Painting in Buffalo
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Spring/Summer 2012 the Newsletter of the Department Loupe of Art and Art History Art.Ua.Edu/ | ANNUAL ALUMNI ISSUE
Keeping you in... Spring/Summer 2012 The newsletter of the Department Loupe of Art and Art History art.ua.edu/ | www.facebook.com/Uaart ANNUAL ALUMNI ISSUE STUDENT SPOTLIGHTS Fourth annual emerging artists exhibit at the Coastal arts Center of Orange Beach from May through July. Juli Jordan, Ua art http://art.ua.edu/site/resources/loupe/student-news/ alumnus and Visiting artists and Special exhibits administrator Ben Bailey, the department’s nominee for the arrowmont said,“The idea is to offer an opportunity School of arts and Crafts scholarship, won the award and for graduating visual arts students to will spend his summer in the Smokies! exhibit and sell their work dur- ing the peak season. it’s also an Graduate student MaRK BaRRy opportunity for the community won Best Sculpture in the Brook- and visitors to see what is lyn Waterfront artists Coalition emerging from our colleges (BWaC) third national juried and universities.” Craft sold art exhibition, Wide Open 3, all his work on display at the for his work, “Give and Take.” exhibit. Juror was Charlotta Kotik, Cura- tor emerita of Contemporary art BFa major JaCOB DaViDSOn was at the Brooklyn Museum of art. The named Full Moon emerging artist at show ran March 18 - april 1 in BWaC’s Kentuck in December 2011. He presented a solo exhibition of massive Civil War-era warehouse on the Red prints of his character, “Toaster Boy,” in the Georgine Clarke Hook waterfront in Brooklyn, ny. See more of Barry’s work here: Building. Davidson explained, “‘Toaster Boy’ and his contempo- http://art.subata.com/. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 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. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Henryk Berlewi
HENRYK BERLEWI HENRYK © 2019 Merrill C. Berman Collection © 2019 AGES IM CO U N R T IO E T S Y C E O L L F T HENRYK © O H C E M N 2019 A E R M R R I E L L B . C BERLEWI (1894-1967) HENRYK BERLEWI (1894-1967) Henryk Berlewi, Self-portrait,1922. Gouache on paper. Henryk Berlewi, Self-portrait, 1946. Pencil on paper. Muzeum Narodowe, Warsaw Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph.D. Design and production by Jolie Simpson Edited by Dr. Karen Kettering, Independent Scholar, Seattle, USA Copy edited by Lisa Berman Photography by Joelle Jensen and Jolie Simpson Printed and bound by www.blurb.com Plates © 2019 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2019 The Merrill C. Berman Collection, Rye, New York Cover image: Élément de la Mécano- Facture, 1923. Gouache on paper, 21 1/2 x 17 3/4” (55 x 45 cm) Acknowledgements: We are grateful to the staf of the Frick Collection Library and of the New York Public Library (Art and Architecture Division) for assisting with research for this publication. We would like to thank Sabina Potaczek-Jasionowicz and Julia Gutsch for assisting in editing the titles in Polish, French, and German languages, as well as Gershom Tzipris for transliteration of titles in Yiddish. We would also like to acknowledge Dr. Marek Bartelik, author of Early Polish Modern Art (Manchester: Manchester University Press, 2005) and Adrian Sudhalter, Research Curator of the Merrill C. -
A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective. -
Al Sella Reaping His Rewards Welcome Back!
Keeping you in... The newsletter of the Department of Art and Art History Box 870270 Tuscaloosa, Alabama http://art.ua.edu The Loupe is the newsletter of the DepartmentThe of Art and Art History,Loupe a NASAD-accred ited department in The University of Alabama’s College of Arts and Sciences, published in the fall, spring, and summer semesters. Fall 2009 Please send correspondence to Rachel Dobson, Visual Resources Curator, [email protected]. AL SELLA REAPING HIS REWARDS WELCOME BACK! Alvin Sella, professor emeritus of Welcome to all our students, faculty, and staff, new painting, received two awards this and returning. New graduate students in art history spring recognizing his long and distin- are Emi Arnold, Mary Benefield, Christopher Lang- guished career in art and teaching. In ley, Brandi Moore, and Angela Scott. New incoming April, the Arts Council of Tuscaloosa graduate students in studio art are Amy Feger and presented him with the Druid Arts Aynslee Moon. Please also welcome our new art Award - his second from them - in the history instructor, Jenny Blount, who received her visual artist category. To paraphrase MA from UAB in the spring, and is taking Mary Anna the criteria, the award recognized Brown’s place. the quality of his body of work, his Welcome to our new studio faculty! Chris Jordan, contributions to his community and our new digital media professor, comes from Sage to his art form, and the recognition College in Albany, New York. Besides teaching, he he has brought to the arts in Tusca- is owner of Jordan Photographic and cofounder of loosa County. -
Bridget Riley Valentine Op Art Heart
Op Art: Lesson Bridget Riley 6 Valentine Op Art Heart • How do 2D geometric shapes invoke movement? • How can the manipulation of geometric shapes and patterns create dimension in 2D art? LESSON OVERVIEW/OBJECTIVES Students will learn about the artist Bridget Riley and her work in Optical Art (Op Art). Riley (1931-present) is a British artist known for bringing about the Op Art movement. Op Art is a style of visual art that uses precise patterns and color to create optical illusions. Op art works are abstract, with many better known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping. After learning about Bridget Rily and the Op Art movement, students will create an Op Art heart and background for Valentine’s Day. KEY IDEAS THAT CONNECT TO VISUAL ARTS CORE CURRICULUM: Based on Utah State Visual Arts Core Curriculum Requirements (3rd Grade) Strand: CREATE (3.V.CR.) Students will generate artistic work by conceptualizing, organizing, and completing their artistic ideas. They will refine original work through persistence, reflection, and evaluation. Standard 3.V.CR.1: Elaborate on an imaginative idea and apply knowledge of available resources, tools, and technologies to investigate personal ideas through the art-making process. Standard 3.V.CR.2: Create a personally satisfying artwork using a variety of artistic processes and materials. Standard 3.V.CR.3: Demonstrate an understanding of the safe and proficient use of materials, tools and equipment for a variety of artistic processes. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Tarble Arts Center Newsletter July 1988 Tarble Arts Center
Eastern Illinois University The Keep Tarble Arts Center Newsletter Tarble Arts Center 7-1-1988 Tarble Arts Center Newsletter July 1988 Tarble Arts Center Follow this and additional works at: http://thekeep.eiu.edu/tarble_newsletter Recommended Citation Tarble Arts Center, "Tarble Arts Center Newsletter July 1988" (1988). Tarble Arts Center Newsletter. 7. http://thekeep.eiu.edu/tarble_newsletter/7 This Article is brought to you for free and open access by the Tarble Arts Center at The Keep. It has been accepted for inclusion in Tarble Arts Center Newsletter by an authorized administrator of The Keep. For more information, please contact [email protected]. TARBLE ARTS CENTER . ·" ~i~~\li, . ~ mmDODUIIIIII ~IDDIIIIIIIIIIIlllitlhDUIQIDII J Newsletter July 198.8 EXHIBITIONS WORKS ON PAPER: SELECTIONS FROM THE PERMANENT COLLECTION -- through July 17, Main Galleries This exhibition of original prints and watercolors was selected from the Tarble Arts Center's permanent collection, and, with a few exceptions, presents works which have not been exhibited for a number of years. Recent past exhibitions from the collection have focused on specific artists (Paul T. Sargent, Herbert Fink), movements (American Scene prints), suites (Fred Jones' "A Midwest Portfolio"),· or other special collections (Folk Arts, Plucked Chicken Press prints). This exhibition draws on works which share the same supporting. medium as a means to highlight works which, in most cases, are not part of developed collection sub-divisions, but play a meaningful role in the building of a teaching collection. The pieces displayed range fro~ exemplary works produced by students when completing their masters degrees in Art at EIU, such as "Fins" by Nancy Graham and "Fat Tuesday" by Gary Kott, to minor works by major artists, like the lithographs by Marcel Duchamp/Jaques Villon and Jasper Johns. -
Op Art Learning Targets
Op Art Learning Targets Students will be able to develop and use criteria to evaluate craftsmanship in an artwork. Students will use elements and principles to organize the composition in his or her own artwork. How will hit these targets? Discuss craftsmanship Review Elements and Principles PowerPoint Presentation Practice drawing Project: Optical Illusion drawing So what is “craftsmanship”? “craftsmanship” skill in a particular craft the quality of design and work shown in something made by hand; artistry “craftsmanship” skill in a particular craft the quality of design and work shown in something made by hand; artistry. Elements and Principles Elements of art: Principles of • Line Design: • Color • Rhythm • Value • Movement • Shape • Pattern • Form • Balance • Texture • Contrast • Space • Emphasis • Unity Optical Illusions Back in 1915, a cartoonist named W.E. Hill first published this drawing. It's hard to see what it's supposed to be. Is it a drawing of a pretty young girl looking away from us? Or is it an older woman looking down at the floor? Optical Illusions Well, it's both. PERCEPTION: a The key is way of regarding, perception and understanding, or what you expect interpreting something; a to see. mental impression Optical Illusions This simple line drawing is titled, "Mother, Father, and daughter" (Fisher, 1968) because it contains the faces of all three people in the title. How many faces can you find? Optical Illusion: something that deceives/confuses the eye/brain by appearing to be other than it is Optical Illusions Optical Art is a mathematically- oriented form of (usually) Abstract art. It uses repetition of simple forms and colors to create vibrating effects, patterns, an exaggerated sense of depth, foreground- background confusion, and other visual effects. -
Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905.