1 Minute Eng Part 1

Total Page:16

File Type:pdf, Size:1020Kb

1 Minute Eng Part 1 1 MINUTE IN A MUSEUM SEASON 1 TITLE ARTIST YEAR 1 THE MONEYLENDER AND HIS WIFE QUENTIN METSYS 1514 2 HEAD OF PRINCESS AKHENATES EGYPT 14th CENTURY BC 3 THE FOUR SEASONS ARCIMBOLDO 1573 4 THE RAFT OF THE MEDUSA GERICAULT 1819 5 DIANA BATHING FRANÇOIS BOUCHER 1742 6 THE SCHOOL MASTER ADRIAN VAN OSTADE 1662 7 EAGLE SHAPED VASE know as SUGER'S EAGLE BEFORE 1147 8 THE CARD SHARP GEORGES LATOUR 17th CENTURY VENUS AND THE GRACES OFFERING GIFTS TO A YOUNG BOTTICELLI 1483-1485 9 GIRL THE BLESSED RANIERI FREEING THE POOR FROM A STEFANO DI GIOVANNI DI SASSETO 1437-1444 10 PRISON IN FLORENCE 11 THE BLIND LEADING THE BLIND BRUEGHEL L'ANCIEN 1568 12 BRITTANY STYLE WRESTLING PAUL SERUSIER 1890-1891 13 ROSES UNDER THE TREES GUSTAV KLIMT 1905 14 THE RED BUOY PAUL SIGNAC 1895 15 JANE AVRIL TOULOUSE-LAUTREC 1892 16 IN BED EDOUARD VUILLARD 1891 17 PLANING THE FLOOR GUSTAVE CAILLEBOTTE 1875 18 MATURITY CAMILLE CLAUDEL 1902 19 DINNER FELIX VALLOTON 1899 20 THE CARD PLAYERS PAUL CÉZANNE 1890-1895 21 BONPARTE AT THE GRAND SAINT BERNARD JACQUES-LOUIS DAVID 1801 22 TIME GOYA 1808-1812 23 TWO CARPS KATSASHIKA HOKUSAI 1760-1849 24 THE WHEAT SIFTERS GUSTAVE COURBET 1854 25 TIGER HUNT PIERRE-PAUL RUBENS 1616 26 THE ENERVATION VICTIMS OF JUMIEGES LUMINAIS 1880 27 GORILLA CARRYING OFF A WOMAN EMMANUEL FREMIET 1887 28 SAINT JAMES AND THE MAGICIAN JEROME BOSCH 15th - 16th CENTURIES 29 DOGS FIGHTING WITH A WOLF JEAN-BAPTISTE OUDRY 1700-1750 30 ANTONIA AMEDEO MODIGLIANI 1915 31 PSYCHE AWAKENED BY CUPID'S KISS ANTONIO CANOVA 1793 32 THE WINGED VICTORY OF SAMOTHRACE SAMOTHRACE ISLAND 2nd CENTURY BC 33 LA GIOCONDA known as the MONA LISA LEONARD DE VINCI 1503-1506 34 THE SKATE FISH CHARDIN 1725-1726 35 DENTELLIER or THE LACEMAKER JAN VERMEER 1670 36 SLAVES MICHEL-ANGE 1513-1515 SARCOPHAGUS known as THE MARRIED COUPLE FROM ETRUSCAN ART 6th CENTURY BC 37 CERVETERI 38 FOUR MIRROR ARMOR MOGUL ART 17th - 18th CENTURIES 39 TRROU KORROU MALO ISLAND, VANUATU 19th CENTURY 40 THE SEATED SCRIBE 3rd MILLENIUM BC 41 LIBERTY LEADING THE PEOPLE EUGENE DELACROIX 1831 42 POLAR BEAR FRANÇOIS POMPON 1928-1933 43 TRAVELLER IN THE WIND JEAN-LOUIS ERNEST MEISSONNIER 1878-1890 44 CIRCUS GEORGES-PIERRE SEURAT 1859-1891 45 THE WHITE HORSE PAUL GAUGUIN 1898 46 MAN WALKING AUGUSTE RODIN 1905 47 THE SNAKE CHARMER LE DOUANIER ROUSSEAU 1907 DANCING AT THE MOULIN DE LA GALETTE, AUGUSTE RENOIR 1876 48 MONTMARTRE 49 THE MAGPIE CLAUDE MONET 1868-1869 50 STARRY NIGHT VINCENT VAN GOGH 1888 51 THE POOR FISHERMAN PIERRE-CECIL PUVIS DE CHAVANNES 1881 THE FOUR QUARTERS OF THE WORLD BEARING THE JEAN-BAPTISTE CARPEAUX 1872 52 CELESTIAL SPHERE HERAKLES DRAWING HIS BOW AT THE STYMPHALIAN ANTOINE BOURDELLE 1909 53 BIRDS 54 THE WOLF OF GUBBIO LUC-OLIVIER MERSON 1877 55 SHIVA NATARAJA AS KING OF THE DANCE SOUTHERN INDIA 6th CENTURY BC 56 POLO PLAYER NORHERN CHINA TANG DYNASTY 618-907 57 FIGURE JOAN MIRO 1934 58 FEMALE STATUETTE ITALIE/FRANCE/DORDOGNE/PALÉOLITHIC 59 TWO WOMEN RUNNING ON THE BEACH PABLO PICASSO 1922 60 THE LADY AND THE UNICORN: TO MY ONLY DESIRE WORKSHOP OF THE NETHERLANDS 1484-1500.
Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Rembrandt, Vermeer and Other Masters of the Dutch Golden Age at Louvre Abu Dhabi
    REMBRANDT, VERMEER AND OTHER MASTERS OF THE DUTCH GOLDEN AGE AT LOUVRE ABU DHABI SOCIAL DIARY | FEBRUARY, 2019 From 14 February to 18 May 2018, Louvre Abu Dhabi will present Rembrandt, Vermeer and The Dutch Golden Age: Masterpieces from The Leiden Collection and the Musée du Louvre. Jan Lievens (1607-1674) Boy in a Cape and Turban (Portrait of Prince Rupert of the Palatinate) ca. 1631 Oil on panel New York, The Leiden Collection Image courtesy of The Leiden Collection, New York. Marking the 350th anniversary of Rembrandt’s death, this new exhibition at Louvre Abu Dhabi is the largest showing to date in the Gulf Region of works by Dutch 17th-Century masters. This exhibition is the result of a remarkable collaboration of Louvre Abu Dhabi, The Leiden Collection, The Musée du Louvre and Agence France-Museums who have worked very closely to showcase this extraordinary assemblage of 95 paintings, drawings and objects. Also a rare opportunity to see 16 remarkable paintings by Rembrandt van Rijn, along with rare pieces by Johannes Vermeer, Jan Lievens or Carel Fabritius. Not familiar with The Dutch Golden Age? It was a brief period during the 17th century when the Dutch Republic, newly independent from the Spanish Crown, established itself as a world leader in trade, science and the arts, and was regarded as the most prosperous state in Europe. During this period, Rembrandt and Vermeer established themselves at the forefront of a new artistic movement characterized by a deep interest in humanity and daily life. This exhibition is drawn primarily from The Leiden Collection, one of the largest and most significant private collections of artworks from the Dutch Golden Age.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • Classical Paintings in London
    October, 1931] THE VIRGINIA TEACHER 199 North Carolina CLASSICAL PAINTINGS IN North Carolina College for Women, Library School, LONDON Greensboro 45 25 IT OCCURRED to me while viewing Ohio the wonderful paintings in the different *Western Reserve Univ., Sch. of Library Service, Cleveland art galleries of London that a list of (Grad. and Junior) 210 82 the classical paintings to be found there Oklahoma would be of considerable interest to every Univ. of Oklahoma, School of classically-minded person. The paintings of Library Science, Norman.... 0-50 the National Gallery have been divided into Pennsylvania ♦Carnegie Institute, Carnegie Li- three classes. Since the Tate Gallery has brary School, Pittsburgh considerable classical sculpture, I have add- (Junior) _ ..107 45 ♦Drexel Institute, School of Li- ed that to the list of paintings. Only those brary Science, Philadelphia pictures that can be seen at Hampton Court (Graduate) 205 40 are listed. Many have been removed from Tennessee exhibition in order to allow for the better George Peabody College, Li- brary School, Nashville 208 29 display of better pictures. However, stu- Univ. ' of Tennessee, Library dents who present their cards to the Super- School, Knoxville 45-126 intendent will be allowed to see them when- TIexas ever possible. College of Industrial Arts (Women), Dept. Library Sci- ence, Denton 30 14 National Gallery Virginia French, Spanish, and British Schools: ♦Hampton Institute, Library School (Colored), Hampton Boucher— (Junior) 118 8 Pan and Syrinx Washington Claude— ♦Univ. of Washington, Library School, Seattle (Senior) 65-165 SO Aeneas at Delos Wisconsin Death of Procris ♦Univ. of Wisconsin, Library Narcissus and Echo School, Madison (Junior) ..
    [Show full text]
  • Selected Works from 18Th to 20Th Century
    SELECTED WORKS From 18th to 20th CENTURY GALLERIA CARLO VIRGILIO & C0. GALLERIA CARLO VIRGILIO & Co. ARTE ANTICA MODERNA E CONTEMPORANEA Edition curated by Stefano Grandesso in collaboration with Eugenio Maria Costantini Aknowledgements Franco Barbieri, Bernardo Falconi, Massimo Negri English Translations Daniel Godfrey, Michael Sullivan Photo Credits Photographs were provided by the owners of the works, both institutions and individuals. Additional information on photograph sources follows. Arte Fotografica, Rome, pp. 4, 7, 9, 13-19, 25, 27, 29, 31, 33, 43, 45, 47, 57, 61-63, 67, 69, 71, 73, 75, 77-79, 81, 83, 85, 88 Foto Claudio Falcucci, p. 25 Foto Giusti Claudio, Lastra a Signa, p. 35 Giulio Archinà per StudioPrimoPiano, p. 23 Paolo e Federico Manusardi, Milano, pp. 39, 41 The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. ISBN 978-88-942099-4-5 © Edizioni del Borghetto Tel. + 39 06 6871093 - Fax +39 06 68130028 e-mail: [email protected] http//www.carlovirgilio.it SELECTED WORKS From 18th to 20th CENTURY Catalogue entries Adriano Amendola, Manuel Carrera, Eugenio Maria Costantini, Federica Giacomini, Cristiano Giometti, Stefano Grandesso, Silvia Massari, Fernando Mazzocca, Hermann Mildenberger, Giuseppe Porzio, Serenella Rolfi Ožvald, Valeria Rotili, Annalisa Scarpa, Ilaria Sgarbozza, Ettore Spalletti, Nicola Spinosa TEFAF Maastricht March 16–24, 2019 e GALLERIA CARLO VIRGILIO & Co. ARTE ANTICA MODERNA E CONTEMPORANEA ISBN 978-88-942099-4-5 Via della Lupa, 10 - 00186 Roma 59 Jermyn Street, Flat 5 - London SW1Y 6LX Tel. +39 06 6871093 [email protected] - [email protected] www.carlovirgilio.it Detail of cat.
    [Show full text]
  • Cat Talogu E 58
    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue 58 Item 50: Edward Julius Detmold The Captive All items listed are illustrated on our web site: www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. [Woman holding a bird and cherries] After Adam Buck (1759 - 1833), draughtsman and Sunt Oculi Scopuli, quos parat illa Venus specialist in watercolours. E. Back a H. sc. Jeremias Wolff excud . Aug. Vind. Stock: 40031 Engraving, platemark 300 x 190mm (11¾ x 7½") very large margins. £160 6. [Adrian von Seumenicht] Hadrianus, a One of a series of engravings by Augsburg printmaker Minsicht, Germanus, Com: Pal: Phil: Et Med: Jeremias Wolff after Elias Bäck (1679-1747), also of D: P.L. Caes: Nec Non Diver: S.R. Prin. Consil Augsburg. Et Arch: Stock: 40173 D. Diricksen Hamburg sculpt [in image] [n.d., c.1685.] Rare engraving, sheet 175 x 130mm (7 x 5"). Trimmed 2. [Sleeping woman] ____praestat si talia and glued to album sheet. £160 somnus, Blandimenta vigil quae dare posse Adrien von Seumenicht (1588-1638), alchemist best putas? known for his work 'Aureum Saeculum Redivivum' E. Back a H. sc. Jeremias Wolff excud . Aug. Vind. (The Golden Age Restored). In an oval frame Engraving, platemark 300 x 190mm (11¾ x 7½") very surrounded by alchemical and mathematical large margins.
    [Show full text]
  • Bulfinch's Mythology the Age of Fable by Thomas Bulfinch
    1 BULFINCH'S MYTHOLOGY THE AGE OF FABLE BY THOMAS BULFINCH Table of Contents PUBLISHERS' PREFACE ........................................................................................................................... 3 AUTHOR'S PREFACE ................................................................................................................................. 4 INTRODUCTION ........................................................................................................................................ 7 ROMAN DIVINITIES ............................................................................................................................ 16 PROMETHEUS AND PANDORA ............................................................................................................ 18 APOLLO AND DAPHNE--PYRAMUS AND THISBE CEPHALUS AND PROCRIS ............................ 24 JUNO AND HER RIVALS, IO AND CALLISTO--DIANA AND ACTAEON--LATONA AND THE RUSTICS .................................................................................................................................................... 32 PHAETON .................................................................................................................................................. 41 MIDAS--BAUCIS AND PHILEMON ....................................................................................................... 48 PROSERPINE--GLAUCUS AND SCYLLA ............................................................................................. 53 PYGMALION--DRYOPE-VENUS
    [Show full text]
  • An Essay on the Utility of Collecting the Best Works
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com - , , , , , , 'S --- - DEL: - £87 1-0. - Alt . v. ' * **, M871-6 Mº its Vl. 1922 tº | - v i y T wool." "I * ria:… ety--- *AN&#: ; ; AN ESSAY ON THE UTILITY OF COLLECTING THE BEST WORKS OF THE ANCIENT ENGRAVERS OF THE ITALIAN SCHOOL ; ACCOMPANIED BY A CRITICAL CATALOGUE, WITH INTERESTING ANECDOTES OF THE ENGRAVERS, OF A CHRONOLOGICAL SERIES OF RARE AND VALUABLE PRINTS, FROM THE EARLIEST PRACTICE OF THE ART IN ITALY TO THE YEAR 1549, NOW DEPOSITED IN THE BRITISH MUSEUM AND ROYAL ACADEMY, IN LONDON, BY GEORGE CUMBERLAND. Give me your favour:-my dull brain was wrought With things forgotten. Macbeth, Act i. Sc. 3. LONDON. PRINTED BY W. NICOL, CLEVELAND-ROW ; AND SOLD BY PAYNE AND FOSS, PALL-MALL ; J. AND A. ARCH, CORNHILL; AND COLNAGHI, SON AND Co. PALL-MALL EAST. 1827. TO BARON FARNBOROUGH, OF BROMLEY HILL, KENT, of HIS MAJESTY's MosT HONOURABLE PRIVY COUNCIL, GRAND CROSS OF THE ORDER OF THE BATH, F. R. S. 4c. 4c. &c. MY LoRD, THAT the Polite Arts may become, for the general benefit, as perfectly understood among us as the arts of Commerce are, is a desire in which we mutually participate. In permitting me there fore to inscribe this Work to your Lordship, whose indefatigable zeal for their advancement has been invariable, you confer a new obligation on Your faithful Friend, and very humble Servant, THE AUTHOR.
    [Show full text]
  • Cultivating Myth and Composing Landscape at the Villa D'este, Tivoli
    CULTIVATING MYTH AND COMPOSING LANDSCAPE AT THE VILLA D’ESTE, TIVOLI by MIRIAM SUSANNAH DEBORAH BAY A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Classics, Ancient History and Archaeology College of Arts and Law University of Birmingham September 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis presents a new reconstruction and interpretation of the ideological programmes at the Villa d’Este in Tivoli, devised by Pirro Ligorio for Cardinal Ippolito II d’Este from 1560 to 1572. It traces the sixteenth-century visitor’s progress through the garden, where a sculptural pantheon of classical deities and demigods located within mythically allusive settings transformed the visitor’s journey into a lushly storyboarded experience, reconfiguring the garden as a site of mythic encounter. Investigating the intersection between the visitor’s symbolic and sensory modes of experience at the Villa d’Este, this thesis pioneers a new approach to Italian Renaissance garden design, synthesising traditional interpretative approaches to iconography with innovative phenomenological methodologies from sensory anthropology and recent ecocritical perspectives on landscape in the Cinquecento.
    [Show full text]
  • HEAVEN on EARTH Oi.Uchicago.Edu Ii Heaven on Earth Oi.Uchicago.Edu
    oi.uchicago.edu i HEAVEN ON EARTH oi.uchicago.edu ii Heaven on Earth oi.uchicago.edu iii HEAVEN ON EARTH TEMPLES, RITUAL, AND COSMIC SYMBOLISM IN THE ANCIENT WORLD edited by DEENA RAGAVAN with contributions by Claus Ambos, John Baines, Gary Beckman, Matthew Canepa, Davíd Carrasco, Elizabeth Frood, Uri Gabbay, Susanne Görke, Ömür Harmanşah, Julia A. B. Hegewald, Clemente Marconi, Michael W. Meister, Tracy Miller, Richard Neer, Deena Ragavan, Betsey A. Robinson, Yorke M. Rowan, and Karl Taube Papers from the Oriental Institute Seminar Heaven on Earth Held at the Oriental Institute of the University of Chicago 2–3 March 2012 THE oriental INSTITUTE OF THE UNIVERSITY OF chicago ORIental INsTITUTe seMINARs • NUMBeR 9 Chicago, ILLINOIS oi.uchicago.edu iv Heaven on Earth library of Congress Control Number: 2013938227 IsBN-13: 978-1-885923-96-7 IsBN-10: 1-885923-96-1 IssN: 1559-2944 © 2013 by The University of Chicago. All rights reserved. Published 2013. Printed in the United states of America. The Oriental Institute, Chicago THE UNIVERSITY OF Chicago ORIental INsTITUTe seMINARs • NUMBeR 9 Series Editors Leslie Schramer and Thomas G. Urban with the assistance of Rebecca Cain, Zuhal Kuru, and Tate Paulette Publication of this volume was made possible through generous funding from the Arthur and Lee Herbst Research and Education Fund Cover Illustration: Tablet of shamash (detail). Gray schist. sippar, southern Iraq. Babylonian, early 9th century b.c.e. British Museum BM 91000–04 Printed by McNaughton & Gunn, Saline, Michigan The paper used in this publication meets the minimum requirements of American National Standard for Information Services — Permanence of Paper for Printed library Materials, ANsI Z39.48-1984.
    [Show full text]
  • Masks of God: Primitive Mythology
    JOSEPH CAMPBELL THE MASKS OF GOD: PRIMITIVE MYTHOLOGY LONDON : SECKER & WARBURG : 1960 OCR by Angel (Christian Library) [email protected] Version 1.0 COPYRIGHT © 1959 BY JOSEPH CAMPBELL The author wishes to acknowledge with gratitude the generous support of his researches by the Bollingen Foundation Printed in England by The Pitman Press Ltd., Bath and first published 1960 by Martin Secker & Warburg Ltd. 7 John Street, London W.C.I CONTENTS Prologue: Toward a Natural History of the Gods and Heroes 3 I. The Lineaments of a New Science 3 II. The Well of the Past 5 III. The Dialogue of Scholarship and Romance 8 PART ONE: THE PSYCHOLOGY OF MYTH Introduction: The Lesson of the Mask 21 Chapter I. The Enigma of the Inherited Image 30 I. The Innate Releasing Mechanism 30 II. The Supernormal Sign Stimulus 38 Chapter 2. The Imprints of Experience 50 I. Suffering and Rapture 50 II. The Structuring Force of Life on Earth 57 III. The Imprints of Early Infancy 61 IV. The Spontaneous Animism of Childhood 78 V. The System of Sentiments of the Local Group 88 VI. The Impact of Old Age 118 PART TWO: THE MYTHOLOGY OF THE PRIMITIVE PLANTERS Chapter 3. The Culture Province of the High Civilizations 135 I. The Proto-Neolithic: c. 7500-5500 B.C. 136 vi CONTENTS II. The Basal Neolithic: c. 5500-4500 B.c. 138 III. The High Neolithic: c. 4500-3500 B.c. 140 IV. The Hieratic City-State: c. 3500-2500 B.C. 144 Chapter 4. The Province of the Immolated Kings 151 I.
    [Show full text]
  • NA Exhibition Book
    SEE IT LOUD Seven Post-War American Painters Leland Bell Paul Georges Peter Heinemann Albert Kresch Stanley Lewis Paul Resika Neil Welliver SEE IT LOUD Seven Post-War American Painters By Bruce Weber september 26, 2013 – january 26, 2014 National Academy Museum new york TABLE OF CONTENTS Director’s Foreword 6 Acknowledgements 8 Formal Alliances: Seven Post-War American Painters from the Collection of the Center for Figurative Painting 11 bruce weber Plates 85 Notes 182 Checklist of the Exhibition 188 Additional Works from the Center for Figurative Painting 193 DIRECTOR’S FOREWORD Since its founding in 1825, the National Academy has been dedicated to the promotion of American art and architecture through exhibition and educa- tion. As a tripartite institution, comprising museum, art school, and honorary association of peer elected National Academician artists and architects, it is uniquely positioned to uphold this mission. It is in this spirit that we enthusiastically present the exhibition See It Loud: Seven Post-War American Painters drawn from the collection of the Center for Figurative Painting. The exhibition explores the work of seven accomplished artists all of whom it turns out are National Academicians: Leland Bell, Paul Georges, Peter Heinemann, Albert Kresch, Stanley Lewis, Paul Resika, and Neil Welliver. This group of painters all working during the post war years and mostly in New York City emerged in the wake of Abstract Expression- ism and forged an original and dynamic synthesis between representational imagery and the principles of abstraction. The Academy’s Senior Curator, Bruce Weber, PhD, was drawn to the focus and depth of the Center’s collection of almost 200 paintings selectively built on nearly 20 artists.
    [Show full text]