Degas at the Opéra Mar 1–Oct 12, 2020
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Labyrinthine Variations 12.09.11 → 05.03.12
WANDER LABYRINTHINE VARIATIONS PRESS PACK 12.09.11 > 05.03.12 centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION .................................................... 02 2. THE EXHIBITION E I TH LAByRINTH AS ARCHITECTURE ....................................................................... 03 II SpACE / TImE .......................................................................................................... 03 III THE mENTAL LAByRINTH ........................................................................................ 04 IV mETROpOLIS .......................................................................................................... 05 V KINETIC DISLOCATION ............................................................................................ 06 VI CApTIVE .................................................................................................................. 07 VII INITIATION / ENLIgHTENmENT ................................................................................ 08 VIII ART AS LAByRINTH ................................................................................................ 09 3. LIST OF EXHIBITED ARTISTS ..................................................................... 10 4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS .................... 12 5.Om C m ISSIONED WORKS ............................................................................. 13 6. EXHIBITION DESIgN ....................................................................................... -
Edgar Degas: a Strange New Beauty, Cited on P
Degas A Strange New Beauty Jodi Hauptman With essays by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl Buchberg and Laura Neufeld, Hollis Clayson, Jill DeVonyar, Samantha Friedman, Richard Kendall, Stephanie O’Rourke, Raisa Rexer, and Kimberly Schenck The Museum of Modern Art, New York Contents Published in conjunction with the exhibition Copyright credits for certain illustrations are 6 Foreword Edgar Degas: A Strange New Beauty, cited on p. 239. All rights reserved at The Museum of Modern Art, New York, 7 Acknowledgments March 26–July 24, 2016, Library of Congress Control Number: organized by Jodi Hauptman, Senior Curator, 2015960601 Department of Drawings and Prints, with ISBN: 978-1-63345-005-9 12 Introduction Richard Kendall Jodi Hauptman Published by The Museum of Modern Art Lead sponsor of the exhibition is 11 West 53 Street 20 An Anarchist in Art: Degas and the Monotype The Philip and Janice Levin Foundation. New York, New York 10019 www.moma.org Richard Kendall Major support is provided by the Robert Lehman Foundation and by Distributed in the United States and Canada 36 Degas in the Dark Sue and Edgar Wachenheim III. by ARTBOOK | D.A.P., New York 155 Sixth Avenue, 2nd floor, New York, NY Carol Armstrong Generous funding is provided by 10013 Dian Woodner. www.artbook.com 46 Indelible Ink: Degas’s Methods and Materials This exhibition is supported by an indemnity Distributed outside the United States and Karl Buchberg and Laura Neufeld from the Federal Council on the Arts and the Canada by Thames & Hudson ltd Humanities. 181A High Holborn, London WC1V 7QX 54 Plates www.thamesandhudson.com Additional support is provided by the MoMA Annual Exhibition Fund. -
The Avant-Garde Architecture of Three 21St Century Universal Art Museums
ABU DHABI, LENS, AND LOS ANGELES: THE AVANT-GARDE ARCHITECTURE OF THREE 21ST CENTURY UNIVERSAL ART MUSEUMS by Leslie Elaine Reid APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Richard Brettell, Chair ___________________________________________ Nils Roemer ___________________________________________ Maximilian Schich ___________________________________________ Charissa N. Terranova Copyright 2019 Leslie Elaine Reid All Rights Reserved ABU DHABI, LENS, AND LOS ANGELES: THE AVANT-GARDE ARCHITECTURE OF THREE 21ST CENTURY UNIVERSAL ART MUSEUMS by LESLIE ELAINE REID, MLA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES - AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2019 ACKNOWLEDGMENTS I wish to thank, in particular, two people in Paris for their kindness and generosity in granting me interviews, providing electronic links to their work, and emailing me data on the Louvre-Lens for my dissertation. Adrién Gardère of studio adrien gardère and Catherine Mosbach of mosbach paysagists gave hours of their time and provided invaluable insight for this dissertation. And – even after I had returned to the United States, they continued to email documents that I would need. March 2019 iv ABU DHABI, LENS, AND LOS ANGELES: THE AVANT-GARDE ARCHITECTURE OF THREE 21ST CENTURY UNIVERSAL ART MUSEUMS Leslie Elaine Reid, PhD The University of Texas at Dallas, 2019 ABSTRACT Supervising Professor: Richard Brettell Rooted in the late 18th and 19th century idea of the museum as a “library of past civilizations,” the universal or encyclopedic museum attempts to cover as much of the history of mankind through “art” as possible. -
The Louvre Abu Dhabi: French Universalism, Exported Seth Graebner
The Louvre Abu Dhabi: French Universalism, Exported Seth Graebner L'Esprit Créateur, Volume 54, Number 2, Summer 2014, pp. 186-199 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/esp.2014.0019 For additional information about this article https://muse.jhu.edu/article/550292 Access provided at 7 Jan 2020 20:10 GMT from Washington University @ St. Louis The Louvre Abu Dhabi: French Universalism, Exported Seth Graebner RANCE ARGUABLY HAS MORE PEOPLE than most other coun- tries thinking actively about the export of “culture,” whether conceived Fas artistic production or as national norms of thought and meaning. This development is not recent: questions about the need for (and the means and ends of) cultural exportation have arisen regularly at least since the Rev- olution. When the destination countries have been situated outside Europe, the discussion, often colored by colonialist discourse, has generally viewed the culture for export as “universal” as well as French. The Louvre as a monu- ment of French culture and a museum for the world has for two hundred years stood among the main symbols of the preeminence of France in the produc- tion and curation of the Western European traditions of art called, until recently, universal. Though the eighteenth-century founders of the Louvre Museum invented neither the concept of “high art” nor the notion of France’s universal mission in the world, France’s most famous art museum has clearly become part of the cultural and political construction known paradoxically as “French universalism.”1 Scholars have traced the history of the Louvre as building, as art collection, as public institution, and as symbol. -
King's Research Portal
King’s Research Portal DOI: 10.29311/mas.v13i3.333 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Ajana, B. (2015). Branding, legitimation and the power of museums: The case of the Louvre Abu Dhabi. Museum and Society, 13(3), 322-341. https://doi.org/10.29311/mas.v13i3.333 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
King's Research Portal
King’s Research Portal Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Ajana, B. (2015). Branding, legitimation and the power of museums: The case of the Louvre Abu Dhabi. Museum and Society, 13(3), 322-341. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Lettre De L'academie Des BEAUX-ARTS
Lettre de l' ACADEMIE des BEAUX-ARTS INSTITUT DE FRANCE Travaux d’été numéro26 été 2001 sommaire Lettre de Actualités ☛ page 2 Editorial l' ACADEMIE des ☛ pages 3 à 5 Henri Loyrette, BEAUX-ARTS un académicien au Louvre ☛ pages 6, 7 INSTITUT DE FRANCE Travaux d’été : la rénovation de la Place de l’Institut ☛ page 8 Communication : “ L’Apothéose d’Hercule par François Lemoyne à Versailles” par Xavier Salmon oici l’été, et la fin du chantier ☛ page 9 de restauration qui pendant Communication : v “Louis le Vau au Collège Editorial quelques mois aura occupé la Mazarin : Rome à Paris ?” par Jean-Pierre Babelon Place de l’Institut. Suggéré par ☛ page 10 Bernard Zehrfuss, Secrétaire perpétuel de l’Académie Communication : “L’Académie des Beaux-Arts des Beaux-Arts de 1994 à 1996, repris par l’Institut de à la fin du Premier Empire” Henri Loyrette par Jean-Michel Leniaud France et financé par la Ville de Paris, ce projet a été ☛ page 11 réalisé sous la direction de Guy Nicot, architecte corres- Election / Lourmarin / Publication / Distinctions / pondant de notre Académie. Superbement rénové, le Charles Trenet / Henri Alekan un académicien parvis a été rendu à sa beauté originelle, et l’événement ☛ page 12 Visite de l’exposition au s’inscrit dans l’histoire de ce lieu symbolique. Pablo Gargallo ☛ page 13 Ce numéro nous offre aussi l’occasion de nous réjouir Prix de Chant Choral Liliane Bettencourt Louvre de la nomination de notre confrère Henri Loyrette à la ☛ page 14 direction du plus grand musée de France. Après Prix de Portrait En devenant Président-directeur de l’établissement plusieurs années passées à la tête du Musée d’Orsay, le Paul-Louis Weiller l’établissementpublic du Musée public du Louvre, du Musée notre du confrère Louvre, notre ☛ page 15 confrèreHenri Loyrette, Henri Loyrette, membre libremembre de l’Académie libre de des voici Président-Directeur de l’établissement public du Grand Prix d’Architecture 2001 l’AcadémieBeaux-Arts, des vient Beaux-Arts, d’être nommé vient à d’être la direction nommé du à Musée du Louvre. -
6-16-21 Seussical
Music by STEPHEN FLAHERTY Lyrics by LYNN AHRENS Book by LYNN AHRENS & STEPHEN FLAHERTY Co-Conceived by LYNN AHRENS, STEPHEN FLAHERTY ERIC IDLE Based on the works of DR. SEUSS SEUSSICAL™ is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com THANK YOU FOR YOUR SUPPORT! CORPORATE MEMBERS CIRCLES OF GIVING EMERALD (Platinum) PRESIDENTS’ CIRCLE Carlton Fields Jorden Burt — In memory of C. Robert Attorneys at Law & Myrtle Ilsley Passantino GMx Solutions AMBASSADORS’ CIRCLE Inside Tampa Homes— Ms. Evelyn Bless Craig & Linda Nowicke Mr. Jay & Mrs. Susan Gibson Marsocci, Appleby & Company Mr. Alan & Mrs. Judy Preston Synovus Bank Mr. Richard & Mrs. Katherine Woltmann GARNET (Gold) CHAMPIONS’ CIRCLE Ms. Lauretta Chrys Donovan Audio Design (DAD) Drs. Cynthia & Murray Cohen First Citrus Bank Ms. Linda Delapenha Lane Family Wellness Mr. William & Mrs. Catharine DeMare Mosley Heating & Air Ms. Esther C. Dillenbeck Mr. Chris & Mrs. Linda Hugues SAPPHIRE (Silver) Dr. Jan L. McCarthy Alvior Medical Clinic Mr. Brian & Mrs. JoAnn Younger McDermott UnitedHealthcare Mr. Neil & Ms. Diane Smith PATRONS’ CIRCLE Bronze Ms. Patricia Ashton Fiol Law Group Mr. Jim & Mrs. Doris Burge LEE Electric, Inc. Ms. Sharon Danaher Stained Glass Designs Ms. Susan Gerig & Mrs. Adriane Hunt Anonymous (Robert Marotta) Mr. Ron & Mrs. Nancy Manning Ms. Brenda Oconnor Mr. Benjamin & Dr. Katherine Richter Mr. Bob & Mrs. Kathy Sheehan Women Authors Book Club MEMBERS At the Carrollwood Cultural Center, being a member is more than a way of showing support and staying involved; it’s joining a family. Thank you to all of our members. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Serial images: The Modern Art of Iteration Dyer, J.H. Publication date 2003 Link to publication Citation for published version (APA): Dyer, J. H. (2003). Serial images: The Modern Art of Iteration. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Chapter Two Edgar Degas' Female Nude and the Nature of Activity Interpreting Degas' Series of Female Nudes In 1996, Richard Kendall curated the exhibition "Degas: Beyond Impressionism" at the National Gallery in London. To my knowledge this was the first contemporary exhibition of the artist's work to present his images in series. Kendall wrote a catalogue for it which provides one of the few analyses of Degas' use of serial iteration. -
The Impressionist Artists
Impressionism and Its Canon James E. Cutting 2006 University Press of America Library of Congress Control Number: 2005934187 ISBN 0-7618-3344-7 For Claudia Lazzaro, my wife, who offered encouragement, a wry smile, an open mind, and a promise of what could be Contents Image Credits vii Preface ix Chapter 1: Culture, Art, and Science 1 Chapter 2: Canons and Their Structure 9 Chapter 3: Categories and Their Measure 21 Chapter 4: The Impressionist Artists 41 Chapter 5: Museums 69 Chapter 6: Dealers and Collectors 91 Chapter 7: The Core Canon 119 Chapter 8: The Broader Canon 135 Chapter 9: Scholars and Curators 157 Chapter 10: A Second Sample 169 Chapter 11: The Public and Mere Exposure 183 Chapter 12: A Theory of Canon Formation and Maintenance 199 Appendices 219 Bibliography 269 Index 279 Author Information 299 Image Credits Cover: Jean-Louis Forain, Au café (At the café, ~1879, Dixon Gallery and Gardens, Nashville, TN). This image was exhibited at the 4th Impressionist exhibition. Forain is not usually considered an Impressionist painter, and this image definitely not in the Impressionist canon. (New image for this edition.) Figure 2.1, page 11: Edgar Degas, La mélancholie (Melancholy, 1867-70, The Phillips Collection, Washington, DC). Edgar Degas, Repasseuses (Women ironing, 1884-86, Musée d’Orsay, Paris). Figure 4.2, page 50: Armand Guillaumin, Place Valhubert, Paris (1875, Musée d’Orsay, Paris). Claude Monet, Le bassin d’Argenteuil (The Argenteuil basin, 1872, Musée d’Orsay, Paris). Figure 4.3, page 52: Jean-François Raffaëlli, La place d’Italie après la pluie (Place d’Italie after the rain, 1877, Dixon Gallery and Gardens, Nashville, TN). -
NINETEENTH-Century EUROPEAN PAINTINGS at the STERLING
NiNeteeNth-CeNtury europeaN paiNtiNgs at the s terliNg aNd FraNCiNe Clark art iNstitute volume oNe Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman iii Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 02167 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk. paper) Dan Cohen, Special Projects Editor 1. -
Degas at the Races. Teaching Program. INSTITUTION National Gallery of Art, Washington, DC
DOCUMENT RESUME ED 470 398 SO 034 128 AUTHOR Jones, Kimberly; Sturman, Shelley; Perlin Ruth R.; Moore, Barabara S. TITLE Degas at the Races. Teaching Program. INSTITUTION National Gallery of Art, Washington, DC. PUB DATE. 1998-00-00 NOTE 34p.; Supported by the First Union Corporation. AVAILABLE FROM National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. Tel: 202-737-4215; e-mail: [email protected]; Web site: http://www.nga.gov/ . PUB.TYPE. Guides'- Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PCO2 Plus 'Postage. DESCRIPTORS *Art Activities; *Art History; *Artists;' Biographies; Creative Activities; *Freehand Drawing; *Painting (Visual Arts); *Sculpture; Secondary Education; Teaching Guides IDENTIFIERS *Degas (Edgar); France (Paris) ABSTRACT This teaching guide discusses Edgar Germain Hilaire Degas (1834-1917); his paintings, and his sculpture. The guide.focuses on his paintings-of-daily activities at the horse racetrack in Paris (France). The unit has a concise biography of Degas. It is divided into two parts: Part 1: "Paintings and Drawings" (Kimberly Jones); and.Part 2: "Sculpture" (Shelley Sturman).. Part 1 shows pictures of 10 Degas paintings and discusses the circumstances of their'production. Part 2 uses the same strategy for nine Degas sculptures. The guide provides classroom activities for visual arts, advertising, journalism, and the depiction of French life during the time that Degas painted and sculpted. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. LI Degas at the Races. Teaching Program. Hillaire Germain National Gallery of Art, Washington, D.C. First Union Corporation, Charlotte, NC. U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) Of This document has been reproduced as received from the person or organization originating it.