DOCSLIB.ORG

Postwar & Contemporary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Postwar & Contemporary PostWar & Contemporary Lot 3401 – 3519 AUCTION Thursday, 1 July 2021, 5.00 pm PREVIEW Thursday, 24 to Monday, 28 June 2021, 10 am – 6 pm Tuesday, 29 June 2021, 10am – 4pm Silke Stahlschmidt Head of Department Tel. +41 44 445 63 42 [email protected] Clarisse Doge Tel. +41 44 445 63 46 [email protected] Teresa Ranft Tel. +41 44 445 63 41 [email protected] Els Oswald Tel. +41 44 445 63 49 [email protected] Please note that due to the current situation, personal participation in the auction room is by reservation only. Please contact one of our department heads for more information. Take advantage of the various ways to bid at our auctions: by telephone, online, or by written bid. Additional photos: www.kollerauctions.com Due to layout reasons it may be possible that some sheet sizes are not fully illustrated. Please visit the online catalogue for untrimmed illustrations. The condition of the prints are only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. 3401 SERGE POLIAKOFF (Moscow 1900–1969 Paris) 4 heures et quart - Académie Frochot. 1940. Charcoal and gouache on paper. Signed and dated lower centre: Serge Poliakoff 40. With the blindstamp lower right: S.P. 36 × 54 cm. With the confirmation of authenticity by the Archives Serge Poliakoff, Paris, 4 March 2014. The work is recorded there under the archive number: 840024. Provenance: - Studio Serge Poliakoff. - Private collection Switzerland. Literature: Poliakoff, Alexis: Serge Poliakoff. Catalogue raisonné, Vol. 1 1922-1954, Paris 2004, no. 40-42 (colour ill.) CHF 8 000 / 12 000 (€ 7 270 / 10 910) | 3 PostWar & Contemporary 3402 ROBERTO CRIPPA (Monza 1921–1972 Milan) Toro. 1947. Wax and newspaper on wood. Signed, dated and dedicated on the rever- se: Crippa 47 pour Mrs. Annamaria Meyer. Amical Souvenir Roberto Crippa Sarlosco 1963. 30.5 × 32.5 cm. The authenticity of this work has been confirmed by Dr. Gimmi Stefanini, CEO Galleria Pace, Milano, April 2021. We thank Dr. Stefanini for his kind support. Provenance: - Sammlung Eric Meyer, France. - Private collection Switzerland. Exhibition: Mannheim 1965, Roberto Crippa. Städtische Kunsthalle Mannheim, 10 April – 16 May, no. 1 (verso with the label). CHF 2 000 / 3 000 (€ 1 820 / 2 730) | 4 3403 MIQUEL BARCELÓ pictorial support itself. He transforms fruits a sensual note on the dark and rough (Felanitx 1957–lives and works a.o. in Paris) of the earth into still lifes with adobe, earth, background. The table indicates a spatial Le vase avec oranges. clay, sand and oil colours. The very process factor. The entire still life is given a dynamic Oil and sand on firm wove paper. of forming, kneading and painting are property through the painted colour and Signed bottom right: BARCELÓ. always perceptible in the final product. the sand, which themselves become a 65 × 49 cm. “Le Vase avec Oranges” shows the con- theme – areas of colour of a crusty, loamy nection of earth and water with Mallorca, character. It is the tactile nature of the Provenance: Private collection Switzerland. his homeland, which are constantly recur- painting material which dominates in the ring themes in his work. work of Miquel Barceló. Miquel Barceló’s pictorial cosmos thrives on a wealth of nuances of aesthetic and The artist directs our gaze to the volu- CHF 15 000 / 20 000 content-related elements, of material minous vase and powerful oranges. The (€ 13 640 / 18 180) and form. Inspired by various cultures, his objects in Barceló’s works often dominate works reflect his own heritage, appearing the entire picture surface. Plasticity is at once eternal and archaic, synthetic and accentuated through the shaded areas. organic. Barceló regularly moulds oranges, The oranges appear to bulge outwards; melons, tomatoes and artichokes from the the strong orange of the fruit takes on | 5 PostWar & Contemporary 3404 JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. 1958. Ink and gouache on Japan paper. Signed lower right: Fautrier. 15.4 × 17.4 cm. Provenance: - Galerie Bonnier, Geneva. - Purchased from the above by the present owner, since then private collec- tion Switzerland. CHF 3 000 / 4 000 (€ 2 730 / 3 640) 3405 JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. 1958. Ink and gouache on Japan paper. Signed lower right: Fautrier. 9.2 × 13.8 cm. Provenance: - Galerie Bonnier, Geneva. - Purchased from the above by the present owner, since then private collec- tion Switzerland. CHF 4 000 / 5 000 (€ 3 640 / 4 550) | 6 3406 WILFRID MOSER (1914 Zürich 1997) Ohne Titel. 1957. Oil on canvas. Signed and dated lower right: MOSER 57, as well as signed and dated on the reverse: MOSER 57. 65 × 81 cm. Provenance: - Galerie Jeanne Bucher, Paris. - By descent to the present owner, since then private collection Switzerland. CHF 5 000 / 7 000 (€ 4 550 / 6 360) | 7 PostWar & Contemporary 3407 ROBERTO MATTA (Santiago de Chile 1911–2002 Civitavecchia) Sueño: un sogno. 1993. Oil on canvas. With the artist‘s signet lower left: Matta. Dated and numbered on the reverse: 1993 93/11. Furthermore with the faded measurements: 150 × 146. 150 × 146 cm. The authenticity has been confirmed by The restless cosmopolitan, who prematu- nal visions. His fictional, gigantic and form- Ramuntcho Matta, Épaux-Bézu, March rely ended his architectural career in exploding works which sometimes also 2021. We thank Mr. Matta for his kind Le Corbusier‘s Paris office in order to reflect contemporary history, show fanciful support. draw and paint in the circle of the Parisian realms, dream worlds, fears, visions of hell, Surrealists, lived for a long time in New York chaos, extra-terrestrial creatures, utopian With the confirmation of authenticity from before finding a home in Italy in the last flying bodies, comic strips, amorphous the Archives de l‘oeuvre de Matta, Paris, phase of his life. „Art should expand the forms, as well as physics experiments that February 1996. The work is registered in universe instead of shrinking it“, said Matta, tie in with science fiction and computer the archives of the catalogue raisonné and indeed his large-scale and abstract games. But also blood streams, nerve under: 93/11. paintings open up new spaces. tracts, atoms and molecules. To this day, viewers are moved by his oversized and Provenance: After the Second World War, the artist, profound pictures which are represented in - Farsetti arte, Milan, auction 27 May 2017, interested in natural science and obsessed the most important museums worldwide. lot 548. with the universe, delved deeper and - Purchased from the above by the deeper into his own world of art, a world of CHF 50 000 / 70 000 present owner, since then private „cosmic Surrealism“. Cosmic forces seem (€ 45 450 / 63 640) collection Switzerland. to be at work in his art, as does the power of the subconscious. The Chilean artist Roberto Sebastián Antonio Matta Echaurren, who called The spirited and imaginative Matta did not himself simply Matta, was one of the most paint what he saw, but painted what he felt, important painters of the 20th century. resolutely drawing his images from perso- | 8 „I am interested only in the unknown and I work for my own astonishment.“ Roberto Matta | 9 PostWar & Contemporary 3408 ROLF ISELI (Bern 1934–lives and works a.o. in Bern) La masse humaine. 1976. Collage. Oil, chalk, sand and feathers on firm paper. Signed and dated twice lower left: Rolf Iseli 76, also titled lower centre and lower left: la masse humaine. 110 × 80 cm. Provenance: Private collection Switzerland. Exhibition: Zurich 1978, Rolf Iseli. Kunsthaus Zürich, 23 March - 7 May, cat. no. 127 (b/w ill.). CHF 6 000 / 8 000 (€ 5 450 / 7 270) | 10 3409* ROBERTO CRIPPA (Monza 1921–1972 Milan) Spiral. 1954. Oil on canvas. Signed and dated on the reverse: Crippa 54. 70.5 × 55.5 cm. The authenticity of this work has been Exhibition: Milano 2014, Roberto Crippa. confirmed by Dr. Gimmi Stefanini, CEO Spazio e Materia, Il Cosmo di Crippa. Galleria Pace, Milano, April 2021. We thank Galleria Arte 92, 23 January – 22 March. Dr. Stefanini for his kind support. With the confirmation of authenticity by CHF 7 000 / 9 000 Roberto Crippa Jr. The work is registered (€ 6 360 / 8 180) under the number: ADN M/5/5/07. Provenance: - Galleria Arte 92, Milano. - Formerly private collection Europe. | 11 PostWar & Contemporary 3410* JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. Watercolour on blotting paper. Signed lower right: Fautrier. 50 × 64.5 cm. Provenance: Formerly Galerie Di Meo, Paris. CHF 7 000 / 9 000 (€ 6 360 / 8 180) 3411 JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. 1942. Ink and gouache on Japan paper. Monogrammed and signed lower right: F42. 11.3 × 12.5 cm. Provenance: Private collection Switzerland. CHF 4 000 / 5 000 (€ 3 640 / 4 550) | 12 3412 OLIVIER DEBRÉ (1920 Paris 1999) Bleu pâle de Loire. 1989. Oil on canvas. Signed, dated and titled on the reverse: O. Debré Bleu pâle de Loire 89. 38 × 55 cm. The authenticity of this work has been His works are classified as colour field confirmed by Ms. Sylvie Debré-Huerre, painting. While they still followed a strict, Paris, 24 March 2021. This work will be formal structure in the 1950s, they beca- included in the forthcoming catalogue me freer in design in the following decade, raisonné. We thank Ms. Debré-Huerre for and then achieved a formal balance in her kind support. terms of composition in the 1970s. Provenance: Private collection Switzerland. In addition to paintings, he created public artworks, especially in the 1980s. He „For me, making a painting is not at all designed stage curtains for the Comédie about creating an object, but is a kind of Français and the Shangai Opera, to name event that can be translated by an object.“ but two.
Load more

Recommended publications
  • Art in America
    MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, self­assured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs.
    [Show full text]
  • Metropolitan Useum Of
    Hiss Sullivan THE ^ ETROPOLITAN NEWS AT WILL USEUM OF ART FOR Eakibitlon oyone to public M RELEASE Friday, March 24, 1950 FIFTHAYE.at82STREET • NEW YORK PRESS VIEW; Tuesday, March 21, 1950 from 2 to 4:30 p.m. PAINTINGS BY 52 YOUNG AMERICAN ARTISTS TO GO ON VIEW AT THE METROPOLITAN MUSEUM; WORKS CHOSEN FROM 131 CANVASES SUBMITTED TO LIFE MAGAZINE BY ARTISTS UNDER 36 The Metropolitan Museum of Art has selected for exhibition 52 paintings by American artists under 36 from a group of 131 canvases assembled from throughout the nation by LIFE magazine. This special five-week exhibition of work considered their best by a group of the country's most promising young painters begins Friday, March 24th. Robert Beverly Hale, Associate Curator of Painting and Sculpture in the Mu­ seum's American Art Department, made the selection for the Metropolitan. He says he feels the display will help to indicate "where the future strength of painting lies in America." Several of the artists represented have already gained recognition. Among them are Walter Stuempfig, Hedda Sterne, William Kienbusch, Reuben Tarn, Mitchell Jamieson, Edward Melcarth and Theodoros Stamos. Others, including 25-year-old Hubert Raczka and 25-year-old Siegfried* Reinhardt, are just beginning to be known. When LIFE magazine recently asked the heads of schools, museums and leading college art departments to suggest the names of American painters under the ,age of 36 whose work they considered exceptionally promising, a total of 450 names were sent in. These artists were asked by LIFE to send in photographs of their best work On the evidence of more than 1,000 photographs, 131 artists were asked to send a painting.
    [Show full text]
  • The Landscape in American Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2003 Town and Country: The Landscape in American Art Sharon L. Gustafson Statewide Exhibition Coordinator, Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Gustafson, Sharon L., "Town and Country: The Landscape in American Art" (2003). Sheldon Museum of Art Catalogues and Publications. 77. https://digitalcommons.unl.edu/sheldonpubs/77 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. TOWN & COUNTRY: The Landscape in American Art Sixteenth Annual Statewide Exhibition Sheldon Memorial Art Gallery and Sculpture Garden University of Nebraska-Lincoln 2002-2003 TOWN & COUNTRY: The Landscape in American Art he subject of Town and Country: Lands~ape as a backdrop but fills Tin American Art seems an appropnate the painting with the topic particularly in Nebraska where the land color and shapes of plays an integral part in defining our identity. spring. Mary's form The geography provides us physical suste­ mimics nature's shapes nance as well as aesthetic nourishment. There and the veil she wears is a closeness to the land that is perhaps even melds into the nearby more evident in the plains then anywhere else rock formations, so on earth.
    [Show full text]
  • A Discussion with Theodoros Stamos 45 Turkish Coffee in Greece by Elias Petropoulos 53 Documents: the O.S.S
    JO THE LLENIC 001ASP RA A Quarterly Review VOL. IX, No. 4 WINTER 1982 Publisher: LEANDROS PAPATHANASIOU Editorial Board: ALEXANDER KITROEFF PASCHALIS M. KITROMILIDES PETER PAPPAS YIANNIS P. ROUBATIS Founding Editor: NIKOS PETROPOULOS The Journal of the Hellenic Diaspora air mail; Institutional—$25.00 for one is a quarterly review published by Pella year, $45.00 for two years. Single issues Publishing Company, Inc., 337 West cost $4.50; back issues cost $6.00. 36th Street, New York, NY 10018, U.S.A., in March, June, September, and Advertising rates can be had on request December. Copyright © 1982 by Pella by writing to the Publisher. Publishing Company. Articles appearing in this journal are The editors welcome the freelance sub- abstrated and/or indexed in Historical mission of articles, essays and book re- Abstracts and America: History and views. All submitted material should be Life; or in Sociological Abstracts; or in typewritten and double-spaced. Trans- Psychological Abstracts; or in the Mod- lations should be accompanied by the ern Language Association Abstracts (in- original text. Book reviews should be cludes International Bibliography) or in approximately 600 to 1,200 words in International Political Science Abstracts length. Manuscripts will not be re- in accordance with the relevance of con- turned unless they are accompanied by tent to the abstracting agency. a stamped, self-addressed envelope. All articles and reviews published in Subscription rates: Individual—$15.00 the Journal represent only the opinions for one year, $27.00 for two years; of the individual authors; they do not Foreign—$20.00 for one year by surface necessarily reflect the views of the mail; Foreign-425,00 for one year by editors or the publisher.
    [Show full text]
  • Abstract Expressionism: a Concern with the Unknown Within.” in Robert Hobbs and Gail Levin
    “Early Abstract Expressionism: A Concern with the Unknown Within.” In Robert Hobbs and Gail Levin. Abstract Expressionism: The Formative Years. New York: Whitney Museum of American Art, 1978; pp. 8-26. Text © Robert Hobbs Early Abstract Expressionism: A Concern with the Unknown Within by Robert Carleton Hobbs Breakthrough! The term "breakthrough" is often used to assess a major accomplishment of an artist, the works in which he first achieves an undeniable advance. But what does a breakthrough really signify? What does an artist leave when he begins a new style? Is he really leaving, so to speak, one room, closing and sealing the door to it when he enters another? Or is he remodeling, expanding, or merely redecorating the room in which he exists? A major intent of this essay is to look closely at the rooms occupied by the Abstract Expressionists during their formative years, the enclosures pejoratively designated Surrealist-Cubist, in order to understand exactly what sort of quarters they inhabited before their acclaimed breakthrough. Moreover, the essay will examine these spaces, the ideas expressed in them and the artistic and literary sources supporting them. It will imply ways the later style is incorporated in the earlier one, for the development of the New York painters in the late 1940s was from the complex to the simple, from an admittedly conftated ambiguity typifying their work in the late thirties and greater part of the forties to the more condensed forms that remained the distinctive characteristic of their later style. The early paintings explain the later ones: they provide the key to interpreting the significant content that preoccupied the Abstract Expressionists.
    [Show full text]
  • A Finding Aid to the Theodoros Stamos Papers, Circa 1922-2008, in the Archives of American Art
    A Finding Aid to the Theodoros Stamos papers, circa 1922-2008, in the Archives of American Art Cynthia S. Brenwall October 3, 2012 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1922-2006..................................................... 5 Series 2: Financial Records, 1979-circa 1990's....................................................... 6 Series 3: Correspondence, circa 1940s-1997.......................................................... 7 Series 4: Business and Legal Records, 1974-2008................................................
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • Greek Subjects, Greek-American Artists, and American Abstract Expressionism
    Athens Journal of Humanities & Arts - Volume 4, Issue 1 – Pages 25-34 Greek Subjects, Greek-American Artists, and American Abstract Expressionism By Gail Levin Many Abstract Expressionists in America found in Greek mythology rich material to express metaphoric meaning that could be communicated through the referential titles that they gave to their art, even when they stayed far away from literal representation. In the work of some Abstract Expressionists, these metaphors have been interpreted as referring to the tragic events of World War II. Yet for the Greek-American artists among and around the Abstract Expressionists, references to Greek myths came naturally through pride in their ancestral culture. Abstract Expressionists in the United States took a vigorous interest in classical Greek myths. They were following the lead of Surrealists in Europe, such as André Masson and Matta, as well as Picasso, who had absorbed Freud and turned to classical mythology. The Surrealists also admired Giorgio de Chiricoʼs painting with his classical references. His allusions to Greek mythology resulted from his birth in 1888 in Volos, Greece, to a Genovese mother and a Sicilian father. Giorgio grew up and studied in Athens before moving to Germany in 1906. From 1936, De Chiricoʼs work attracted attention in New York, where it was often shown, especially that year at the Pierre Matisse Gallery and in the Museum of Modern Artʼs show, Fantastic Art, Dada, and Surrealism. American artists not only admired De Chiricoʼs paintings, but felt Massonʼs influence firsthand since he took refuge in the United States during World War II. By then, Masson had already absorbed mythological themes drawn from ancient Greece and from Freudʼs writings on the dream and the unconscious.
    [Show full text]
  • The Whitney to Present Signs & Symbols, Third in Series Of
    THE WHITNEY TO PRESENT SIGNS & SYMBOLS, THIRD IN SERIES OF SIX SHOWS REASSESSING THE COLLECTION June 28-October 28, 2012 Theodoros Stamos (b. 1922), Ancestral Worship, 1947. © Estate of Theodoros Stamos NEW YORK, May 14, 2012 -- Signs & Symbols, the third in a series of six exhibitions focused on the Whitney’s collection, takes stock of the period from the mid-1940s to the end of the 1950s, drawing upon the Museum’s deep collection of paintings, sculpture, drawings, prints, and photographs. This exhibition reconsiders this critical postwar moment—a time perhaps most frequently associated with a select group of Abstract Expressionists and their large-scale, highly abstract canvases and gestural brushwork. By contrast and through a more textured narrative, Signs & Symbols highlights primarily abstract work completed on diverse scales, engaged with more figurative signs and symbols, and by a larger group of artists, many of whom are lesser known and rarely exhibited. The exhibition, curated by Donna De Salvo, the Whitney’s Chief Curator and Deputy Director for Programs, in collaboration with Jane Panetta, opens on June 28 and remains on view through October 28 in the Mildred & Herbert Lee Galleries on the Whitney’s second floor. Donna De Salvo comments: “The postwar period that Signs & Symbols makes its subject has become so identified with the heroic abstraction of New York School painting that it's easy to overlook the broader, more nuanced investigations into representation and abstraction that occupied artists throughout the country at the time. The Whitney's collection is wonderfully rich in these experiments as they play out nationally.
    [Show full text]
  • A Finding Aid to the Bernard J. Reis Papers, Circa 1913-1983, in the Archives of American Art
    A Finding Aid to the Bernard J. Reis Papers, circa 1913-1983, in the Archives of American Art Rebecca McCormick 2017 August 4 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical and Family Papers, circa 1943-1975................................... 4 Series 2: Correspondence, circa 1935-1979............................................................ 5 Series 3: Professional Files, circa 1947-1975.......................................................... 7 Series 4: Art of This Century and Peggy Guggenheim Foundation
    [Show full text]
  • The Irascibles: Painters Against the Museum (New York, 1950) [Book Review]
    The Irascibles: Painters Against the Museum (New York, 1950) [book review] By: Maggie Murphy Murphy, M. The Irascibles: Painters Against the Museum (New York, 1950), by Daniel Belasco, Bradford Collins, Beatriz Cordero, et al. [book review]. ARLIS/NA Reviews. May 2021. https://www.arlisna.org/publications/reviews/2270-the-irascibles-painters-against-the-museum- new-york-1950 ***Made available courtesy of the Art Libraries Society of North America. Reprinted with permission. No further reproduction is authorized without written permission from ARLIS/NA.*** Abstract: “Dear Sir: The undersigned painters reject the monster national exhibition to be held at the Metropolitan Museum of Art next December, and will not submit work to its jury.” So begins the open letter signed by eighteen American abstract artists at the heart of The Irascibles: Painters Against the Museum (New York, 1950), an exhibition catalog published by Fundación Juan March. Keywords: book review | Metropolitan Museum of Art | abstract painting | New York School Article: ***Note: Full text of article below The Irascibles: Painters Against the Museum (New York, 1950) arlisna.org/publications/reviews/2270-the-irascibles-painters-against-the-museum-new-york-1950 by Daniel Belasco, Bradford Collins, Beatriz Cordero, et al. Fundación Juan March, July 2020. 304 p. ill. ISBN 9788470756658 (h/c), $55.00. Reviewed May 2021 Maggie Murphy, Visual Art & Humanities Librarian, UNC Greensboro, [email protected] “Dear Sir: The undersigned painters reject the monster national exhibition to be held at the Metropolitan Museum of Art next December, and will not submit work to its jury.” So begins the open letter signed by eighteen American abstract artists at the heart of The Irascibles: Painters Against the Museum (New York, 1950), an exhibition catalog published by Fundación Juan March.
    [Show full text]
  • Abstract Expressionism 1 Abstract Expressionism
    Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.
    [Show full text]