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Vladímir Lébedev (1891-1967). Ruta (1924)
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 Vladímir lébedeV (1891-1967) 2012 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March Fundación Juan March Fundación Juan March Fundación Juan March VLADÍMIR LÉBEDEV (1891-1967) Fundación Juan March Este catálogo se publica con ocasión de la exposición VLADÍMIR LÉBEDEV (1891-1967) Museu Fundación Juan March, Palma 22 febrero – 26 mayo 2012 Museo de Arte Abstracto Español, Cuenca 15 junio – 9 septiembre 2012 Th is catalogue is published on the occasion of the exhibition VLADIMIR LEBEDEV (1891-1967) Museu Fundación Juan March, Palma February 22 – May 26, 2012 Museo de Arte Abstracto Español, Cuenca June 15 – September 9, 2012 3 Fundación Juan March Este catálogo acompaña la primera exposición monográfi ca en España Presentación dedicada al artista ruso-soviético Vladímir Lébedev (1891-1967), que se celebra en el Museu Fundación Juan March de Palma (22 febrero a 26 mayo) y en el Museo de Arte Abstracto Español de Cuenca (15 junio a 9 septiembre). -
![Archivision Art Module E[1]](https://docslib.b-cdn.net/cover/9475/archivision-art-module-e-1-1349475.webp)
Archivision Art Module E[1]
ARCHIVISION ART MODULE E: WORLD ART III 3000 photographs | images available now | data to come summer 2020 CANADA Montreal Montreal Museum of Fine Arts: Chagall Exhibit • Juggler with a Double Profile (1968) [1] • King David (1954) [3] • Rooster (1947) [5] • Sketch for Clown with Shadow (1964) [1] • Sketch for Comedia dell'arte (1957-58) [1] • Rainbow (1967) [3] • Red Circus (1956-1960) [3] • Triumph of Music (final model for Lincoln Center) (1966) [11] • Triumph of Music (prep drawing 1 for Lincoln Center) (1966) [1] • Triumph of Music (prep drawing 2 for Lincoln Center) (1966) [1] • Wedding (1944) [3] • Variation on the theme of The Magic Flute - Sarastro (1965) [4] • Variation on the theme of The Magic Flute - Papageno (1965) [3] • La Pluie (Rain) (on loan from S. Guggenheim Museum, 1911) Montreal Museum of Fine Arts: Napoleon Exhibit • Apotheosis of Napoleon I, by workshop of bertel Thorvaldsen (ca. 1830) [8] • The Last Attack, Waterloo, Ernest Crofts (1895) [17] Montreal Museum of Fine Arts: Picasso Show • Malanggan Ceremonial Carving (New Ireland, Papua New Guinea, 20th century) [1] • Yupik Finger Mask from Alaska (19th century) [1] • Kavat mask, by baining artist (Papua New Guinea), before 1965 [2] • Headdress, Unknown Tusian (Tusyan) artist (burkina Faso) 20th C [3] • blind Minotaur Guided by Little Girl in the Night (1934) [1] • Bouquet of Flowers [1] • Figure (1930) [1] • Head of a Woman (1927) [1] • Head of a Woman 2 (1929) [1] • Head of a Young Woman (1945) [1] • Large Reclining Nude (1943) [2] • Portrait of a Woman [1] by -
T T-\Yf-T Dissertation U I V L L Information Service University Microfilms Intemational a Bell & Howell Information Company 300 N
INFORMATiOîi TO USERS This reproduction was made from .1 copy of a manuscript sent to us for publication and microfilming. While the most advanced te.:hnology has been used to pho tograph and reproduce this manuscript, tfje quality of the reproduction is heavily dependent upon the quality of the material submitted. Pages in any manuscript may have indistinct print. In all cases the best available copy has been Aimed. The following explariation of techniques is provided to help clarify notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When it is not possible to obtain missing pages, a note appears to indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap pears to indicate this. 3. Oversize materials (maps, drawings, and charts) are photographed by sec tioning the original, beginning at the upper left hand comer and continu ing from left to right in equal sections with small overlaps. E%ach oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or in black and white paper format. • 4. Most photographs reproduce acceptably on positive microfilm or micro- Oche but lack clarity on xerographic copies made from the microAlm. Fbr an additional charge, all photographs are available in black and white standard 35mm slide format.* «For more information about black and white slides or enlarged paper reproductions, please contact the Dissertatlona Customer Services Department. T T-\yf-T Dissertation U i V l l Information Service University Microfilms Intemational A Bell & Howell Information Company 300 N. -
Impressionism Paintings Collected by European Museums a Resource Packet for Educators
Impressionism Paintings Collected by European Museums A Resource Packet for Educators The High Museum of Art The Seattle Art Museum The Denver Art Museum Acknowledgements Impressionism: Paintings Collected by European Museums is organized by the High Museum of Art, Atlanta, in collaboration with the Denver Art Museum and the Seattle Art Museum. High Museum of Art, Atlanta Seattle Art Museum Denver Art Museum February 23 - May 16, 1999 June 12 - August 29, 1999 October 2 - December 12, 1999 In Atlanta, this exhibition is In Seattle, the exhibition is In Denver, the exhibition is made possible by the Katherine generously sponsored by: generously sponsored by John Murphy Foundation and Presenting Sponsor U S WEST. Additional funding is The Rich Foundation. U S WEST provided by the Adolph Coors The exhibition is sponsored by Additional funding provided by: Foundation, the Denver Delta Airlines and NationsBank The Boeing Company Foundation, and the citizens who The Seattle Times support the Scientific and Starbucks Coffee Company Cultural Facilities District. Kreielsheimer Exhibition Endowment Seattle Art Museum We regret the omission of Supporters(SAMS) sponsors confirmed after The Annual Fund December 31, 1998. 1 Contents About the Packet............................................................................................................ 3 What the Packet Includes...................................................................................................... 3 About Impressionism.................................................................................................... -
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). -
Femme Au Chapeau: Art, Fashion and the Woman’S Hat in Belle Epoque Paris
Femme au chapeau: Art, Fashion and the Woman’s Hat in Belle Epoque Paris Master of Arts by Research A thesis submitted in fulfilment of the requirements for the degree of Master of Arts by Research in the Department of Art History and Film Studies Faculty of Arts and Social Sciences The University of Sydney 23 October 2019 Helen Gramotnev ABSTRACT This thesis examines the images of hatted women in the early 1900s among Paris-based artists, when the fast pace of the fashion industry and changing media revolutionised the image of a fashionable woman. The first chapter examines the hat in portraiture of the early twentieth century, in both academic and avant-garde art, with emphasis on the depiction of glamour, and how a woman’s identity might be altered by a hat. It draws a comparison between commercial portraiture, and portraits of women by avant-garde artists. The second chapter addresses the images of the popular Montmartre dance hall, the Moulin de la Galette, both in paintings and in print media. The focus is on the “fantasy,” whereby a temporary and alternative identity is created for a woman through her headgear. The final chapter examines the evolution of the hat to its largest and most elaborate state at Parisian horse-racing events, addressing the obsession with size, and the environmental impact of the millinery trade in its pursuit of ever-increasing grandeur. 1 Table of Contents ABSTRACT .................................................................................................................................... 1 ACKNOWLEDGEMENTS -
Loans in And
the national gallery review of the year 2008 – 2 0 0 9 loans to the national gallery april 2008–march 2009 The following pictures were on loan at Boldini In the Garden Kerrich Distant View of Lowestoft from the National Gallery between April 2008 British (?) The Fourvière Hill at Lyon the South and March 2009 Bürkel Distant View of Rome with the Knip Green Mountains * Pictures returned Baths of Caracalla in the Foreground Kølle A Courtyard in Rome Buttura A Road in the Roman Campagna Leighton Archway on the Palatine Her Majesty The Queen Camuccini Ariccia Leighton On the Coast, Isle of Wight Workshop of Fra Angelico Blessing Camuccini A Fallen Tree Trunk Leighton Houses in Capri Redeemer Camuccini Landscape with Trees and Rocks Leighton Houses in Venice Gentile da Fabriano The Madonna and Cels Sky Study with Birds Leighton An Outcrop in the Campagna Child with Angels (The Quaratesi Madonna) Closson Antique Ruins (the Baths of Leighton View in Capri Gossaert Adam and Eve Caracalla?) Leighton A View in Spain Leighton Cimabue’s Celebrated Madonna Closson The Cascade at Tivoli Leighton The Villa Malta, Rome is carried in Procession through the Attributed to Coignet River Landscape Mason The Villa Borghese Streets of Florence Attributed to Constantin Bridge at Subiaco Michallon A Torrent in a Rocky Gorge Pesellino Saints Mamas and James (Framed Attributed to Corot Staircase in the Michallon A Tree with Pesellino The Pistoia Santa Trinità Entrance to the Villa of Maecenas, Tivoli Nittis Winter Landscape Altarpiece NG727, NG3162, NG3230 and -
Specularity in Late Nineteenth-Century French Literature and Art
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 8-8-2002 Specularity in Late Nineteenth-Century French Literature and Art Marguerite LiBassi University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation LiBassi, Marguerite, "Specularity in Late Nineteenth-Century French Literature and Art" (2002). University of New Orleans Theses and Dissertations. 4. https://scholarworks.uno.edu/td/4 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. SPECULARITY IN LATE 19th CENTURY FRENCH LITERATURE AND ART A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in Romance Languages by Marguerite Cappo Li Bassi B.A., University of New Orleans, 1997 August 2002 Copyright 2002, Marguerite Cappo Libassi ii ACKNOWLEDGEMENTS The unusual structure of this thesis might be compared, with modesty, to Stéphane Mallarmé’s methodology. -
Helen M. Turner, American Impressionist Maia Jalenak Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2003 Helen M. Turner, American impressionist Maia Jalenak Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Jalenak, Maia, "Helen M. Turner, American impressionist" (2003). LSU Master's Theses. 2216. https://digitalcommons.lsu.edu/gradschool_theses/2216 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. HELEN M. TURNER, AMERICAN IMPRESSIONIST A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Art History by Maia Jalenak B.A., Sweet Briar College, 1988 May 2003 Copyright © 2003 by Maia Jalenak All rights reserved ii To Jay, Jack and Nina iii ACKNOWLEDGMENTS I am grateful to many people for their help and support of my project. I am fortunate to have H. Parrott Bacot as my advisor. He provided a great deal of guidance in directing my thesis. Louisiana State University professors Mark Zucker and Robert Hausey were also helpful with their suggestions and encouragement as members of my committee. I wish to thank my husband, Jay, and my children, Jack and Nina. Jay provided humor and endless encouragement, as well as serving as my in-house computer expert.