John Allan Walker Art Catalog Collection SPC.2007.007
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Supplementary Information For
1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows. -
Adolf Fleischmann (1892—1968)
ADOLF FLEISCHMANN (1892—1968) snoeck ADOLF FLEISCHMANN An American Abstract Artist? Themen, Kontext und Rezeption des US-amerikanischen Spätwerks 1952 bis 1967 Themes, Context and Reception of Fleischmann’s late American period 1952 to 1967 Herausgegeben von / Edited by Renate Wiehager für die / for the Daimler Art Collection D AC Vorwort 7 Preface 11 RENATE WIEHAGER Adolf Fleischmann. An American Abstract Artist? Themen, Kontext und Rezeption des amerikanischen Spätwerks 1952–1967 15 Themes, Context and Reception of Fleischmann’s Late American Period 1952–1967 39 Historische Texte zum Spätwerk 1952–1976 86 Historical Texts on the Late Period 1952–1976 177 JULIAN ALVARD / R.V. GINDERTAEL [1952] 86/177 MICHEL SEUPHOR [1952] 89/180 DARIO SURO [1955] 90/181 DARIO SURO [1956] 94/184 BENEDICT FRED DOLBIN [1957] 96/187 SANSON FLEXOR [1957] 98/188 MICHEL SEUPHOR [1959] 119/189 RAYMOND BAYER [1964] 120/190 KURT LEONHARD [1967] 130/196 ALBERT SCHULZE VELLINGHAUSEN [1967] 135/199 CARLO BELLOLI [1970] 136/201 EUGEN GOMRINGER [1971] 139/205 EUGEN GOMRINGER [1972] 141/206 MICHEL SEUPHOR [1976] 145/208 THOMAS SCHNALKE Anatomie in Bewegung. Annäherungen an den medizinischen Illustrator und abstrakten Künstler Adolf Fleischmann 163 Anatomy in Motion. Some Remarks on the Medical Illustrator and Abstract Artist Adolf Fleischmann 169 Biografie/Biography 213/220 Einzelausstellungen/Solo Exhibitions 254 Gruppenausstellungen/Group Exhibitions 255 Werke in öffentlichen Sammlungen/Works in Public Collections 263 Literaturverzeichnis/Bibliography 266 Impressum/Imprint 280 VORWORT Adolf Fleischmann (1892–1968), mit einer bedeutenden Werkgruppe in der Daimler Art Collection vertreten, ist einer der herausragenden abstrakten Maler in Deutsch- land und den USA nach 1945. -
Cubism (Surface—Plane), 1912
perished because of a negative and exclusive solution to the question of shading. Our age is obliged by force of circumstances to finish what our predeces- sors passed on to us. The path of search in this direction is broad, its bends are diverse, its forks numerous; the solutions will be many. Among them, those connected in our art with the name of A. Exter will remain as an ex- ample of courage, freedom, and subtlety. The upsurge of strength and courage in the plastic arts wanes neither beyond the Rhine nor at home, and it is expressed in the high level of pure painting unprecedented in our coun- try, a phenomenon that is characteristic of its contemporary state. DAVID BURLIUK Cubism (Surface—Plane), 1912 For biography see p. 8. The text of this piece, "Kubizm," is from an anthology of poems, prose pieces, and articles, Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] (Moscow, December 1912 [according to bibl. R350, p. 17, although January 1913, according to KL], pp. 95-101 [bibl. R275]. The collection was prefaced by the famous declaration of the same name signed by David Burliuk, Velimir Khlebni- kov, Aleksei Kruchenykh, and Vladimir Mayakovsky and dated December 1912. The volume also contained a second essay by David Burliuk on texture [bibl. R269], verse by Khlebnikov and Benedikt Livshits, and four prose sketches by Vasilii Kan- dinsky [for further details see bibl. 133, pp. 45-50]. Both the essay on cubism and the one on texture were signed by N. Burliuk, although it is obvious that both were written by David and not by Nikolai (David's youngest brother and a poet of some merit). -
Outsider to Insider: the Art of the Socially Excluded
Derleme Makale YAZ 2020/SAYI 24 Review Article SUMMER 2020/ISSUE 24 Kartal, B. (2020). Outsider to insider: The art of the socially excluded. yedi: Journal of Art, Design & Science, 24, 141-149. doi: 10.17484/yedi.649932 Outsider to Insider: The Art of the Socially Excluded Dışarıdan İçeriye: Sosyal Dışlanmışların Sanatı Burcu Kartal, Department of Cartoon and Animation, İstanbul Aydın University Abstract Özet The term outsider art was coined by the art historian Roger Cardinal Toplum dışı sanat olarak da tanımlanan Outsider Art terimi ilk kez in 1972. Outsider art includes the art of the ‘unquiet minds,’ self- 1972 yılında Roger Cardinal tarafından kullanılmıştır. Toplum dışı taught and non-academic work. Outsider art is not a movement like sanat, akademik eğitim almamış, kendisini bu alanda geliştirmiş, Cubism or Expressionism with guidelines and traditions, rather it is a toplumun ‘normal’ olarak sınıflandırdığı grubun dışında kalan reflection of the social and mental status of the artist. The bireylerin yaptığı sanattır. Toplum dışı sanatın, kübizm veya classification relies more on the artist than the art. Due to such dışavurumculuk gibi belirli kuralları, çizgisi yoktur; sanatçının akli ve characteristics of the term, like wide range of freedom and urge to sosyal statüsü üzerinden sınıflandırılır. Bu nedenle toplum dışı sanat create, social discrimination, creating without the intention of profit, sınıflandırması sanat değil sanatçı üzerindendir. Toplum dışı sanatın people with Autism Spectrum Disorder also considered as Outsiders. ana özellikleri içerisinde önüne geçilemez yaratma isteği, sosyal However, not all people with Autism Spectrum Disorder has the dışlanma, kazanç sağlama hedefi olmadan üretme olduğu skillset to be an artist. -
THE FRY ART GALLERY TOO When Bardfield Came to Walden Artists in Saffron Walden from the 1960S to the 1980S 2 December 2017 to 25 March 2018
THE FRY ART GALLERY TOO When Bardfield Came to Walden Artists in Saffron Walden from the 1960s to the 1980s 2 December 2017 to 25 March 2018 Welcome to our new display space - The Fry Art Gallery Too - which opens for the first time while our main gallery at 19a Castle Street undergoes its annual winter closure for maintenance and work on the Collection. The north west Essex village of Great Bardfield and its surrounding area became the home for a wide range of artists from the early 1930s until the 1980s. More than 3000 examples of their work are brought together in the North West Essex Collection, selections of which are displayed in exhibitions at The Fry Art Gallery. Our first display in our new supplementary space focuses on those artists who lived at various times in and around Saffron Walden in the later twentieth century. Edward and Charlotte Bawden were the first artists to arrive in Great Bardfield around 1930, along with Eric and Tirzah Ravilious. After 30 years at Brick House, Charlotte arranged in 1970 that she and Edward would move to Park Lane, Saffron Walden for their later years. Sadly, Charlotte died before the move, but Edward was welcomed into an established community of successful professional artists in and around the town. These included artists Paul Beck and John Bolam, and the stage designers Olga Lehmann and David Myerscough- Jones. Sheila Robinson had already moved to the town from Great Bardfield in 1968, with her daughter Chloë Cheese, while the writer and artist Olive Cook had been established here with her photographer and artist husband Edwin Smith for many years. -
Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol
The Art Institute of Chicago Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol. 25, No. 9, Part II (Dec., 1931), pp. 1-31 Published by: The Art Institute of Chicago Stable URL: https://www.jstor.org/stable/4103685 Accessed: 05-03-2019 18:14 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Art Institute of Chicago (1907-1951) This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms EXHIBITION OF THE ARTHUR JEROME EDDY COLLECTION OF MODERN PAINTINGS AND SCULPTURE ARTHUR JEROME EDDY BY RODIN THE ART INSTITUTE OF CHICAGO DECEMBER 22, 1931, TO JANUARY 17, 1932 Part II of The Bulletin of The Art Institute of Chicago, Volume XXV, No. 9, December, 1931 This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms No. 19. -
Hans Hofmann (German-American Painter, 1880-1966)
237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Hans Hofmann (German-American Painter, 1880-1966) Hans Hofmann is one of the most important figures of postwar American art. Celebrated for his exuBerant, color-filled canvases, and renowned as an influential teacher for generations of artists— first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of ABstract Expressionism. As a teacher he Brought to America direct knowledge of the work of a celebrated group of European modernists (prior to World War I he had lived and studied in Paris) and developed his own philosophy of art, which he expressed in essays which are among the most engaging discussions of painting in the twentieth century, including "The Color ProBlem in Pure Painting—Its Creative Origin." Hofmann taught art for over four decades; his impressive list of students includes Helen Frankenthaler, Red Grooms, Alfred Jensen, Wolf Kahn, Lee Krasner, Louise Nevelson and Frank Stella. As an artist Hofmann tirelessly explored pictorial structure, spatial tensions and color relationships. In his earliest portraits done just years into the twentieth century, his interior scenes of the 1940s and his signature canvases of the late 1950s and the early 1960s, Hofmann brought to his paintings what art historian Karen Wilkin has descriBed as a "range from loose accumulations of Brushy strokes…to crisply tailored arrangements of rectangles…But that somehow seems less significant than their uniform intensity, their common pounding energy and their consistent physicality." Hofmann was Born Johann Georg Hofmann in WeissenBerg, in the Bavarian state of Germany in 1880 and raised and educated in Munich. -
INDIANS DISCOVERING LEWIS and CLARK Oil Painting by C
INDIANS DISCOVERING LEWIS AND CLARK Oil Painting by C. M. Russell Montana Historical Society, Mackay Collection THE LEWIS AND CLARK TRAIL HERITAGE FOUNDATION, INC. President Incorporated 1969 under Missouri General Not-For-Profit Corporation Act IRS Exemption Certificate No. 501 (C)(3) - Identification No. 51-0187715. Montague~s OFFICERS - EXECUTIVE COMMITIEE President 1st Vice President 2nd Vice President message H. John Montague Donald F. Nell Robert K. Doerk, Jr. 2928 N.W. Verde Vista Terrace P.O. Box577 P.O. Box 50ll Portland, OR 97210 Bozeman, MT 59715 Great Falls, MT 59403 Edrie Lee Vinson, Secretary John E. Walker, Treasurer 1405 Sanders 200 Market St., Suite 1177 Helena, MT 59601 Portland, OR 97201 By any measure, the 19th Annual Meeting Marcia Staigmiller, Membership Secretary of the Lewis and Clark Trail Heritage Foun RR 4433; Great Falls, MT 59401 dation was a resounding success. Sincere DIRECTORS thanks and commendations seem inadequate Ruth Backer James R. Fazio Ralph H. Rudeen in reviewing the efforts by our hosts, John Cranford, NJ Moscow, ID Olympia, WA and Pat Foote. They presented a wonderful opportunity to pursue the objectives of the Raymond L. Breun Harry Fritz Arthur F. Shipley St. Louis, MO Missoula, MT Bismarck, ND Foundation. During the visits to the expedi tion campsites and the float trip down the Patti A. Thomsen Malcolm S. Buffum James P. Ronda Waukesha, WI Yellowstone River, one could empathize with Portland, OR Youngstown, OH Captain Clark and his party as they pro Winifred C. George John E. Foote, Immediate Past President ceeded down the Yellowstone River to its St. -
Illustrating Stories of the American West Karen Yarnall Introduction This Unit Is the Result from Taking the Delaware Teachers I
Illustrating Stories of the American West Karen Yarnall Introduction This unit is the result from taking the Delaware Teachers Institute seminar “The American West as Place, Process, and Story” with University of Delaware’s Barry Joyce, Associate Professor of History. Not only will it fit into our art curriculum, but it will also increase the students’ knowledge of the American West and add an appreciation of tales that are a part of it. This unit will allow students to make cross-curricular connections between social studies, literature, geography, reading, writing, and art. After studying the American West with its rich history, art, and stories, my students will then select and research a folk tale, legend, myth, story, tall tale or Native American story from the west and capture a moment from their selections on paper in a color illustration. They will analyze and evaluate their own work and that of their peers in critiques. The unit will culminate with an art show for the community featuring the student illustrations. As one of three art teachers at Newark High School in Newark, Delaware, I plan to teach this unit in two of my classes. My Art Fundamentals class is our foundations course with an enrollment of over 30 9th, 10th, 11th and 12th grade students. The other class is my small upper level Advanced Drawing class that is composed of juniors and seniors who have more advanced skills. Newark High School is a Title 1 school with a population that is over 50% minority, 43% low income and 7% special education. -
Post-War & Contemporary
post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. -
Edward Bawden and His Circle Ebook, Epub
EDWARD BAWDEN AND HIS CIRCLE PDF, EPUB, EBOOK Malcolm Yorke | 272 pages | 15 Dec 2007 | ACC Art Books | 9781851495429 | English | Woodbridge, United Kingdom Edward Bawden and His Circle PDF Book He told an interviewer from House and Garden: No cat will suffer being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily. The Last Painting. Dust Jacket Condition: Very Good. Available in shop from just two hours, subject to availability. Edward Bawden and His Circle. Copiously illustrated with material from every period of Bawden's working life, "Edward Bawden and His Circle" illustrates all aspects of his creative output, and that of his Great Bardfield contemporaries, in its great variety. Slipcase in near fine condition. No Jacket. Christopher Wood. The Inward Laugh Edward Bawden and his circle. At first he left a space in the painting into which he would fit her, but soon found it easier to paint the cat first and arrange the room around her. Starting to Collect Antique Jewellery. If you have changed your email address then contact us and we will update your details. Of course that mattered little when you were a bachelor of frugal tastes, but that was soon to change. Prospectus only. He carried tiny sketch books and used them to make several imaginative watercolours on his return. New Hardcover Quantity Available: 1. Oliver Hellowell. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.