DOCSLIB.ORG

Regionalism (1930-1940) Grant Wood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Regionalism (1930-1940) Grant Wood Regionalism (1930-1940) Andrew Wyeth- American 1917-2009 Realist Christina's World • His wife was the primary model • Inspired by Anna Olsen ○ Had polio • Realist tempera • Considered a magic realist painting • "was limited physically but by no means spiritually" • Bicycle and leaning ladder in background • “like a crab on a New England seashore” • Fifth floor of MoMa The Helga Pictures • Over 240 paintings of German Helga Testorf • Braided • "Overflow" • "Lovers" Public Sale • One of his first tempera paintings Winter Fields • Dead crow found at Chaddes Ford Flood Plain • Hay, remnants of wagon, icy wheel tracks Winter 1946 • Boy runs down hill that Wyeth's father died on Wind from the Sea • Attic window Trodden Weed • Leather boots Up in the Studio • Curly haired sister looking out window Night Sleeper • Dog sleeping on tan and blue sack Eveining at Kuerners • White farmhouse Young America • Blue and white feather over man riding bike "I paint my life" Grant Wood- American 1891-1942 American Gothic • Sister Nan Wood Graham and dentist Dr. Byron McKeeby modeled • Woman wears cameo brooch • Mother-in-law's tongue • Dibble House in background • Won $300 in Art Institute of Chicago competition Woman with Plants Birthplace of Herbert Hoover, West Branch, Iowa Daughters of Revolution • Protested against for using German glass for a WWI memorial painting • Commissioned to create stained glass window in the Veterans Memorial Coliseum • Satire Parson Weem's Fable • Washington cutting down cherry tree • Father looks cross • Parson holding back curtain John Steurart Curry- American 1897-1946 Baptism in Kansas Tragic Prelude • John Brown Norman Rockwell- American Willie Gillis • Cover for the Saturday Evening Post • Holding package in first appearance Rosie the Riveter The Problem We All Live With • Ruby Bridges • William Frantz Elementary School • "nigger" and "KKK" • Splattered tomato Four Freedoms • Freedom of Speech • Freedom of Worship • Freedom from Want • Freedom from Fear • Refer to FDR's Union address Saying Grace • Inspired by reader who said they say a Menonite family praying at a restaurant Before the Shot • Boy pulling pants down Dr and the Doll • Girl in red beret Magic Realism (1930-1950) Ivan Albright- American 1897-1983 That Which I Should Have Done I Did Not Do (The Door) Poor Room- There is no time, no end, no today, no yesterday, no tomorrow, only forever, and forever and forever without end (The Window) Blue Riders (1911-1914) Wassily Kadinsky- Russian 1866-1944 Der Blaue Reiter • Movement named after it On White II Soft Hard Ten Compositions • VII ○ Most complex • First three were only ever photographed by Gabriele Munter Founder of Abstract Art Worked in Bauhas before closed by Nazis as degenerate art Concerning the Spiritual in Art • Apocolypse • Three types of art ○ Impressions, compositions, and improvisations • Art is like a pyramid Franz Marc- German 1880-1916 Fate of the Animals • Destroyed in fire in 1916 • Restored by Paul Klee ○ Used brown tints • Only uses diagonal lines The Tower of Blue Horses • Went missing in 1945 Abstract Expressionism (1940- 1960) Jackson Pollock- American 1912-1956 Number 17A No 5, 1948 • When sold in 2006, most expensive ever • Ted Dragon "You spent money on that?" Mural on Indian Red Ground • Inspired by Native American art Autumn Rhythm (Number 1, 1950) Convergence Blue Poles (Number 11, 1952) The Deep Lavender Mist Full Fathom Five • From Tempest She-Wolf Guardians of the Secret Married to Lee Krasner "Action painting" Exhibited in Peggy Guggenheim's Art of This ClementCentury Greenberg- American 1909- 1994 "American-Type Painting" • First to champion Jackson Pollock Ad Reinhardt- American 1913- 1967 Black Paintings (Ultimate) (Last) Art-as-Art Twelve Rules for a New Academy Franz Kline- American 1910-1962 Painting Number 2 Chief Mahoning Four Square Figure Eight Accent Grave Cardinal Robert Rauschenberg- American 1935-2008 Combines • Bed ○ Paint thrown on bed • Canyon ○ Bald eagle and pillow • Monogram ○ Goat with tire • Reservoir Erased de Kooning Drawing • Erased the drawing he got from de Kooning, and framed it • Description added by lover Jasper Johns Rebus and Bantam Willem de Kooning- Dutch 1904- 1997 Woman Series • Woman I-VI Easter Monday Attic Excavation Black Friday Light in August Interchange Elaine de Kooning- American 1918- 1989 Portrait of JFK Robert Motherwell- American 1915- 1991 Elegy to the Spanish Republic Series • 150 paintings Jasper Johns- American 1930 Flag White Flag Three Flags Maps Gray Numbers Target with Plaster Casts Cy Twombly- American 1928-2011 Cold Stream Arshile Gorky- Armenian 1904-1948 Portrait of Master Bill • Portrait of Willem de-Kooning One Year the Milkweed The Liver is the Cock's Comb • Inspired by farm in Virginia Taught Rothko David Smith- American 1906-1965 Cubi Series • Stainless steel sculptures all over the world • Numbered by roman numerals Hans Hoffman- German-American 1880-1966 Pompeii The Golden Wall Rising Moon The Irascibles Group that wrote an open letter to the Met, rejecting the exhibition American Painting Today Color Field (1940s-1950s) Mark Rothko- American of Russian Jewish descent (Modern day Latvia) 1903-1970 Black on Maroon Black on Grey No 6. Violet Green and Red No 3/No 13 Magenta Black Green on Orange No 61 Rust and Blue • "Mythomorphic" phase Four Darks in Red • Claimed they were not abstractional, but spiritual Rothko's Chapel • Octogan inscribed in Greek Cross • Houston • Full of black/brown style works • Newman's obelisk out front • Founded by John and Dominique de Menil Seagram Murals • For Four Seasons restaurant • Unfinished "Multiforms" • Anticipated mature style Mentor Avery Milton Part of "Whitney Dissenters" • Manifesto that opposed traditional forms Barnett Newman- American 1905- 1970 Vir Heroicus Sublimis Onement 1 Whose Afraid of Red, Yellow, and Blue • Four part series Uses "zip" technique to define spatial structure Pop Art (1955-1965) Andy Warhol- American 1928-1987 Campbell's Soup Cans Marilyn Diptych • Silkscreening Coca Cola bottles Silver Car Crash (Double Disaster) • Shows mangled body in car crash • Serigraph Electric Chair Chelsea Girls • Experimental film Exploding Plastic Inevitable • Multimedia events • Velvet Underground • Dancers ○ Mary Woronov and Gerard Malanga Munch prints Appears as himself in Cocaine Cowboys The Factory Roy Lichtenstein- American 1923-1997 Whaam! Drowning Girl • "I don’t care I'd rather sink than call Brad for help" Oh, Jeff…I Love You, Too…But… Look Mickey Masterpiece • Ben-Day Dots The White Tree Amerind Landscape Robert Indiana- American 1928-20818 LOVE Sculpture Numbers 1-0 Wayne Thiebaud- American 1920 Eight Lipsticks Pies, Pies, Pies David Hockney- English 1937 A Bigger Splash • LA swimming pool Beverly Hills Housewife Mr and Mrs Clark and Percy • Cat on lap American Collectors (Fred and Marcia Weisman) Bigger Trees Near Warter Richard Hamilton- English 1922-2011 Just what is it that makes today's homes so different, so appealing? • Created for This Is Tomorrow • Man holding tootsie pop • Woman has lampshade on head This is Tomorrow • Exhibition • 12 groups Neo-Concrete Movement (1959-1961) Lygia Clark- Brazilian 1920-1988 Nostalgia of the Body Bichos • Hinged aluminum sculptures Trailings • Cuts Mobius Strip Auto-Destructive Art (1960) Gustav Metzger- German 1926-2017 Acid Action Painting Flailing Trees • Uprooted trees inverted on concrete block Jean Tinguely- Swiss 1925- 1991 Metamatics • Machines that created art Modernism (Late 19th - Early 20th) Georgia O'Keeffe- American The Lawrence Tree • Ponderosa pine on DH Lawrence Ranch Cow's Skull: Red White and Blue Red Canna Sky Above Clouds IV Black Iris III • Interpreted by Linda Nochlin as genetalia Blue and Green Music Rams Head, White Hollyhock Hills The Shelton with Sunspots The Lawrence Tree American Radiator Building Light Coming on the Plains • Early set of three watercolors Jack in the pulpit No. IV Jimson Weed • Sold for 44,405,00 Oriental Poppies "Mother of American Modernism" Museum in Santa Fe Henry Moore- English 1898-1986 Reclining Woman • Inspired by Chac Mool figures Family Group • WWII memorial • Nuclear family, holding baby Barbara Hepworth- English 1903-1975 Four Sqaure (Walk Through) Minimalism (1960-1970) Frank Stella- American 1936 Abstract Expressionnism Black Paintings • Die Fahne Hoch! • Zambezi • Marriage of Reason and Squalor Harran II The Science of Laziness Memantra • Sculpture at Met New Realism (1960-1970) Yves Klein- French 1928-1962 IKB 191 • International Klein Blue The Void • 3000 people came to see nothing Leap into the Void • Denoucning NASA's lunar expeditions Sponge Relief People Begin to Fly • Blue silhouettes Monotone Symphony • Orchestral work • One tone for 20 minutes • Played at a "Living Brush" exhibit where women covered themselves in blue paint to create Antrhopometrie paintings Zone of Immaterial Pictorial Sensibility • People would trade gold for a cheque, representing the ownership of empty space Pierre Restany helped him found the movement Art Brut (1972) Jean Dubuffet- French 1901- 1985 Monument with Standing Beast Cow with the Subtile Nose Outsider Art New Expressionism (Late 1970's) Jean Michel Basquiat- American 1960- 1988 Untitled (Boxer) Grafiiti Artist Worked with Warhol Young British Artists (1988) Damien Hirst- English 1965 The Physical Impossibility of Death in the Mind of Someone Living • Tiger shark in formaldehyde in vitrine For the Love of God • Platinum skull covered in over eight thousand diamonds Mother and Child Away from the
Load more

Recommended publications
  • Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model
    Andrews University Digital Commons @ Andrews University Honors Theses Undergraduate Research 2014 Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model Kirk Maynard Follow this and additional works at: https://digitalcommons.andrews.edu/honors Part of the Art and Design Commons Recommended Citation Maynard, Kirk, "Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model" (2014). Honors Theses. 92. https://digitalcommons.andrews.edu/honors/92 This Honors Thesis is brought to you for free and open access by the Undergraduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. 2014 Kirk Maynard HONS 497 [TEACHING STRATEGIES: HOW TO EXPLAIN THE HISTORY AND THEMES OF ABSTRACT EXPRESSIONISM TO HIGH SCHOOL STUDENTS USING THE INTEGRATIVE MODEL] Abstract: The purpose of my thesis is to create a guideline for teachers to explain art history to students in an efficient way without many blueprints and precedence to guide them. I have chosen to focus my topic on Abstract Expressionism and the model that I will be using to present the concept of Abstract Expressionism will be the integrated model instructional strategy.
    [Show full text]
  • David Hockney Has Just Completed His Biggest Ever Painting, a Vast Open
    48 Summer 49 Exhibition David Hockney has just completed his biggest ever A BIGGpainting, a vast open-air landscape.E Martin GayfordR visits him in Yorkshire to ask how he did it – illustrated overleaf – and why he thinks art should engulf us On Good Friday this year I went, in company with a small group This is not the largest oil painting ever made – that Left David Hockney at work on ‘Bigger Trees near of fellow travellers, to visit a warehouse on an industrial estate distinction is usually accorded to Tintoretto’s Paradiso in Warter’. He had to work in Bridlington, East Yorkshire. The object of our pilgrimage was the Doge’s Palace, Venice. But it has little in common with an furiously over a six-week period in order to capture not this nondescript structure but the painting that was briefly ordinary, easel-sized canvas into which one looks as if into a the bare branches before they started to bloom. ‘I love hung within it. There on the far wall was the largest picture window. So enormous is this picture that the experience of looking at trees in winter,’ David Hockney has ever created – and perhaps the most sizable looking at it is like standing in front of a real tree. As Hockney he says, ‘because you’re actually seeing the life ever to be painted in the open air. This is also a first for the artist, puts it, ‘it engulfs you’. force – all the branches are who has never before seen the entire work assembled together.
    [Show full text]
  • A Bigger Splash’
    The photographic source and artistic affinities of David Hockney’s ‘A bigger splash’ by MARTIN HAMMER DAVIDOCKNEY’S H A bigger splash (Fig.32), painted fifty years down from the more visible of the two trees, coincides roughly ago this year, features naturally in the artist’s current eightieth with the far-right corner of the diving-board. birthday retrospective, reviewed on pp.413–15.1 A canonical Aesthetic detachment reflected the circumstances of the pic- work in art history, the picture owes its wide appeal to many ture’s creation. A bigger splash was completed in Berkeley, where factors: legibility and economy; the visual wit inherent in im- Hockney was teaching from April to June 1967, and not in Los plying human action although no figure is visible; its evocation Angeles. In fact, the painting was the elaboration of an idea of an idyllic sunny environment, the dream of Arcadia trans- explored in two pictures produced the previous year, The little planted from the Roman Campagna to modern California; splash and The splash (both in private collections).4 n I that sense, Hockney’s precise, well-crafted execution; reproducibility; and A bigger splash comprised a distillation of Los Angeles, realised a lingering association with the Swinging Sixties and its good with the benefit of geographical and emotional distance. The vibrations. Yet the recent recycling of Hockney’s title for that of two previous versions had been sold in Hockney’s one-man a rather dark film about a Mediterranean holiday that goes bad- show at the Landau-Alan Gallery in New York in April 1967, ly wrong, suggests not merely the continuing resonance of the organised in conjunction with his London dealer, John Kas- work, but also its availability to less upbeat interpretations.2 nI min.5 The impulse to make the larger version that spring may reinserting A bigger splash into its specific historical and cultur- therefore have had a commercial dimension, looking ahead to al moment, and by employing close reading and comparative his next show.
    [Show full text]
  • The Era of the Dust Bowl September 6Th, – October 5Th, 2013
    The Era of the Dust Bowl September 6th, – October 5th, 2013 7060 State Route 104 Oswego, NY 13126 “A few good years, www.Oswego.edu with good prices, would be followed by too many horrid years and massive die-offs This event is free and open to the public. For additional information from drought and about this exhibition call the Art Department at 315.312.2113. For persons with disabilities needing assistance to attend this winter freeze-ups.” exhibition, please call in advance. Co-Sponsored by: Timothy Egan, The Worst Hard the Art Department, ARTSwego, Tyler Art Gallery, and Student Association. Gallery Hours: Time (2006), p. 22. Tuesday through Saturday, 11:30 am – 3:00 pm (closed Sunday, Monday, and school holidays) Starting in 1935, the Farm Security Administration (FSA) The Era of the Dust Bowl employed photographers to document American life including its hardships. The program resulted in often iconic images by Feeling detached from the European avant-garde gifted photographers such as Dorothea Lange and Walker Evans. and chastened by the Great Depression, many This exhibition contains thirty-six photographs by the three FSA American artists of the 1930’s turned to local, photographers who came to Oswego County: Arthur Rothstein often quintessentially American subjects depicted (1915-1985), Marjorie Collins (1912-1985) and John Collier in easily accessible styles. Collectively these artists (1913-1992). Though some of their work documents relatively were dubbed the American Scene Painters. In mundane locations and war-related formalities, Rothstein’s austere many ways their work was an extension of the genre and moving Wife and Child of a sub-marginal Farmer Looking through painting that flourished in America in the mid- their Window (Mrs.
    [Show full text]
  • Barbara Kruger Born 1945 in Newark, New Jersey
    This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek
    [Show full text]
  • Visual Narratives of Heterosexual Female Sexuality.Docx
    Running Head: Visual Narratives of Heterosexual Female Sexuality Visual Narratives of Heterosexual Female Sexuality By Angie Wallace Masters in Interdisciplinary Studies Southern Oregon University 2018 Visual Narratives of Heterosexual Female Sexuality 2 Table of Contents Abstract Page 3 Introduction Page 4 Research Questions Page 6 Literature Review Page 7 Methods Page 22 IRB Page 25 Results Page 25 Figures 1, 2, and 3 Page 30 - 31 Discussion Page 31 Research based Art Piece Page 37 Figures 4, 5, 6, and 7 Page 41 - 42 References Page 43 Visual Narratives of Heterosexual Female Sexuality 3 Abstract This paper explores the social construction of heterosexual female sexuality through visual social narratives in the form of advertisements and artistic photographs. The purpose of this study it to produce an art piece based on my findings. The problems I encountered during my research include my own bias and limited subjects. Since, I am a woman who identifies as heterosexual I have my own preconceived ideas along with personal experiences. In addition, the limited data set provides its own drawbacks. If I were to broaden my scope, the data may or may not have revealed other themes. That being said, for my purposes the themes that have emerged include the following; (1) the male gaze, (2) gender performance, (3) body as a commodity, and (4) sexual harassment. Through the process of visual ethnography and methodology, my design study is to analyze these images as a heterosexual female and combine this analysis with the literature. During this process, I have concluded that heterosexual female sexuality is contingent on how we recognize and interpret visual culture.
    [Show full text]
  • Famous Paintings of Georgia O'keeffe
    Georgia O’Keeffe ArtStart – 5 Dr. Hyacinth Paul https://www.hyacinthpaulart.com/ The genius of Georgia O’Keeffe • Georgia O’Keefe was a visual artist and is recognized as a “Mother of American Modernism.” • Born November 15, 1887 in Sun Prairie, Wisconsin • Spent time in Wisconsin, Chicago, Virginia, New York, New Mexico • Died in Santa Fe, NM 6th Mar 1986, Age 98 Painting education • School of Art Institute of Chicago • Attended Arts Student’s league in NYC • William Merritt Chase, Kenyan Cox, Luis Mora were her mentors • Most famous for her flower paintings Famous paintings of Georgia O’Keeffe Jimson Weed (1936) Indianapolis Museum of Art, Indianapolis Famous paintings of Georgia O’Keeffe • Black Iris (1926) MET, NYC Famous paintings of Georgia O’Keeffe Oriental Poppies (1928) Weisman Art Museum, Minneapolis, Minnesota Famous paintings of Georgia O’Keeffe An Orchid (1941) Museum of Modern Art, NYC Famous paintings of Georgia O’Keeffe Sunflower from Maggie (1937) Museum of Fine Arts, Boston Famous paintings of Georgia O’Keeffe Jack in the Pulpit No. IV (1930) Alfred Stieglitz Collection Famous paintings of Georgia O’Keeffe My Shanty Lake George (1922) The Phillips Collection Famous paintings of Georgia O’Keeffe The Lawrence Tree (1929) Wadsworth Atheneum, Hartford, CT Famous paintings of Georgia O’Keeffe Blue (1916) Brooklyn Museum, NYC Famous paintings of Georgia O’Keeffe Sky above Clouds IV (1965) Art Institute of Chicago Building Famous paintings of Georgia O’Keeffe Black, White & Blue (1929) National Gallery of Art, DC Famous paintings
    [Show full text]
  • Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’S Diploma Thesis
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Katarína Belejová Comparison of Social Criticism in the Works of Barbara Kruger and Jenny Holzer Master’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Bc. Katarína Belejová Acknowledgement I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his encouragement, patience and inspirational remarks. I would also like to thank my family for their support. Table of Contents Introduction .................................................................................................................... 5 1. Postmodern Art, Conceptual Art and Social Criticism .............................................. 7 1.1 Social Criticism as a Part of Postmodernity ..................................................................... 7 1.2 Postmodernism, Conceptual Art and Promotion of a Thought .................................. 9 1.2. Importance of Subversion and Parody ........................................................................... 12 1.3 Conceptual Art and Its Audience ...................................................................................... 16 2. American context ..................................................................................................... 21 2.1 The 1980s in the USA .........................................................................................................
    [Show full text]
  • David Hockney'in
    International JOURNAL OF SOCIAL, HUMANITIES AND ADMINISTRATIVE SCIENCES Open Access Refereed E-Journal & Refereed & Indexed JOSHASjournal (ISSN:2630-6417) 2020 / Vol:6, Issue:26 / pp.547-557 Arrival Date : 09.04.2020 REIEW ARTICLE Published Date : 12.05.2020 Doi Number : http://dx.doi.org/10.31589/JOSHAS.299 Reference : Erdoğan, B. & Yayan, G.H. (2020). “David Hockney’ın “The Splash” İsimli Eseri Özelinde Sanat Eserinin Piyasa Değeri”, Journal Of Social, Humanities and Administrative Sciences, 6(26):547-557. DAVİD HOCKNEY’IN “THE SPLASH” İSİMLİ ESERİ ÖZELİNDE SANAT ESERİNİN PİYASA DEĞERİ The Market Value Of Artwork: Example Of “The Splash” By David Hockney Barış ERDOĞAN Gazi Üniversitesi, Eğitim Bilimleri Enstitüsü, Güzel Sanatlar Anabilim Dalı, Resim-İş Öğretmenliği Bilim Dalı. Ankara/Türkiye Dr.Öğr. Üyesi Gonca Hülya YAYAN Dr.Öğr.Üyesi-Gazi Üniversitesi Eğitim Fakültesi Resim-İş Öğretmenliği Bölümü, Ankara/Türkiye ÖZET Günümüzde çoğu dünya ekonomisi büyük finansal krizlerle baş etmeye çalışmaktadır. Sanat piyasasının tamamı da bu durumdan nasibini almış olsa da ünlü sanatçıların eserleri hala çok büyük rakamlarla el değiştirmektedir. Bunun son örneklerinden birisi de İngiliz sanatçı David Hockney’in The Splash isimli eseridir. Hockney’in bu tablosu, 2006 yılında 9 milyon dolara alıcı bulmuşken, 2020 Şubat ayında düzenlenen bir müzayede de 23,1 milyon sterline satılmıştır. Bu makalede İngiliz Sanatçı David Hockney’in The Splash isimli eseri özelinden yola çıkılarak, sanat piyasasındaki tabloların değerlendirme ve bunların sebepleri üzerinde durulmuştur. Araştırma kapsamında Hockney’in eserlerinin geçmişten günümüze değer artışı ile diğer çağdaş sanatçıların eserleri arasındaki fiyatlar da karşılaştırmalı olarak incelenmiştir. Ayrıca sanat piyasalarının nasıl oluştuğu, nelerden etkilendiği, günümüze kadar hangi aşamalardan geçtiği ve günümüzdeki sanat piyasalarını oluşturan dinamiklerin neler olduğu da araştırmanın konusu içerisinde ele alınmıştır.
    [Show full text]
  • David Hockney
    875 North Michigan Ave, Chicago, IL 60611 Tel. 312/642/8877 Fax 312/642/8488 1018 Madison Avenue, New York, NY 10075 Tel. 212/472/8787 Fax 212/472/2552 DAVID HOCKNEY Born in Bradford, England, 1937. Lives and works in Los Angeles, California. EDUCATION 1953-57 Attended Bradford College of Art 1959-62 Attended Royal College of Art 1964 Teaching Position at University of Iowa 1965 Teaching Position at University of Colorado 1966-67 Teaching Position at University of California, Los Angeles & Berkeley SELECTED SOLO EXHIBITIONS 2016 David Hockney: I Draw, I Do, The MAC, Belfast, Ireland (forthcoming) The Yosemite Suite, L.A. Louver, Venice, California The Yosemite Suite, Annely Juda Fine Art, London David Hockney: 77 Portraits, 2 Still Lifes, Royal Academy of Arts, London, United Kingdom David Hockney: The Yosemite Suite, Pace, 537 West 24th Street, New York, New York. David Hockney: Six Tales from the Brothers Grimm, Gallagher & Turner, Newcastle, United Kingdom David Hockney: From the Beginning, River and Rowing Museum, Henley on Thames, United Kingdom 2015 – 2016 Hockney’s Double Portraits, Tate Britain, London, United Kingdom The Arrival of Spring, Fondation Vincent van Gogh Arles, Arles, France 2015 David Hockney, Works on Paper, Paul Kasmin Gallery, New York, New York David Hockney: Early Drawings, Offer Waterman, London, United Kingdom The Arrival of Spring in Woldgate, Galerie Lelong, Paris, France David Hockney: Painting and Photography, Annely Juda Fine Art, London, United Kingdom; traveled to L.A. Louver, Venice, California [cat.]
    [Show full text]
  • 08 Tate Modern in the Studio
    1 Antony Gormley (b. 1950), Untitled (for Francis), 1985 (Room 1), lead, plaster, polyester resin and fibreglass 1900 × 1170 × 290cm Giovanni Bellini, St Francis in Ecstasy, 1479-85 • Finding Meaning. In this room we have two apparently contrasting works. Over there an abstract work by Eva Hesse and here a human figure by Antony Gormley. They represent contrasting approaches that are explored in the following rooms. Gormley is best known for The Angel of the North (see Visual Aids) an enormous sculpture on a hill near Newcastle. • Construction. This work is called Untitled (for Francis) and was made in 1985. Like many of his other works it was made directly from his own body. He was wrapped in clingfilm by his wife, who is also an artist, and then covered in two layers of plaster. When it had dried the cast was cut from his body, reassembled and then covered in fibreglass and resin. Twenty-four sheets of lead were then hammered over the figure and soldered together. If you look closely you will see that the figure has been pierced in the breast, hands and feet by small holes cut in the lead. • St. Francis. The attitude of the eyeless figure, standing with head tilted back, feet apart and arms extended to display the palms of its hands, resembles that of a Christian saint receiving the stigmata. Stigmata are the five marks left on Christ’s 2 body by the Crucifixion although one of the wounds here is in the breast, rather than, as tradition dictates, in the side.
    [Show full text]
  • A Rumba for Rothko and Other Poems Dennis O'connell Seton Hall University
    Seton Hall University eRepository @ Seton Hall Seton Hall University Dissertations and Theses Seton Hall University Dissertations and Theses (ETDs) Spring 5-2015 A Rumba for Rothko and Other Poems Dennis O'Connell Seton Hall University Follow this and additional works at: https://scholarship.shu.edu/dissertations Part of the Poetry Commons Recommended Citation O'Connell, Dennis, "A Rumba for Rothko and Other Poems" (2015). Seton Hall University Dissertations and Theses (ETDs). 2069. https://scholarship.shu.edu/dissertations/2069 A Rumba for Rothko and Other Poems by Dennis O’Connell M.A. Seton Hall University, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Arts in Department of English Seton Hall University May 2015 2 © Dennis O’Connell All Rights Reserved 3 Approved by: _______________________________________ Mark Svenvold, Thesis Advisor ________________________________________ Philip Schochet, Second Reader 4 Introduction Throughout the last few years, I have been examining the role that objects play within my poetic production. My hope was to notice my own interaction with objects more precisely and to pursue poetic questions (and philosophical implications about subjectivity and objectivity) that have been asked before by modernist writers such as Gertrude Stein and William Carlos Williams. These two writers in particular had their own reasons for pursuing, through their writing, basic questions about representation of the world in art and language. Stein’s program, modeled after her contemporaries Picasso and Braque, was to offer a fractal, or fragmented sort of representation of the world. Her cubist-inspired presentation in language of portraits of people, for instance, offered in language what the cubists were doing in the visual realm— “objects” of inquiry were shown from multiple perspectives, all at once.
    [Show full text]