sommes en bonne voie d’obtenir.