The Art of Hans Arp After 1945
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Guide Storico-Artistiche Della Svizzera Canton Ticino
Guide storico-artistiche della Svizzera Canton Ticino L’oratorio del Corpus Domini di Bellinzona (ital., ted.) Maria Fazioli Foletti. 2017. n. 991. 24 p. CHF 13.- Il Cimitero monumentale di Lugano (ital.) Cristina Brazzola, Paola Capozza, Giovanna Ginex. 2016. n. 986.987. 72 p. CHF 18.- Il complesso di Santa Maria degli Angeli e il centro culturale LAC Lugano Arte e Cultura (ital., ted., ingl.) Riccardo Bergossi, Lara Calderari. 2015. n. 978-979. 52 p. CHF 15.- Il Sacro Monte della Madonna del Sasso a Orselina (ital., ted., franc., ingl.) Lara Calderari, Simona Martinoli, Patrizio Pedrioli. 2015. n. 966-967. 48 p. CHF 15.- Der Monte Verità von Ascona (ted.) Mara Folini. 2013. n. 939-940. 44 p. CHF 13.- Remo Rossi (ital., ted.) Diana Rizzi. 2012. n. 909. 40 p. CHF 12.- La chiesa di S. Maria della Misericordia e il Collegio Papio di Ascona (ital., ted.) Daniela Pace, Michela Zucconi-Poncini. 2012. n. 907. 48 p. CHF 15.- Villa dei Cedri a Bellinzona (ital.) Simona Martinoli. 2011 n. 897. 36 p. CHF 10.- I castelli di Bellinzona (ital., ted., ingl.) Werner Meyer, Patricia Cavadini-Bielander. 2010. n. 866-867. 58 p. CHF 13.– Agnuzzo (ital., ted.) Jürg Ganz. 2010. n. 876. 32 p. CHF 8.– Collina d’Oro (ital., ted.) Katja Bigger. 2010. n. 892. 46 p. CHF 12.– www.gsk.ch, [email protected] Pavillonweg 2, CH-3012 Bern, T +41 (0)31 308 38 38, F +41 (0)31 301 69 91 Il cimitero di Bellinzona Simona Martinoli, Cristina Palma, Lucia Pedrini-Stanga, Diana Rizzi. 2009. -
Ubiquitous Argonium \(Arh+\) in the Diffuse Interstellar Medium: A
A&A 566, A29 (2014) Astronomy DOI: 10.1051/0004-6361/201423727 & c ESO 2014 Astrophysics Ubiquitous argonium (ArH+) in the diffuse interstellar medium: A molecular tracer of almost purely atomic gas P. Schilke1, D. A. Neufeld2, H. S. P. Müller1, C. Comito1, E. A. Bergin3, D. C. Lis4;5, M. Gerin6, J. H. Black7, M. Wolfire8, N. Indriolo2, J. C. Pearson9, K. M. Menten10, B. Winkel10, Á. Sánchez-Monge1, T. Möller1, B. Godard6, and E. Falgarone6 1 I. Physikalisches Institut der Universität zu Köln, Zülpicher Str. 77, 50937 Köln, Germany e-mail: [email protected] 2 The Johns Hopkins University, Baltimore, MD 21218, USA 3 Department of Astronomy, The University of Michigan, 500 Church Street, Ann Arbor, MI 48109-1042, USA 4 California Institute of Technology, Pasadena, CA 91125, USA 5 Sorbonne Universités, Université Pierre et Marie Curie, Paris 6, CNRS, Observatoire de Paris, UMR 8112 LERMA, Paris, France 6 LERMA, CNRS UMR 8112, Observatoire de Paris & École Normale Supérieure, 24 rue Lhomond, 75005 Paris, France 7 Department of Earth and Space Sciences, Chalmers University of Technology, Onsala Space Observatory, 439 92 Onsala, Sweden 8 Astronomy Department, University of Maryland, College Park, MD 20742, USA 9 Jet Propulsion Laboratory, California Institute of Technology, Pasadena, CA 91109, USA 10 Max-Planck-Institut für Radioastronomie, Auf dem Hügel 69, 53121 Bonn, Germany Received 28 February 2014 / Accepted 29 March 2014 ABSTRACT Aims. We describe the assignment of a previously unidentified interstellar absorption line to ArH+ and discuss its relevance in the + context of hydride absorption in diffuse gas with a low H2 fraction. -
Alina Szapocznikow
Out of My Mouth: The ‘Photosculptures’ of Alina Szapocznikow 3 June – 29 August 2010 “I am convinced that among all the manifestations of impermanence, the human body is the most fragile, the only source of all joy, all pain and of all truth…” Alina Szapocznikow, 1972. This exhibition features a remarkable series of works created by Alina Szapocznikow in 1971. Simply titled ‘Photosculptures’, these images depict pieces of gum which have been chewed by the artist to produce an assortment of abject sculptural forms. As the title implies, Szapocznikow regarded photography itself as a sculptural medium which allowed her to explore formal qualities such as scale, texture and contrast. As she stated in the accompanying text: “It is sufficient to photograph and enlarge my masticatory discoveries to create the event of a sculptural presence.” Throughout her career the body was the principal focus of Szapocznikow’s art. Moving on from more conventional figure sculpture, from the mid 1950s she began experimenting with new materials and production methods. She took casts of her own face and body parts and translated them into grotesque and sexually-charged assemblages. Thus, the body became not only the subject of her work but the active agent through which sculptural forms could be created. Born in 1926 to a Jewish family in Kalisz, Poland, Szapocznikow survived the concentration camps of Bergen-Belsen and Teresienstadt during World War II. She went on to study sculpture in Prague and at the École Nationale Supérieure des Beaux-Arts, Paris. Returning to Poland in 1951, she established a reputation as a figurative sculptor through official commissions, such as the 1953 ‘Monument to Russian-Polish Friendship’. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
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. -
Maria Bartuszová
MARIA BARTUSZOVÁ Born 1936 in Prague, Czech Republic Died 1996 in Košice, Slovakia EDUCATION 1961 Academy of Applied Arts, Architecture and Design, Prague (studio of Prof. Otto Eckerdt, Department of Ceramics and Porcelain) 1955 Higher School of Applied Arts, Prague (Prof. Václav Šimek) SOLO EXHIBITIONS 2022 Tate Modern, London, UK (forthcoming) 2016 Alison Jacques Gallery, London, UK 2014 ‘Maria Bartuszová: Provisional Forms’, Museum of Modern Art, Warsaw, Poland Galerie Rüdiger Schöttle, Munich, Germany 2012 ‘Maria Bartuszová – Drawings / Anna Bartuszová – Recordings’, Galéria Cypriána Majernika, Bratislava, Slovakia 2011 Galerie Rüdiger Schöttle, Munich, Germany ‘Maria Bartuszová – Drawings / Anna Bartuszová – Recordings’, Mestská galéria, Rimavská Sobota, Slovakia 2009 Galerie Rüdiger Schöttle, Munich, Germany ‘Gino De Dominicis – Maria Bartuszová’, Galerie Rüdiger Schöttle, Munich, Germany 2008 ‘Maria Bartuszová: Negative Volumes’, Galerie Rüdiger Schöttle, Munich, Germany 2007 ‘Maria Bartuszová: A Selection of Sculptural Work’, CC Centrum, Bratislava, Slovakia 2005 ‘Germination: The Path to Organic Sculpture’, Slovak National Gallery Bratislava, Slovakia 1997 ‘Hommage a Mária (Dedicated to Mária Bartuszová 1936–1996)’, VLM Košice, Slovakia 1988 ‘Sculpture Works I, 1962–1987’, ZSVU Exhibition Hall, Košice, Slovakia ‘Sculpture Works’, Kontajner Gallery, UN Theatre Prešov, Slovakia 1983 ‘Maria Bartuszová: Transformations of Shape’, Galéria Miloša Alexandra Bazovského, Trencin, Slovakia 16–18 Berners Street, London W1T 3LN +44 20 7631 -
Youth Uprising the Lettrist Alternative to Post-War Trauma
Please, return this text to box no. 403 available at museoreinasofia.es Youth Uprising The Lettrist Alternative to Post-War Trauma Lettrism was the first art movement after the Second World War to reintroduce the radicalism of the first avant-garde trends, particularly Dada and Surrealism, and became a communicating vessel for the Neo-avant- garde trends that followed. Lettrism is conceived as a total creative movement, a movement that doesn’t forsake any medium or field of action: poetry, music, film, visual arts or drama. Isou managed to place Lettrism ‘at the vanguard of the avant-garde,’ in contrast with the decline of Dada and Surrealism. During this period Lettrism acquired the true dimension of a group, although the first differences appeared almost at once, producing a split that some years later and in concurrence with other cells of rebe- llious creativity would give rise to the Si- tuationist International. By order of mem- bership, the individuals who joined the first Lettrism is one of the few avant-garde isms that still have a secret history. With the ex- Lettrist group included Gabriel Pomerand, ception of France, its native and almost exclusive soil (radiant Paris, to be more precise), François Dufrêne, Gil Joseph Wolman, the movement was only known superficially, remotely and partially. Ironically, Lettrism Jean-Louis Brau, Serge Berna, Marc’O, is often referred to as an episode prior to Situationism, given the mutual disdain and the Maurice Lemaître, Guy-Ernest Debord, ruthless insults the groups levelled at each other. Furthermore, it is a very complex move- Yolande du Luart and Poucette. -
The De Stijl Movement in the Netherlands and Related Aspects of Dutch Architecture 1917-1930
25 March 2002 Art History W36456 The De Stijl Movement in the Netherlands and related aspects of Dutch architecture 1917-1930. Walter Gropius, Design for Director’s Office in Weimar Bauhaus, 1923 Walter Gropius, Bauhaus Building, Dessau 1925-26 [Cubism and Architecture: Raymond Duchamp-Villon, Maison Cubiste exhibited at the Salon d’Automne, Paris 1912 Czech Cubism centered around the work of Josef Gocar and Josef Chocol in Prague, notably Gocar’s House of the Black Virgin, Prague and Apt. Building at Prague both of 1913] H.P. (Hendrik Petrus) Berlage Beurs (Stock Exchange), Amsterdam 1897-1903 Diamond Workers Union Building, Amsterdam 1899-1900 J.M. van der Mey, Michel de Klerk and P.L. Kramer’s work on the Sheepvaarthuis, Amsterdam 1911-16. Amsterdam School and in particular the project of social housing at Amsterdam South as well as other isolated housing estates in the expansion of the city. Michel de Klerk (Eigenhaard Development 1914-18; and Piet Kramer (De Dageraad c. 1920) chief proponents of a brick architecture sometimes called Expressionist Robert van t’Hoff, Villa ‘Huis ten Bosch at Huis ter Heide, 1915-16 De Stijl group formed in 1917: Piet Mondrian, Theo van Doesburg, Gerritt Rietveld and others (Van der Leck, Huzar, Oud, Jan Wils, Van t’Hoff) De Stijl (magazine) published 1917-31 and edited by Theo van Doesburg Piet Mondrian’s development of “Neo-Plasticism” in Painting Van Doesburg’s Sixteen Points to a Plastic Architecture Projects for exhibition at the Léonce Rosenberg Gallery, Paris 1923 (Villa à Plan transformable in collaboration with Cor van Eestern Gerritt Rietveld Red/Blue Chair c. -
L'aubette 1928
« L’AUBETTE 1928 » VISITES GUIDÉES Téléchargez gratuitement Place Kléber Possibilité de visites guidées pour l’audio-guide de l’Aubette 1928 : les groupes aux horaires d’ouverture HORAIRES de l’Aubette. Du mercredi au samedi VISITES POUR LES SCOLAIRES de 14h à 18h : R. Aginako Imp. Int. C. U. Strasbourg U. C. Int. Aginako R. Imp. : Mercredis, jeudis et vendredis matin. : M. Bertola, M. : StrasbourgMuséesVille de la de L’AUBETTE 1928 Résa. au 03 88 88 50 50 (du lundi Entrée libre au vendredi de 8h 30 à 12h 30) WWW.MUSEES.STRASBOURG.EU Photos Graphisme L’AUBETTE 1928 BIOGRAPHIES LES ESPACES RESTITUÉS LA RESTAURATION L’AUBETTE 1928 L’AUBETTE ORIGINELLE L’AUBETTE AU XIXE ET DÉBUT DU XXE SIÈCLE L’INITIATIVE DES FRÈRES HORN DESCRIPTIF DU COMPLEXE La réalisation de l’Aubette est confiée en 1765 Après avoir abrité dès 1845 un café dans une Paul Horn réalise de 1922 à 1926 les premiers plans Le complexe de loisirs de l’Aubette comprend alors à l’architecte Jacques-François Blondel (1705- partie de ses locaux, l’Aubette accueille en 1869 intérieurs. Cette même année, les entrepreneurs quatre niveaux (sous-sol, rez-de-chaussée, entresol 1774). Faute de ressources suffisantes, le projet le musée municipal de peintures, créé en 1803, s’adjoignent les compétences de Hans Jean Arp et et premier étage) dont les trois artistes se répar- initial qui comprenait, outre le corps de bâtiment, qui sera ravagé par un incendie le 24 août 1870. Sophie Taeuber-Arp. Le couple d’artistes s’associe tissent la décoration. Seuls les espaces du premier le traitement symétrique de la place Kléber, est La réhabilitation du bâtiment intervient entre 1873 en septembre 1926 à Theo Van Doesburg, peintre étage, accueillant le Ciné-bal et la salle des fêtes aux abandonné. -
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective. -
The Nature Ofarp Live Text-78-87.Indd 78
modern painters modernpaintersAPRIL 2019 PHILIPP THE COLORS OF ZEN: A CONVERSATION WITH HSIAO CHIN FÜRHOFER EXPLAINS HIS INSPIRATION TOP 10 ART BOOKS KIM CHONG HAK: THE KOREAN VAN GOGH BLOUINARTINFO.COM APRIL APRIL BLOUINARTINFO.COM + TOP 10: CONTEMPORARY POETS TO READ IN 2019 2019 04_MP_COVER.indd 1 19/03/19 3:56 PM 04_MP_The nature ofArp_Live text-78-87.indd 78 © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN / © JEAN ARP, BY SIAE 2019. PHOTO: KATHERINE DU TIEL/SFMOMA 19/03/19 4:59PM Jean (Hans) Arp, “Objects Arranged according to the Laws of Chance III,” 1931, oil on wood, 10 1/8 x 11 3/8 x 2 3/8 in., San Francisco Museum of Modern Art. THE NATURE OF ARP THE SCULPTOR REFUSED TO BE CATEGORIZED, AS AN ARTIST OR AS A HUMAN BEING, MAKING A RETROSPECTIVE AT THE GUGGENHEIM IN VENICE A PECULIAR CHALLENGE TO CURATE BY SARAH MOROZ BLOUINARTINFO.COM APRIL 2019 MODERN PAINTERS 79 04_MP_The nature of Arp_Live text-78-87.indd 79 19/03/19 4:59 PM pursue this matter without affiliations with Constructivism and knowing where I’m going,” Surrealism, 1930s-era sinuous sculptures, Jean Arp once said of his collaborative works with Sophie Taeuber- intuitive approach. “This is Arp (his wife, and an artist in her own the mystery: my hands talk right) and the work made from the après- “to themselves.I The dialogue is established guerre period up until his death in 1966. between the plaster and them as if I am Two Project Rooms adjacent to the absent, as if I am not necessary. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level.