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Bridges Conference Proceedings Guidelines
Proceedings of Bridges 2014: Mathematics, Music, Art, Architecture, Culture Juan Gris’ Color Symmetries James Mai School of Art / Campus Box 5620 Illinois State University Normal, IL 61790-5620, USA E-mail: [email protected] Abstract Juan Gris, Spanish-born artist and contemporary of Picasso, brought to cubism a new compositional rigor grounded in geometry and a new vibrancy of color. Art historians and critics have commented upon the strength and uniqueness of Gris’ color, yet little has been written about either the specific colors or the possible color strategies employed by the artist. Examining the color organizations in the artist’s paintings and correlating these with the artist’s writings, the author describes the properties of limited-color palettes employed by Gris. The color- symmetry palette is defined as a special type of limited-color palette and is proposed as the primary color organization developed and employed by Gris between 1918 and 1924. Building on the author’s prior analyses of Gris’ compositions, the color-symmetry palettes are shown to correlate with and to reinforce Gris’ compositional symmetries. Introduction Juan Gris (1887-1927) was born José Victoriano Carmel Carlos González-Pérez in Madrid. In 1902 Gris began studies in mathematics, physics, engineering, and science at the Escuela de Artes y Manufacturas. In 1904 he abandoned those studies to train as an artist and subsequently began making a modest living as a magazine and newspaper illustrator in Madrid. He adopted the pseudonym Juan Gris (“John Gray”), moved to Paris in 1906, and took up residence in the Montmartre studio apartment building where Pablo Picasso (1881-1973) lived and worked. -
Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939
Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939 Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Emma Elizabeth Reddy (MA Cantab) School of English University of Leicester February 2017 2 ABSTRACT Modernist Aesthetics and the Artificial Light of Paris: 1900 to 1939 Emma Elizabeth Reddy In this project the fields of modernist studies and science converge on the topic of lighting. My research illuminates a previously neglected area of modernism: the impact of artificial lighting on American modernist literature written in Paris between 1900 and 1939. Throughout that period, Paris maintained its position as an artistic centre and emerged as a stage for innovative public lighting. For many, the streets of Paris provided the first demonstration of electricity’s potential. Indeed, my research has shown that Paris was both the location of international expositions promoting electric light, as well as a city whose world-class experiments in lighting and public lighting displays were widely admired. Therefore, I have selected texts with a deep connection to Paris. While significant scholarship exists in relation to Parisian artificial lighting in fine art, a thorough assessment of the impact of lighting on the modern movement is absent from recent critical analysis. As such, this thesis seeks to account for literary modernism in relation to developments in public and private lighting. My research analyses a comprehensive range of evocations of gas and electric light to better understand the relationship between artificial light and modernist literary aesthetics. This work is illuminating for what it reveals about the place of light in the modern imagination, its unique symbolic and metaphorical richness, as well as the modern subject’s adaptability to technological change more broadly. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
The Train and the Cosmos: Visionary Modernity
The Train and the Cosmos: Visionary Modernity Matilde Marcolli 2015 • Mythopoesis: the capacity of the human mind to spontaneously generate symbols, myths, metaphors, ::: • Psychology (especially C.G. Jung) showed that the human mind (especially the uncon- scious) continuously generates a complex lan- guage of symbols and mythology (archetypes) • Religion: any form of belief that involves the supernatural • Mythopoesis does not require Religion: it can be symbolic, metaphoric, lyrical, visionary, without any reference to anything supernatural • Visionary Modernity has its roots in the Anarcho-Socialist mythology of Progress (late 19th early 20th century) and is the best known example of non-religious mythopoesis 1 Part 1: Futurist Trains 2 Trains as powerful symbol of Modernity: • the world suddenly becomes connected at a global scale, like never before • trains collectively drive humankind into the new modern epoch • connected to another powerful symbol: electricity • importance of the train symbolism in the anarcho-socialist philosophy of late 19th and early 20th century (Italian and Russian Futurism avant garde) 3 Rozanova, Composition with Train, 1910 4 Russolo, Dynamism of a Train, 1912 5 From a popular Italian song: Francesco Guccini \La Locomotiva" ... sembrava il treno anch'esso un mito di progesso lanciato sopra i continenti; e la locomotiva sembrava fosse un mostro strano che l'uomo dominava con il pensiero e con la mano: ruggendo si lasciava indietro distanze che sembravano infinite; sembrava avesse dentro un potere tremendo, la stessa forza della dinamite... ...the train itself looked like a myth of progress, launched over the continents; and the locomo- tive looked like a strange monster, that man could tame with thought and with the hand: roaring it would leave behind seemingly enor- mous distances; it seemed to contain an enor- mous might, the power of dynamite itself.. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Jean METZINGER (Nantes 1883 - Paris 1956)
Jean METZINGER (Nantes 1883 - Paris 1956) The Yellow Feather (La Plume Jaune) Pencil on paper. Signed and dated Metzinger 12 in pencil at the lower left. 315 x 231 mm. (12 3/8 x 9 1/8 in.) The present sheet is closely related to Jean Metzinger’s large painting The Yellow Feather, a seminal Cubist canvas of 1912, which is today in an American private collection. The painting was one of twelve works by Metzinger included in the Cubist exhibition at the Salon de La Section d’Or in 1912. One of the few paintings of this period to be dated by the artist, The Yellow Feather is regarded by scholars as a touchstone of Metzinger’s early Cubist period. Drawn with a precise yet sensitive handling of fine graphite on paper, the drawing repeats the multifaceted, fragmented planes of the face in the painting, along with the single staring eye, drawn as a simple curlicue. The Yellow Feather was one of several Cubist paintings depicting women in fashionable clothes, and with ostrich feathers in their hats, which were painted by Metzinger in 1912 and 1913. Provenance: alerie Hopkins-Thomas, Paris Private collection, Saint-Germain-en-Laye, until 2011. Literature: Jean-Paul Monery, Les chemins de cubisme, exhibition catalogue, Saint-Tropez, 1999, illustrated pp.134-135; Anisabelle Berès and Michel Arveiller, Au temps des Cubistes, 1910-1920, exhibition catalogue, Paris, 2006, pp.428-429, no.180. Artist description: Trained in the Académie des Beaux-Arts in Nantes, Jean Metzinger sent three paintings to the Salon des Indépendants in 1903 and, having sold them, soon thereafter settled in Paris. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Recording of Marcel Duchamp’S Armory Show
Recording of Marcel Duchamp’s Armory Show Lecture, 1963 [The following is the transcript of the talk Marcel Duchamp (Fig. 1A, 1B)gave on February 17th, 1963, on the occasion of the opening ceremonies of the 50th anniversary retrospective of the 1913 Armory Show (Munson-Williams-Procter Institute, Utica, NY, February 17th – March 31st; Armory of the 69th Regiment, NY, April 6th – 28th) Mr. Richard N. Miller was in attendance that day taping the Utica lecture. Its total length is 48:08. The following transcription by Taylor M. Stapleton of this previously unknown recording is published inTout-Fait for the first time.] click to enlarge Figure 1A Marcel Duchamp in Utica at the opening of “The Armory Show-50th Anniversary Exhibition, 2/17/1963″ Figure 1B Marcel Duchamp at the entrance of the th50 anniversary exhibition of the Armory Show, NY, April 1963, Photo: Michel Sanouillet Announcer: I present to you Marcel Duchamp. (Applause) Marcel Duchamp: (aside) It’s OK now, is it? Is it done? Can you hear me? Can you hear me now? Yes, I think so. I’ll have to put my glasses on. As you all know (feedback noise). My God. (laughter.)As you all know, the Armory Show was opened on February 17th, 1913, fifty years ago, to the day (Fig. 2A, 2B). As a result of this event, it is rewarding to realize that, in these last fifty years, the United States has collected, in its private collections and its museums, probably the greatest examples of modern art in the world today. It would be interesting, like in all revivals, to compare the reactions of the two different audiences, fifty years apart. -
Russian Art 1
RUSSIAN ART 1 RUSSIAN ART Christie’s dominated the global market for Russian Works of Art and Fabergé in 2016, with our Russian Art sales achieving more than £12 million internationally. For the tenth consecutive season, our Russian Art auctions saw the highest sell-through rates in the market. With a focus on outstanding quality, Christie’s continues to attract both emerging and established collectors in the field. For over a decade, Christie’s has set world auction records in every Russian Art sale. We have broken a total of six records in the past two years, including two in excess of £4 million. Christie’s has set world records for over 50 of Russia’s foremost artists, including Goncharova, Repin, Levitan, Vereshchagin, Vasnetsov, Borovikovsky, Serov, Somov, Lentulov, Mashkov, Annenkov and Tchelitchew. Six of the 10 most valuable paintings ever purchased in a Russian Art sale were sold at Christie’s. Christie’s remains the global market leader in the field of Russian Works of Art and Fabergé, consistently achieving the highest percentage sold by both value and lot for Russian Works of Art. Christie’s closes 2016 with a 60% share of the global Fabergé market, and a 62% share of the global market for Russian Works of Art. cover PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION KONSTANTIN KOROVIN (1861–1939) Woodland brook, 1921 Estimate: £120,000–150,000 Sold for: £317,000 London, King Street · November 2016 back cover PROPERTY OF A MIDDLE EASTERN COLLECTOR A GEM-SET PARCEL-GILT SILVER-MOUNTED CERAMIC TOBACCO HUMIDOR The mounts marked K. -
Albert Gleizes Y Las Leyes De La Pintura: Un Retorno a La Edad Media
Albert Gleizes y las leyes de la pintura: un retorno a la Edad Media CARME BONELL Les Arts, parce qu'ils sont pratiques, ne sauraient etre exclusivement a la merci d'une fantaisie échevelée. II leur faut s'appuyer constamment sur des principes relativement exacts, c'est vrai, mais suffisants pour satisfaire la sensibilité et la raison,,. Albert Gleizes <<Lapeinture et ses lois. Ce qui devait sortir du Cubisme)>,es un artículo de Albert Gleizes publicado en La vie des Lettres et des Arts, en marzo de 1923'. Es un texto doblemente interesante si se tiene en cuenta, por una parte, el trabajo teórico de Gleizes, y, por otra, el movimiento de retorno al orden en el período de entreguerras. En cuanto a la primera cuestión, este texto se ha de valorar globalmente de acuerdo con la trayectoria biográfica y artística de Gleizes, y en relación también con otros textos suyos anteriores, especialmente el libro Du ~Cubismen,escrito en colaboración con Jean Metzinger2. En cuanto a la segunda l Este artículo fue nuevamente publicado como opúsculo en 1924, con numerosas varian- tes, y reeditado en 1961. Para todas las citas se utiliza la versión publicada en La Vie des Lettres et des Arts, París, 2eme série, n. 12, marzo de 1923, p. 26-74. (Todas las citas son traducción de la autora.) 2GLEIZES, A. y METZINGER, J. DU ~Cubismew,París, Eugene Figuiere, 1912. Reed. Sisteron, Présence, 1980 (todas las citas se refieren a esta edición y son traducción de la autora).Vers. cast.: Sobre el Cubismo, Murcia, C.O.A.A.T., 1986.