Acquisitions: July 1, 2004–June 30, 2005

Total Page:16

File Type:pdf, Size:1020Kb

Acquisitions: July 1, 2004–June 30, 2005 The Art Institute of Chicago Annual Report 2004-2005 Roy Lichtenstein (American, 1923–1997). Mirror in Six Panels, 1971. Oil and magna on canvas; 300 x 335 cm. Antiss and Ronald Krueck Fund for Contemporary Art, through the generosity of the Roy Lichtenstein Foundation (2005.18). 14 Acquisitions July 1, 2004–June 30, 2005 African and Fubara), mid-19th/early 20th cen., Cynthia Perucca, O. Renard Goltra Amerindian Art wood, pigment, and fiber: Mr. and Endowment; AAA General Sales Mrs. Clarence Spanjer Fund; Proceeds (2004.486). African restricted gift of Cynthia and Terry Mexico; Colima/Jalisco. Set of 16 Bamum; Nsei, Cameroon. Pitcher E. Perucca, and Marshall Field V; Chipped-Stone Blades, c. a.d. 100, for Palm Wine (Mba Molu), proba- Lynn and Allen Turner funds; Mr. red obsidian: Mr. and Mrs. Clarence bly made by Martin Tombach (born and Mrs. David B. Ross Endowment; Spanjer Fund; restricted gift of c. 1950), late 20th cen., blackened Alsdorf Foundation Fund (2005.154). Stuart Handler; Curator’s terracotta: gift of Keith Achepohl Possibly Nyamwezi or Hehe; Discretionary Fund through restrict- (2004.742). Yacoma; Democratic Tanzania. Pair of Figures, mid-20th ed gift of the Donnelley Foundation; Republic of the Congo. Bottle, cen., gourd, wire, cloth, glass beads, Alsdorf Foundation Fund; O. early/mid-20th cen., terracotta and and hair: gift of Rita J. Gaples Renard Goltra Endowment; pigment: gift of Keith Achepohl (2004.744.1-2). Curator’s Discretionary Fund; (2004.743). Baule; Tanoh Sakassou, Curator’s Discretionary Fund North American Côte d’Ivoire. Water Container, through restricted gift of Herbert East-central Arkansas, possibly early/mid-20th cen., terracotta, Molner; Mr. and Mrs. David B. Poinsett County. Mississippian wash, and kaolin: gift of Keith Ross Endowment; Curator’s Ritual Vase, a.d. 1200–1300, earth- Achepohl (2004.741). Oromo or Discretionary Fund through restrict- enware: restricted gift of Mrs. Sidano peoples; Ethiopia. Shield, ed gift of H. George Mann; Arnold Leonard W. Florsheim, Jr.; Curator’s late 19th/early 20th cen., hippopota- H. Crane, David Skolter, and Irving Discretionary Fund (2005.156). mus or buffalo hide: gift of Muriel Dobkin endowments; AAA California; Yokuts. Polychrome Kallis Newman in honor of James Acquisition Fund (2005.157). Three Gambling Tray (Ti-won), Cuno (2004.474). Lamu, Swahili; Obsidian Flake Artifacts: a) Core 1890/1900, deer grass, sedge root, Kenya. Chair (Kiti Cha Enzi), 19th “Blank” for Blades; b) Curved bracken fern, and redbud: Mrs. cen., wood, ivory, and cotton fiber: Blade; c) Semicircular Neckpiece, c. Leonard W. Florsheim, Jr., Alsdorf restricted gift of Marshall Field V a.d. 300, obsidian: gift of Ethel and Foundation, AAA Acquisition, and (2004.476). Kalabari; Nigeria. Julian Goldsmith (2004.746.1–3). Mrs. Pauline S. Armstrong funds; Ancestral Altar Screen (Duein Mexico; Teotihuacan. Ritual Mask, restricted gift of Terry E. and 15 c. a.d. 400, greenstone; Miniature Glass Architecture of a Headless Figurine, Tzacualli Frances Higgins and Michael phase, c. a.d. 100 (?), ceramic: gift Higgins, probably for Dearborn (The location of all projects is of Ethel and Julian Goldsmith Glass Company, Bedford Park, Chicago and the state is Illinois, (2004.475, 745). Mexico; Illinois, Bowl in the “Buttercup” unless otherwise stated.) Tlapacoya, Valley of Mexico. Seated Pattern, 1958/65; Tray in the Figurine, c. 500 b.c., ceramic: gift of “Carousel” Pattern, 1958/65; fused David Chipperfield Architects, Figge Ethel and Julian Goldsmith glass and enamel; gift of Edith and Art Museum (Davenport Museum of (2004.747). Mississippian. Chunkey David A. DeMar (2005.60–61). Art), 1999, nine sketches, various Stone, a.d. 1200–1400, kaolin: Metalwork media; Public Library of Des restricted gift of Emily Rauh Pulitzer Albert Wehde, Bowl, 1911/15, Moines, Iowa, 2002, one prelimi- (2005.155). Oklahoma; LeFlore Chicago, copper, hand-wrought with nary model and two sketches, vari- County, Spiro. Pair of Earspools in chased and repoussé design: Stanley ous media: gift of David an Eight-Pointed-Star Motif, a.d. and Polly Stone Endowment Chipperfield Architects 1200–1400, stone: restricted gift of (2004.491). Norman Bel Geddes, (2004.712.1–9, 713.1–3). Irving Mrs. Leonard W. Florsheim, Jr. designer, manufactured by Revere Walker Colburn, portfolio of draw- (2005.64a–b). Upper Missouri River Copper and Brass Company, Rome, ings and five models, various dates area. War Shirt, c. 1830, buckskin, New York, Manhattan Cocktail Set, and media: gift of Mrs. I. W. pony beads, hair, ermine tails, 1939/41, chrome-plated brass: Colburn (2005.132). Henry Glass, porcupine quills, and trade cloth: restricted gift of Charles C. Haffner 77 drawings of various projects, Frederick W. Renshaw, Ada III (2005.50.1-8). various dates and media: gift of Turnbull Hertle, and Curator’s Henry and Eleanor Glass Discretionary funds; restricted gift Paintings (2004.715.1-77). Bruce Goff, Pi of the Donnelley Foundation, Joshua Shaw, Solitude, 1818, oil on Lamda Phi House, c. 1955, model, Cynthia and Terry E. Perucca, and canvas: through prior acquisition mixed media: gift of Vincent Mrs. Leonard W. Florsheim, Jr.; of the Charles H. and Mary F. S. Mancini (2005.131). Hamilton, AAA Small Gifts Fund; Arnold Worcester Collection; the George F. Fellows & Nedved, Interior of Crane Endowment; AAA Purchase Harding Collection (2004.489). Proposed Bank,1930, presentation Fund; David Skolter and Irving Preston Dickinson, Still Life in drawing, graphite on tracing paper: Dobkin endowments (2004.485). Interior, 1920/22, oil on canvas: gift of Lisa Englander and Bruce W. through prior acquisition of the South American Pepich in honor of Bradley Lynch George F. Harding Collection; Peru; Chavin. Pectoral with (2004.705). Hammond, Beeby & Charles H. and Mary F. S. Worcester Zoomorphic Face, c. 500 b.c., gold: Babka, Frank M. Costantino, delin- Collection (2004.488). Mr. and Mrs. Clarence Spanjer and eator, Harold Washington Library, 1988, final pencil drawing: State Curator’s Discretionary funds Sculpture Street eye-level view, pencil on (2005.158). Frederic Remington, The Rattlesnake, paper; Harris Music and Dance modeled 1905, cast 1918, bronze: Theater, 1995, final color pencil bequest of Marjorie Block Stein drawing: first phase scheme hall (2005.62). Arnold Rönnebeck, interior, colored pencil on paper; American Art A Wedding Couple, or The London Harold Washington Library, 1988, Wedding, c. 1924, bronze: final pencil drawing: Congress Street Roger and J. Peter McCormick Furniture aerial view, pencil on paper: endowments (2004.490). Frank Furness, designer, made by Architecture Purchase Fund Sideboard Daniel Pabst, , c. 1880, (2004.702–04); Harold Washington walnut and burled elm: restricted Library, 1988, 16 presentation and gift of the Antiquarian Society design drawings and sketches, vari- (2005.51). ous media; Harris Music and Dance Theater, 1995, nine presentation and design drawings and sketches, 16 various media; University of graphite and ink on linen and one and color on paper: Samuel Chicago Natatorium and design drawing, graphite on tracing Nickerson Endowment (2004.453, Gymnasium, 1989, one design paper: gift of Helen Harvey and 452). Xie Zhiliu, Buddha, after an drawing, graphite and colored pencil Ralph Mills in honor of Natalie, image at the Mogao Caves, on tracing paper: gift of Frank M. Julia, and Brett (2005.40.1–4). Dunhuang, 1944, hanging scroll, Costantino, Architectural ink and colors on paper: gift of Dr. Delineator, F. M. Costantino, Inc. George Fan (2004.749). Zhang (2004.706.1–16, 707.1–9, 708). Hong (a.k.a. Arnold Chang), Steven Holl Architects, Nelson Landscape after the Ancient Asian Art Atkins Museum of Art, 1999, com- Masters, 2004, hanging scroll, ink petition proposal, five sheets: gift of on paper: Samuel Nickerson Chinese Steven Holl (2004.740.1–5). Endowment (2004.451). Zhao Munkenbeck and Marshall, John Bronzes. Gu (wine vessel), Shang Chunxiang (a.k.a. Chao Chung- Bowley, delineator, Grand Rapids dynasty, 14th–13th cen. b.c.: Alyce hsiang), Black splash 6, 1980s, ink Art Museum, 2002, two preliminary and Edwin DeCosta and Walter E. on paper: Nathan Cummings sketches, various media: gift of John Heller Foundation Endowment Foundation; Samuel M. Nickerson, Bowley (2004.711.1–2). Cesar Pelli (2004.700). Fangding (food vessel), Avery Brundage, Nathan Cummings and Associates, Architects, Miglin- late Shang dynasty, 12th–11th cen. Foundation funds; Samuel M. Beitler Tower, 1990, preliminary b.c.: Avery Brundage, Russell Tyson, Nickerson and Avery Brundage sketch, black crayon on paper and and Alyce and Edwin DeCosta and endowments (2005.81). Zeng Mi, model, plexiglass on wood base: gift Walter E. Heller endowments; The Stream, 1997; ink on paper: gift of J. Paul Beitler (2005.38.1–2); General Acquisitions Fund of Alice King of the Alisan Fine Arts Frank M. Costantino, delineator, (2004.701). (2005.89). University of Chicago Natatorium Miscellaneous. Scholar’s Rock, and Gymnasium, 1999, four design Indian Qing dynasty, 18th cen., yellow wax drawings, various media: gift of Paintings. Artist unknown, A Page stone: bequest of James Tigerman Frank M. Costantino, Architectural from a Gita-Gauri Series: Kama (2004.1131). Delineator, F. M. Costantino, Inc. Shoots an Arrow at Shiva, c. 1680, (2004.709.1–4); University of opaque watercolor on paper; artist Painting and Calligraphy. Cai Chicago Natatorium and unknown, Sudama and His Wife in Jiating, Yandang Mountains after Gymnasium, 1999, three design Their Hovel (opening page from a the style of Shen Zhou, Qing drawings, various media: gift of Krishna-Sudama series), 1780/90, dynasty (1644–1911), handscroll, Cesar Pelli & Associates, Architects opaque watercolor on paper: Louise ink and colors on paper: restricted (2004.710.1–3). Kevin Roche-John A. Lutz Endowment (2004.454, gift of Mrs. Marilynn Alsdorf Dinkeloo and Associates, Architects, 736). M. F. Husain, Untitled, late (2005.53). Li Huayi, Landscape, Leo Burnett Company Headquarters 1950s or early 1960s, oil on canvas: 2002, hanging scroll, ink and color Building, mid-1980s, model, mixed gift of Dr.
Recommended publications
  • Tenth-Century Painting Before Song Taizong's Reign
    Tenth-Century Painting before Song Taizong’s Reign: A Macrohistorical View Jonathan Hay 1 285 TENT H CENT URY CHINA AND BEYOND 2 longue durée artistic 3 Formats 286 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN Tangchao minghua lu 4 5 It 6 287 TENT H CENT URY CHINA AND BEYOND 7 The Handscroll Lady Guoguo on a Spring Outing Ladies Preparing Newly Woven Silk Pasturing Horses Palace Ban- quet Lofty Scholars Female Transcendents in the Lang Gar- 288 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN den Nymph of the Luo River8 9 10 Oxen 11 Examining Books 12 13 Along the River at First Snow 14 15 Waiting for the Ferry 16 The Hanging Scroll 17 18 19 289 TENT H CENT URY CHINA AND BEYOND Sparrows and Flowers of the Four Seasons Spring MountainsAutumn Mountains 20 The Feng and Shan 21 tuzhou 22 23 24 25 26 27 28 290 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 29 30 31 32 Blue Magpie and Thorny Shrubs Xiaoyi Stealing the Lanting Scroll 33 291 TENT H CENT URY CHINA AND BEYOND 34 35 36 Screens 37 38 The Lofty Scholar Liang Boluan 39 Autumn Mountains at Dusk 292 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 40Layered Mountains and Dense Forests41 Reading the Stele by Pitted Rocks 42 It has Court Ladies Pinning Flowers in Their Hair 43 44 The Emperor Minghuang’s Journey to Shu River Boats and a Riverside Mansion 45 46 47tuzhang 48 Villagers Celebrating the Dragonboat Festival 49 Travelers in Snow-Covered Mountains and 50 .
    [Show full text]
  • The Greatest Artists of the Twentieth Century
    This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily.
    [Show full text]
  • Impressionist & Modern
    IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT.
    [Show full text]
  • Lecture Notes, by James Cahill
    Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 12D: Sōgen‐ga Sōgenga, the title Iʹve given to this next section, is simply the Japanese pronunciation of Song Yuan hua 宋元畫/ 宋元画, or Song and Yuan painting. But Iʹve used it loosely for the kind of Song and Yuan paintings preserved mainly in Japan, many representing types unknown in China, and what we call Chan painting is prominent among them. I gave a seminar at U.C. Berkeley under this title, and then organized an exhibition of the same title, made up of paintings of this kind as kept in our University Art Museum, along with examples borrowed from dealers in Japan. It was a small and quiet exhibition that didnʹt get much publicity, didnʹt cost much (we had a $5,000 grant from the Society for Asian Art in San Francisco), and produced only a very modest catalog. But Iʹm still devoted to this kind of painting, which I know well from many years of making the rounds of Japanese collectors and dealers, so Iʹve devoted this section of my last lecture to it. So if this section is seen by any multimillionaire who wants to build a collection of these paintings, and maybe a museum of them, get in touch with me for some introductions and advice. For the rest of you, just enjoy them and try to pay more attention to them in the future.
    [Show full text]
  • Qi Baishi: a Master of Many Arts
    QI BAISHI: A MASTER OF MANY ARTS Qi Baishi was equally renowned for his achievements in seal carving as for his contributions to modernizing traditional literati painting; he was also a master calligrapher and poet. He was born to a poor farming family in Xiangtan, Hunan Province, and learned Chinese characters from his grandfather, who used a stick to trace them in the dirt. Physically unsuited to farming tasks, he was apprenticed to a woodcarver, but at nineteen he came across a book that would change his life: the Mustard Seed Garden Manual, a classic early Qing dynasty (1644–1911) treatise illustrating traditional techniques of literati painting. Qi taught himself to paint from it, refining his skills and studying the arts of seal cutting, poetry, and calligraphy with the many teachers he met as an itinerant woodcarver. His life spanned a period of great upheaval and reform in Chinese culture, but his unique style and politically neutral subjects allowed him to remain in favor through different regimes and cultural shifts. At the end of his life, he was lauded as the “People’s Artist,” elected honorary Chairman of the National Association of Fine Arts, and given the International Peace Award by the World Peace Council. With the resurgence of interest in ink painting in contemporary China, Qi Baishi, sometimes referred to as “China’s Picasso,” is celebrated as one of the leading artists of the twentieth century and his paintings are highly sought after by collectors and museums. Qi Baishi China, 1864–1957 Crabs circa 1930 Album leaf, ink on paper Gift of Katsuizumi Sotokichi, University of Michigan Museum of Art, 1949/1.199 inscribed: To Mr.
    [Show full text]
  • East Asian Art Toolbox: Material World
    East Asian Art Toolbox: Material World About this Toolbox: This toolbox provides educators with the means of bringing hands-on activities and discussions relating to the Detroit Institute of Arts’ collection into the classroom. Offering students the opportunity to closely examine and touch replica artworks, the toolbox helps them better understand the messages, materials, and methods of art production and design. Learning Target: Through a variety of hands-on experiences, students will investigate different artistic mediums in order to discover how artists have applied various tools and technology in the transformation of raw materials into works of art. Students will also explore ways in which East Asian painting and calligraphy in various formats convey cultural values. Toolbox Objects 1. Silk Hanging Scroll 7. Metal Samples: Bronze Discs, Steel Discs, 2. Paper Handscroll Copper Plate 3. Papermaking Kit 8. Paper Samples: Mulberry Kozo Paper, 4. Calligraphy Kit Bamboo/Mulberry Paper, Mulberry/Cotton 5. Seal Stamp Kit Paper, Lacquered Paper 6. Wood Samples: Lacquered Wood 9. Stone Samples: Soapstone, Jade, Turquoise Chopsticks with Porcelain Rest, Bamboo 10. Ceramic Samples: Four Different Types of Chopsticks in Bamboo Case, Handmade Celadon Dishes Rosewood Chopsticks Inlaid with Mother- 11. Fabric Samples: Silk Scarf and Polyester of-Pearl Bojagi Table Runner Student Books • The Empress and the Silkworm by Lily Toy Hong • Lóng is a Dragon: Chinese Writing for Children by Peggy Goldstein • Good Fortune in a Wrapping Cloth by Joan Schoettler • Moth and Wasp, Soil and Ocean by Sigrid Schmalzer Please see https://www.eagle.pitt.edu/ for additional book resources and activities. VIRTUAL TIP • Provide students with photos of the objects and copies of the graphic organizer through a Learning Management System (LMS).
    [Show full text]
  • Teaching Gallery Picturing Narrative: Greek Mythology in the Visual Arts
    list of Works c Painter andré racz (Greek, Attic, active c. 575–555 BC) (American, b. Romania, 1916–1994) after giovanni Jacopo caraglio Siana Cup, 560–550 BC Perseus Beheading Medusa, VIII, 1945 Teaching gallery fall 2014 3 5 1 1 (Italian, c. 1500/1505–1565) Terracotta, 5 /8 x 12 /8" engraving with aquatint, 7/25, 26 /8 x 18 /4" after rosso fiorentino gift of robert Brookings and charles University purchase, Kende Sale Fund, 1946 (Italian, 1494–1540) Parsons, 1904 Mercury, 16th century (after 1526) Marcantonio raimondi 1 Pen and ink wash on paper, 10 /8 x 8" ca Painter (Italian, c. 1480–c. 1530) gift of the Washington University (Greek, South Italian, Campanian) after raphael Department of art and archaeology, 1969 Bell Krater, mid-4th century BC (Italian, 1483–1520) 1 5 Terracotta, 17 /2 x 16 /8" Judgment of Paris, c. 1517–20 3 15 after gustave Moreau gift of robert Brookings and charles engraving, 11 /8 x 16 /16" Picturing narrative: greek (French, 1826–1898) Parsons, 1904 gift of J. lionberger Davis, 1966 Jeune fille de Thrace portant la tête d’Orphée (Thracian Girl Carrying the alan Davie school of orazio fontana Mythology in the visual arts Head of Orpheus), c. 1865 (Scottish, 1920–2014) (Italian, 1510–1571) 1 1 Oil on canvas, 39 /2 x 25 /2" Transformation of the Wooden Horse I, How Cadmus Killed the Serpent, c. 1540 7 5 University purchase, Parsons Fund, 1965 1960 Maiolica, 1 /8 x 10 /8" 1 1 Oil on canvas, 60 /8 x 72 /4" University purchase, elizabeth northrup after Marcantonio raimondi gift of Mr.
    [Show full text]
  • Parigi a Torino
    UNIVERSITÀ DEGLI STUDI DI MILANO SCUOLA DI DOTTORATO Humanae Litterae DIPARTIMENTO Beni Culturali e Ambientali CURRICULUM Storia e critica dei beni artistici e ambientali XXV ciclo TESI DI DOTTORATO DI RICERCA Parigi a Torino Storia delle mostre “Pittori d’Oggi. Francia-Italia” L-Art/03 L-Art/04 Dottorando Luca Pietro Nicoletti Matricola n. R08540 TUTOR Ch.mo prof.re Antonello Negri COORDINATORE DEL DOTTORATO Ch.mo prof.re Gianfranco Fiaccadori A.A. 2011/2012 Luca Pietro Nicoletti, Parigi a Torino. Storia delle mostre “Pittori d’Oggi. Francia-Italia” tesi di dottorato di ricerca in storia dei beni artistici e ambientali (Milano, Università degli Studi, AA. 2011/2012, XXV ciclo), tutor prof. Antonello Negri. 2 Luca Pietro Nicoletti, Parigi a Torino. Storia delle mostre “Pittori d’Oggi. Francia-Italia” tesi di dottorato di ricerca in storia dei beni artistici e ambientali (Milano, Università degli Studi, AA. 2011/2012, XXV ciclo), tutor prof. Antonello Negri. Ringraziamenti L’invito a studiare le vicende di “Francia-Italia” viene da Paolo Rusconi e Zeno Birolli, che ringrazio, insieme ad Antonello Negri, che in qualità di tutor ha seguito lo svolgimento delle ricerche. Anche la ricerca più solitaria si giova dell’aiuto di persone diverse, che ne hanno condiviso in parte più o meno estesa i contenuti e le riflessioni. In questo caso, sono riconoscente, per consigli, segnalazioni e discussioni avute intorno a questi temi, a Erica Bernardi, Virginia Bertone, Claudio Bianchi, Silvia Bignami, Alessandro Botta, Benedetta Brison, Lorenzo Cantatore, Barbara Cinelli, Enrico Crispolti, Alessandro Del Puppo, Giuseppe Di Natale, Serena D’Italia, Micaela Donaio, Jacopo Galimberti, Giansisto Gasparini, Luciana Gentilini, Maddalena Mazzocut- Mis, Stefania Navarra, Riccardo Passoni, Viviana Pozzoli, Marco Rosci, Cristina Sissa, Beatrice Spadoni, Cristina Tani, Silvia Vacca, Giorgio Zanchetti.
    [Show full text]
  • Lecture Notes, by James Cahill
    Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 9B: Political and Poetic Themes in Southern Song Painting As we move into a period from which more reliable work survives, we can begin to address big concerns such as political themes in court painting, and poetic painting. The latter, poetic painting, means different things to different people; I myself gave a series of lectures that turned into a book titled The Lyric Journey: Poetic Painting in China and Japan (Harvard University Press, 1996). As I acknowledge in that book, there are a number of ways one can define poetic painting in China; I certainly donʹt claim that mine is the only right one, or even that itʹs the best way. In a broad sense, a lot of Southern Song Academy and academy‐style painting can be called poetic, either because it was done in response to couplets and quatrains of poetry presented to the artists by the emperor or others in the court, or simply because they knew that their imperial patrons preferred paintings that could be called poetic. I will develop that theme more as we move further into Southern Song painting; but I want to keep it always problematic, not a quality that one can define clearly or identify easily in paintings. Political Themes and Dynastic Restoration 9.13.1: The Virtuous Brothers Po‐I and Shu‐chʹi in the Wilderness Picking Herbs, early copy after Li Tang, handscroll, Palace Museum, Beijing.
    [Show full text]
  • Chinese Scrolls
    CHINESE RESOURCES FOR EDUCATORS SCROLLS Appreciating Chinese Calligraphy, (video) Asian Art Museum – Chong Moon Lee Centre for Asian From The MRAG Collection EDUCATION Art and Culture. Sourced 9 August 2010 from: http://www.asianart.org/educationalvideos.htm#china Asia: Art Gallery of New South Wales (website) Art Gallery of New South Wales. Sourced 9 August 2010 from: http://www.asianart.com.au/ ACROSS KLAS K-6 Asia for Educators (website) Weatherhead East Asian Institute, University of Columbia. Sourced 9 August 2010 » Eastern art and poetry often uses metaphor, from: http://afe.easia.columbia.edu/ where the seasons, or the beauty of a flower, are Kan, D. (1974) The How and Why of Chinese Painting. used to embody ideas like knowledge, politics or Van Nostrand Reinhold Company, New York. philosophy. Write your own short poem and create Schardt, M. (1995) Brushstrokes: styles and techniques an artwork inspired by it. of Chinese painting. Education Kit, Asian Art Museum – » Research the traditions of Chinese New Year and Chong Moon Lee Centre for Asian Art and Culture. create a newspaper report which explains the traditions. » China, like Japan, Britain and other parts of Europe, CRITICAL AND HISTORICAL 7-12 have traditional methods and equipment to be used in the preparation of tea. Host a tea ceremony » Reproducing the work of masters is a respected with your class. tradition in Chinese art history, as emulation was K-6 a way of fostering techniques and skills. Consider ART MAKING the artists you have studied and consider how their work has affected your style or techniques. » Use food colouring and brushes on wet paper and » Many of the scrolls in the MRAG Collection paint flowers or birds like the ones in the Chinese incorporate image and text into their compositions.
    [Show full text]
  • Fauvism Was the First Twentieth Century Movement in Modern Art
    QUICK VIEW: Synopsis Fauvism was the first twentieth century movement in modern art. Inspired by the examples of van Gogh, Gauguin, and Neo-Impressionists such as Seurat and Signac, it grew out of a loosely allied group of French painters with shared interests. Henri Matisse was eventually recognized as the leader of Les Fauves, or The Wild Beasts as they were called in French, and like the group, he emphasized the use of intense color as a vehicle for describing light and space, but also for communicating emotion. The style proved to be an important precursor to Expressionism, and an inspiration for other, painterly modes of abstraction. Key Points • Fauvism never developed into a coherent movement in the manner of Impressionism or Surrealism, but instead grew from the work of several acquaintances who shared common enthusiasms. Many, such as Matisse, Marquet, and Rouault, had been pupils of the Symbolist Gustave Moreau, and admired his stress on personal expression. • The Fauves generally rejected the fantastic imagery of the Post-Impressionists, and returned to the more traditional subjects once favored by the Impressionists, such as landscapes, cityscapes, and scenes of bourgeois leisure. • Rather than extend the quasi-scientific investigations of artists such as Seurat and Signac, Fauves such as Matisse and Derain were inspired by them to employ pattern and contrasting colors for the purposes of expression. • The Fauves became renowned for using pure and unmixed colors which they intensified further by applying thick daubs and smears. • Although the Fauves were not well-versed in academic color theory, they sought out © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org unique and unnatural color combinations in their paintings with the purpose of evoking a variety of emotional responses; in that sense, color was used arbitrarily and was subject to the painter's own emotional response to the canvas.
    [Show full text]
  • Teachers' Guide for Painting
    Painting TO THE TEACHER OBJECTIVES OF THIS UNIT: To introduce students to one of the major Chinese arts. To raise questions about what we can infer from paintings about social and material life. To introduce the distinction between court and scholar painting and allow discussion of the emergence of landscape as a major art form. TEACHING STRATEGIES: This unit can be taught as a general introduction to Chinese painting or the two main subsections can be taught independently, depending on whether the teacher is more interested in using painting to teach about other things or wants to discuss painting itself as an art. WHEN TO TEACH: In a chronologically-organized course, Painting should not be used before the Song period, as most of the examples in this unit are from the Song and Yuan dynasties. If both Calligraphy and Painting are used, Calligraphy should precede Painting, as it provides valuable information on social and aesthetic values which informed the study, evaluation, and collecting of both types of works of art. This unit would also be appropriate in a course on Chinese art. http://depts.washington.edu/chinaciv/painting/tptgintr.htm (1 of 3) [11/26/2001 10:59:00 AM] Painting We know from textual and archaeological sources that painting was practiced in China from very early times and in a variety of media. Wall paintings were produced in great numbers in the early period of China's history, but because so little early architecture in China remained intact over the centuries, few of these large-scale paintings have survived.
    [Show full text]