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compagnie nationale de théâtre lyrique et musical direction Catherine Kollen LA PETITE RENARDE RUSÉE Opéra de Leos Janacek (Brno, 1924) PROGRAMME DE SALLE Spectacle récompensé par le prix de « Meilleurs créateurs d’éléments scéniques » décerné en juin 2016 par l’Association professionnelle de la Critique de Théâtre. retrouvez plus d’infos et de photos sur : www.renarde.arcal-lyrique.fr / www.arcal-lyrique.fr Photo : le Renard (Caroline Meng) et la Renarde Bystrouska (Noriko Urata) © Enrico Bartolucci pour l’Arcal compagnie nationale de théâtre lyrique et musical direction Catherine Kollen L’Arcal tient à adresser ses remerciements les plus vifs aux partenaires de La Petite Renarde rusée . -les partenaires en production de La Petite renarde rusée TM+ ensemble orchestral de musique d’aujourd’hui pour sa coproduction et sa direction musicale La Maison de la musique de Nanterre - Maison Daniel Féry pour l’accueil des répétitions et de la création, la mise à disposition de ses techniciens Le Théâtre de Saint-Quentin-en-Yvelines Scène nationale pour sa coproduction Les 2 Scènes, Scène nationale de Besançon pour sa coproduction ARCADI Île-de-France pour son soutien à la production et à la diffusion du spectacle en Île-de-France La Fondation Orange pour son soutien Le DICRéAM pour sa participation Le Théâtre d’Etampes pour son accueil en répétition en 2015-16 L’Opéra de Massy pour son accueil en répétition en 2015-16 -les partenaires institutionnels de l’Arcal L’Arcal est soutenu par le Ministère de la Culture et de la Communication (Direction régionale des affaires culturelles d’Île-de-France), le Conseil régional d’Île-de-France, la Ville de Paris, le Conseil départemental de l’Essonne, le Conseil départemental des Yvelines. -
Mark Tobey in 40 Years Explores Artist’S Groundbreaking Contributions to American Modernism
PRESS RELEASE First U.S. Retrospective of Mark Tobey in 40 Years Explores Artist’s Groundbreaking Contributions to American Modernism Organized by the Addison Gallery of American Art, Mark Tobey: Threading Light presents extraordinary breadth, nuance, and radical beauty of artist’s work Andover, Massachusetts (September 27, 2017) – The first comprehensive retrospective of Mark Tobey in the U.S. in 40 years will open at the Addison Gallery of American Art on November 4, 2017. Organized by the Addison Gallery of American Art, Mark Tobey: Threading Light traces the evolution of Tobey’s groundbreaking style and his significant, yet Eventuality, 1944. Tempera on paper mounted on board; 10 x 14 15/16 in. under-recognized, contributions to Addison Gallery of American Art abstraction and mid-century American modernism. Comprised of 67 paintings spanning the 1920s through 1970, Threading Light includes three exceptional works from the Addison’s renowned collection of American art and major loans from the Museum of Modern Art, Whitney Museum of American Art, Smithsonian American Art Museum, Tate Modern, and Centre Pompidou, among numerous other collections. Organized by the Addison and guest curator Debra Bricker Balken, who also authored the accompanying catalogue, Threading Light opened earlier this year at the Peggy Guggenheim Collection in Venice during the 2017 Venice Biennale, and will be on view at the Addison, which is located on the campus of Phillips Academy in Andover, MA, from November 4, 2017, through March 11, 2018. “As an institution dedicated to provoking new discourse and insights into the field of American art, we are delighted to share with our visitors a groundbreaking re-appraisal of one of the foremost American artists to emerge from the 1940s, a decade that saw the rise of Abstract Expressionism,” said Judith F. -
Press Release
CHEIM & READ Serge Poliakoff Gouaches 1938–1969 May 20 — September 25, 2021 Cheim & Read 23 East 67 Street New York NY 10065 Cheim & Read is pleased to present Serge Poliakoff: Gouaches 1938–1969, an exhibition devoted to the works on paper of the Russian- Serge Poliakoff. Composition Abstraite, 1942, Gouache on paper. born painter who lived and worked in Paris. 18 3/4 x 24 1/4 inches / 47.6 x 61.6 cm. © 2021 Serge Poliakoff This show follows the survey of Poliakoff’s / Artists Rights Society (ARS), New York / ADAGP, Paris. work held at the gallery in 2016, which was the artist’s first solo exhibition in New York in thirty-five years.Gouaches 1938–1969 opens on May 20 and runs through September 25, 2021. Serge Poliakoff (1900-1969) has long been considered a painter’s painter: Sean Scully has written an essay to accompany the current exhibition; Amy Sillman selected his Composition, 1956, for The Shape of Shape, her acclaimed 2019 Artist’s Choice show at the Museum of Modern Art; Joe Fyfe curated the 2016 exhibition and wrote its catalogue essay. Fyfe also worked with Cheim & Read to organize the 2020 exhibition of the late American painter Kimber Smith, who also lived and worked in Paris. “Poliakoff,” Fyfe noted, “was one of the ‘Nouvelle Ecole de Paris,’” or the New School of Paris, “a group of artists who came a generation after Picasso, Léger, Matisse, Miró, and Braque.” Like the Abstract Expressionists in the United States, he turned to pure abstraction exclusively in the postwar period, although works such as Bandes colorées (1937) are evidence that he was already interested in it by the mid-1930s. -
Modernism in the Pacific Northwest: the Mythic and the Mystical June 19 — September 7, 2014
Ann P. Wyckoff Teacher Resource Center Educator Resource List Modernism in the Pacific Northwest: The Mythic and the Mystical June 19 — September 7, 2014 BOOKS FOR STUDENTS A Community of Collectors: 75th Anniversary Gifts to the Seattle Art Museum. Chiyo Ishikawa, ed. Seattle: Seattle Adventures in Greater Puget Sound. Dawn Ashbach and Art Museum, 2008. OSZ N 745 S4 I84 Janice Veal. Anacortes, WA: Northwest Island Association, 1991. QH 105 W2 A84 Overview of recent acquisitions to SAM’s collection, including works by Northwest artists. Educational guide and activity book that explores the magic of marine life in the region. George Tsutakawa. Martha Kingsbury. Seattle: University of Washington Press, 1990. N 6537 T74 A4 Ancient Ones: The World of the Old–Growth Douglas Fir. Barbara Bash. San Francisco: Sierra Club Books for Exhibition catalogue covering 60 years of work of the Children, 2002. QK 494.5 P66 B37 Seattle–born painter, sculptor, and fountain maker. Traces the life cycle of the Douglas fir and the old–growth Kenneth Callahan. Thomas Orton and Patricia Grieve forest and their intricate web of life. Watkinson. Seattle : University of Washington Press; 2000. ND 237 C3 O77 Larry Gets Lost in Seattle. John Skewes. Seattle: Sasquatch Books, 2007. F 899 S44 S5 Overview of the life and work of artist Kenneth Callahan. Pete looks for his dog Larry in Seattle’s famous attractions. Margaret Callahan: Mother of Northwest Art. Margaret Bundy Callahan and Brian Tobey Callahan, ed. Victoria, S Is for Salmon: A Pacific Northwest Alphabet. Hannah BC: Trafford Publising, 2009. ND 237 C19 C35 Viano. -
Programme De Salle
LA PETITE RENARDE RUSÉE Opéra de Leos Janacek (Brno, 1924) PROGRAMME DE SALLE retrouvez plus d’infos et de photos sur : www.renarde.arcal-lyrique.fr www.arcal-lyrique.fr Illustration : Forêt de hêtres I (Buchenwald I) - Klimt Gustav (1862-1918) (C) BPK, Berlin, Dist. RMN-Grand Palais / Elke Estel / Hans-Peter Kluth compagnie nationale de théâtre lyrique et musical direction Catherine Kollen L’Arcal tient à adresser ses remerciements les plus vifs à ses partenaires de La Petite Renarde rusée . -les partenaires en production de La Petite renarde rusée TM+ ensemble orchestral de musique d’aujourd’hui pour sa coproduction et sa direction musicale La Maison de la musique de Nanterre - Maison Daniel Féry pour l’accueil des répétitions, la mise à disposition de ses techniciens Le Théâtre de Saint-Quentin-en-Yvelines Scène nationale pour sa coproduction Les 2 Scènes, Scène nationale de Besançon pour sa coproduction ARCADI Île-de-France pour son soutien à la production et à la diffusion du spectacle en Île-de-France La Fondation Orange pour son soutien Le DICRéAM pour sa participation Le Théâtre d’Etampes pour son accueil en répétition en 2015-16 L’Opéra de Massy pour son accueil en répétition en 2015-16 -les partenaires institutionnels de l’Arcal L’Arcal est soutenu par la Drac Ile-de-France -Ministère de la Culture et de la Communication, la Région Île-de-France, laVille de Paris, le Conseil Départemental de l’Essonne, le Conseil Départemental desYvelines. L’Arcal est artiste associé auThéâtre de Saint-Quentin-en-Yvelines Scène nationale. L’Arcal est depuis 2000 et jusque fin 2016 en résidence à l’Opéra de Reims et en Champagne-Ardenne, avec le soutien de la DRAC Champagne-Ardenne et la Région Champagne-Ardenne. -
Piri Halasz Mark Tobey Review
Art criticism, sometimes with context, occasional politics. Published in hard copy 2-4 times a year. New shows: "events;" hard copy rates & how to support the online edition: "works." TOBEY AT WAHLSTEDT: PROTO-POLLOCK? April 17, 2021 Tags: Mark Tobey Mark Tobey, Sharp Field, 1960. Tempera, 6 1/2 x 9 1/4 inches. Courtesy Anders Wahlstedt Fine Art. If you believe everything you read online, Jackson Pollock owed his celebrated "all-over" style entirely to the "white writing" of Mark Tobey. This anyway is how Tobey's Wikipedia entry tells it, To me, this is like comparing a candle to a bonfire, but that doesn't mean I didn't enjoy "Mark Tobey: Nature's Patterns," eighteen mostly-small but still highly enjoyable works at Anders Wahlstedt Fine Art (through May 12). A candle can be beautiful, too -- and even a candle may ignite a blaze. TOBEY'S PLACE IN ART HISTORY I dealt with Tobey in my 509-page dissertation with the jaw-breaking title of "Directions, Concerns, and Critical Perceptions of Paintings Exhibited in New York, 1940-49: Abraham Rattner and His Contemporaries." The point behind all its longueurs is that in the 1940s, the art scene was evolving away from the hard-edge, extroverted realism exemplified equally by the cornball regionalism of Thomas Hart Benton and the Krafft-Ebing fantasies of Salvador Dalí. I argued that paintings on display in New York with each passing year were evolving in a more romantic, subjective, painterly and above all more abstract direction The dissertation had been inspired originally by Abraham Rattner, a representational expressionist painter whose brushwork was freer than what had gone before. -
Does One Stand to Gain by Combining Art with Philosophy?
Journal of Education and Learning; Vol. 7, No. 4; 2018 ISSN 1927-5250 E-ISSN 1927-5269 Published by Canadian Center of Science and Education Does One Stand to Gain by Combining Art with Philosophy? A Study of Fourth-Year College (13/14 Years of Age) Philosophical Writings Produced Within the PreCPhi/Philosophemes Corpus Hélène Maire1,2, Emmanuèle Auriac-Slusarczyk1, Bernard Slusarsczyk1, Marie-France Daniel3 & Cathy Thebault1 1 Laboratoire Activité Connaissance Transmission Education (EA 4281), Université Clermont Auvergne, Clermont-Ferrand, France 2 Laboratoire Lorrain de Psychologie et Neurosciences de la Dynamique des Comportements (EA 7489), Université de Lorraine, Nancy, France 3 Groupe de Recherche sur l’Ethique et l’Education Ethique, Université du Québec à Montréal, Québec, Canada Correspondence: Emmanuèle Auriac-Slusarczyk, Laboratoire Activité Connaissance Transmission Education (EA 4281), Université Clermont Auvergne, Clermont-Ferrand, France. Received: March 24, 2018 Accepted: April 15, 2018 Online Published: May 15, 2018 doi:10.5539/jel.v7n4p1 URL: https://doi.org/10.5539/jel.v7n4p1 Abstract Creative thinking is sometimes neglected by schools. Introducing philosophy in schools represents a commitment to balancing the development of logical and creative thinking, currently exercised only orally. In the present study, the focus is on writing. Firstly, the value of authentic pupil writings is underscored. The pupils and students studied wrote texts for “Adolescence et Société”, a magazine produced by researchers. 100 students’ works, written by philosophizing students in fourth-year college in France, culled from the PreCPhi/Philosophemes Corpus (1,300 texts collected from 43 classrooms) were studied in order to measure the progress of philosophizing students between a pre-test and a post-test following the introduction of a pedagogical tool that unites Art with Philosophy, Philo & Carto. -
Mark Tobey Venice and Andover
2017 NOVEMBER NOVEMBER COV_NOV2017_V1.qxp_cover.june.pp.corr 18/10/2017 12:00 Page 1 2017 THE BURLINGTON MAGAZINE NO. 1376 VOL. CLIX EXHIBITIONS Mark Tobey Venice and Andover by DAVID ANFAM THE PITY IS that an important American art- ist who spent nearly a decade in England has never gained full recognition there. The ex- hibition Mark Tobey: Threading Light at the Addison Gallery of American Art, An- dover (to 11th March 2018), and previously at the Peggy Guggenheim Collection, Venice (closed 10th September), where this review- er saw it, further highlights this shortsighted- ness.1 Among the reasons for Tobey’s wider neglect are, firstly, that his affinities gravitated towards the West coast of the United States and the Far East. Secondly, the Abstract Ex- pressionist heavyweights eclipsed him. Tobey painted small – a fatal gambit during the pe- riod when large prevailed. Lastly, Clement Greenberg traduced the artist by denying his documented influence on Pollock. This exhi- bition provides an excellent chance to reassess Tobey’s stature. Given its majestic site on the Grand Canal, Venice’s sparkling light and the unique atmosphere of its former owner’s palazzo, the Peggy Guggenheim Collection offers a superb setting for almost any art. However, its tem- porary exhibition areas – at the bottom of the garden, as it were – pose one challenge. They are windowless. In Tobey’s case this became 78. World, by Mark Tobey. 1959. Tempera on board, diameter 29.8 cm. (Private collection, New York; an advantage, lending concentration to his exh. Addison Gallery of American Art, Andover). -
3593-006 Mark Tobey Papers Papers Inventory Accession
UNlVERSllY U BRARIJES w UNIVERSITY of WASHI NGTON Spe ial Colle tions 4123 Mark Tobey Papers papers Inventory Accession No: 3593-006 Special Collections Division University of Washington Libraries Box 352900 Seattle, Washington, 98195-2900 USA (206) 543-1929 This document forms part of the Preliminary Guide to the Mark Tobey Papers. To find out more about the history, context, arrangement, availability and restrictions on this collection, click on the following link: http://digital.lib.washington.edu/findingaids/permalink/TobeyMark3593/ Special Collections home page: http://www.lib.washington.edu/specialcollections/ Search Collection Guides: http://digital.lib.washington.edu/findingaids/search MARK TOBEY ACC. NO. 3593-6 Guide This accession consists entirely of photographs received from the Seattle Art Museum in 1988 and was part of the Tobey estate. Many of the family photographs in this accession have been identified by Cliffa Corson, Tobey's niece. The photocopies of the photographs which bear her identifications have been retained with the photos. Additional identifications have been made by Wes Wehr, a Seattle friend of Tobey. Photographs may also be found in all of the other Tobey accessions. This accession was processed in 1989 and measures 3 linear feet. MARK TOBEY Accession No. 3593-6 INVENTORY Box Dates Photos 1 PHOTOGRAPHS Mark Tobey -- portraits 30 Mark Tobey -- snapshots 52 Mark Tobey with Pehr Hallsten 7 Mark Tobey with family and friends picnic 11 Mark Tobey with family 5 Tobey's family 45 Mark Tobey with Carl and Hilda -
Mercredi 8 Octobre 2008 Hôtel Drouot
L O M B R A I L - T E U C Q U A M TABLEAUX MODERNES ET CONTEMPORAINS Alexis BRIMAUD EXPERT L O M B R A I L - T E U C Q U A M M A I S O N D E V E N T E S 14, RUE DE PROVENCE 75009 PARIS M e r c r e d i 8 o c t o b r e 2 0 0 8 TEL : 00 33 (0)1 43 97 91 29 - FAX : 00 33 (0)1 42 83 68 48 Email : [email protected] www.lombrail-teucquam.com H ô t e l D r o u o t L O M B R A I L - T E U C Q U A M M A I S O N D E V E N T E S 14, rue de Provence 75009 PARIS TEL: 00 33 (0)1 43 97 91 29 - FAX: 00 33 (0)1 42 83 68 48 - EMAIL : [email protected] www.lombrail-teucquam.com Numéro d’agrément: 2002-152 RCS : B442648101 TABLEAUX MODERNES ET CONTEMPORAINS COLLECTION DE MONSIEUR B. ET MONSIEUR V. ET À DIVERS MERCREDI 8 OCTOBRE À 14H15 9, rue Drouot - 75009 Paris HOTEL DROUOT - SALLE 7 EXPOSITIONS PUBLIQUES: Mardi 7 octobre 2008 de 11h à 18h et mercredi 8 octobre de 11h à 12h Téléphone pendant l’exposition et la vente: 00 33 (0)1 48 00 20 07 EXPERT Monsieur Alexis BRIMAUD Expert agréé auprès de l’Alliance Européenne des Experts 4, rue de Thorigny 75003 Paris - Tél: 00 33 (0)1 42 72 42 02 - Fax: 00 33 (0)1 42 72 32 52 E-mail: [email protected] CATALOGUE VISIBLE SUR NOTRE SITE INTERNET www.lombrail-teucquam.com INDEX Abidine 216 à 220 Erro 113, 122 Perez-Flores 41 Adami 114, 115 Fautrier 84, 90 Penalba 66 Agam 5 à 9, 19, 23 à 27 Gäfgen 128 Philippe 124, 125 Ahil 35 Garcia-Fons 173 Piaubert 201, 202 Alechinsky 138 Gauthier 187 Picasso 54 à 65, 80 Anli 176 Germain 203, 204, 205, 208,209 Pichette 184 Arickx 165, 166, 167 Gilioli 129, 130, 131 Pignon 3 Arman -
'Lffig Cfrr Q
By Carter Ratcliff "idr . I. -r"li i.i r, i... -'-ia : .t,j . :, cfrr q 'lffig ' -sr.1;-'"4 lf'"--'"- :.jt" t,.: '-rX' { .c.tsY a l.r";# ..:ii 11.; 'r:i::", i 1 : . i i :.. ! 'lr t'., tr .,,J. ,i4..: ffi- := &.., ffi Mark Tobey transformed the fluid lines of Eastern calligraphy into a unique I1o- d<!o style of abstract painting u:.> I I : rL .9uoi ln 1929, Mark Tobey exhibited a few recent paintings in Wi..o.ri, in 1890, he moved with his family to Chicago three ":t at Romany Marie's Cal6 Gallery in Greenwich Village. Romany years later. His father, a carpenter and building contractor, carved Marie's was a bohemian hangout far from the posh galleries on animals from stone-a weighty material very different in spirit _. i-!a.-,"[ Tobey's show would have faded from the ethereal refinement of his son's mature style. Young Mark o*>,,,7 Manhattan's 57th Street, and '<orl into oblivion long ago if it had not somehow managed to attract attended the school at the Art Institute of Chicago, but there is the attention of Alfred H. Barr, Jr. The founding director of the no evidence that his exposure to the Institute's extremely conser- ;o'6o-iio"t recently inaugurated Museum of Modern Art, Barr was ener- vative curriculum had much effect. Leaving after two years, he getic and adventurous and-most important of all-had a good found work as a fashion illustrator, first in Chicago and then in ;"'Ii^,o a eye. -
Serge Poliakoff’S Paintings – the first of Its Kind in the UK Since His 1963 Retrospective at the Whitechapel Gallery
! 15 Carlos Place London W1K 2EX T:020 7409 3344 Serge Poliakoff ‘Silent Paintings’ 14 January – 21 February 2015 Timothy Taylor Gallery is proud to be inaugurating 2015 with a solo presentation of Serge Poliakoff’s paintings – the first of its kind in the UK since his 1963 retrospective at the Whitechapel Gallery. Important late works are juxtaposed with a small selection of works from 1950 and 1951, to illustrate the circular nature of Poliakoff’s practice. His distinct return to form becomes apparent by pairing certain works together. Poliakoff made a decisive shift into pure abstraction following a period of study in London in the mid-1930s. From 1950 onward, his paintings explored simple forms, floating in harmonious compositions and made from pure colour, which the artist returned to and further explored at the very end of his career. These later paintings, often referred to as ‘silent paintings’, exemplify a language of abstraction in which colour is paramount. Speaking of these works, Poliakoff stated: “It is not necessary to explain these paintings, nor to write about them – it is right to remain silent, your works should speak for themselves”. Poliakoff is considered one of the most important members of the School of Paris. Known for his striking palette and bold exploration of form, Poliakoff was a leading figure in the Post-War Abstract movement in Europe. Poliakoff’s influence was far reaching: in his lifetime his works were acquired by Greta Garbo, and inspired a collection by Yves Saint Laurent. Having fled the Russian Revolution in 1917, Poliakoff first travelled to Constantinople before arriving in Paris in 1923, where he would spend most of his life.