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Issues of Gender Representation in Modern Greek Art the Case of Thaleia Flora-Caravia’S Photographic Images and Self-Portraits
p Issues of Gender Representation in Modern Greek Art The Case of Thaleia Flora-Caravia’s Photographic Images and Self-Portraits Despoina Tsourgianni ABSTRACT There is a recent trend, mainly in the fi eld of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns writ- ten (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora- Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries. KEYWORDS: autobiography, female artist, modern Greek art, photography, self-portrait p Introduction No opening words could be more appropriate to introduce a study on twentieth- century artist representation than the verses of Rainer Maria Rilke on the painter Paula Modersohn-Becker: So free of curiosity your gaze had become, so unpossessive, of such true poverty, it no longer desired even you yourself; it wanted nothing: holy.1 aspasia Volume 13, 2019: 31–64 doi:10.3167/asp.2019.130105 32 DESPOINA TSOURGIANNI It is of key importance to note the way in which this emblematic poet of modernity perceives the ideal depiction of oneself: as one being stripped of any vanity that leads to the beautifi cation of physical characteristics. -
A Guide for Educators and Students TABLE of CONTENTS
The Munich Secession and America A Guide for Educators and Students TABLE OF CONTENTS FOR EDUCATORS GETTING STARTED 3 ABOUT THE FRYE 3 THE MUNICH SECESSION AND AMERICA 4 FOR STUDENTS WELCOME! 5 EXPERIENCING ART AT THE FRYE 5 A LITTLE CONTEXT 6 MAJOR THEMES 8 SELECTED WORKS AND IN-GALLERY DISCUSSION QUESTIONS The Prisoner 9 Picture Book 1 10 Dutch Courtyard 11 Calm before the Storm 12 The Dancer (Tänzerin) Baladine Klossowska 13 The Botanists 14 The Munich Secession and America January 24–April 12, 2009 SKETCH IT! 15 A Guide for Educators and Students BACK AT SCHOOL 15 The Munich Secession and America is organized by the Frye in GLOSSARY 16 collaboration with the Museum Villa Stuck, Munich, and is curated by Frye Foundation Scholar and Director Emerita of the Museum Villa Stuck, Jo-Anne Birnie Danzker. This self-guide was created by Deborah Sepulvida, the Frye’s manager of student and teacher programs, and teaching artist Chelsea Green. FOR EDUCATORS GETTING STARTED This guide includes a variety of materials designed to help educators and students prepare for their visit to the exhibition The Munich Secession and America, which is on view at the Frye Art Museum, January 24–April 12, 2009. Materials include resources and activities for use before, during, and after visits. The goal of this guide is to challenge students to think critically about what they see and to engage in the process of experiencing and discussing art. It is intended to facilitate students’ personal discoveries about art and is aimed at strengthening the skills that allow students to view art independently. -
Greek Cultures, Traditions and People
GREEK CULTURES, TRADITIONS AND PEOPLE Paschalis Nikolaou – Fulbright Fellow Greece ◦ What is ‘culture’? “Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts […] The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and Some grow, or cultivation and nurture. […] The term "Western culture" has come to define the culture of European countries as well as those that definitions have been heavily influenced by European immigration, such as the United States […] Western culture has its roots in the Classical Period of …when, to define, is to the Greco-Roman era and the rise of Christianity in the 14th century.” realise connections and significant overlap ◦ What do we mean by ‘tradition’? ◦ 1a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom) ◦ b: a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable … ◦ 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction ◦ 3: cultural continuity in social attitudes, customs, and institutions ◦ 4: characteristic manner, method, or style in the best liberal tradition GREECE: ANCIENT AND MODERN What we consider ancient Greece was one of the main classical The Modern Greek State was founded in 1830, following the civilizations, making important contributions to philosophy, mathematics, revolutionary war against the Ottoman Turks, which started in astronomy, and medicine. -
Orientation English
thE PiNAKOTHEk MUSEUMS iN THE kUNSTAREaL MÜNChEN oRiENtatioN Schelling- straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 ENGLiSh 6 m U a / 3 NEUE Tr Heßstraße PINAKOTHEK U e ß e MUSEUM REICH a U2 ß r a t e DER KRISTALLE Bus 100 r s t ß n s a e Theresienstraße g i U H H H i l w a sstr i Pinakotheken MUSEUM d m c u A BRANDHORST L Ar TÜRKENTOR e ALTE ß ra PINAKOTHEK PINAKOTHEK t DER MODERNE Gabelsbergerstraße r S re H a e B Bus 100 ß a 0 10 r ÄGYPTISCHES s LENBACH- st MUSEUM Karolinen- Bu en HAUS platz k H r ü GLYPTOTHEK T NS-DOKU- U U Königsplatz ZENTRUM Brienner Straße H KUNSTBAU STAATL. GRAPH. Odeonsplatz SAMMLUNG STAATLICHE ANTIKEN- SAMMLUNGEN 5 aLtE PiNakothEk Daily except MON 10am–6pm | TUE 10am–8pm www.pinakothek.de/en/alte-pinakothek NEUE PiNakothEk Daily except TUE 10am–6pm | WED 10am–8pm www.pinakothek.de/en/neue-pinakothek PiNakothEk DER MoDERNE Daily except MON 10am–6pm | THURS 10am–8pm www.pinakothek.de/en/pinakothek-der-moderne MUSEUM BRaNDhoRSt Daily except MON 10am–6pm | THURS 10am–8pm www.museum-brandhorst.de/en Sammlung SChaCk WED–SUN 10am–6pm | Every 1st and 3rd WED in the month 10am–8pm www.pinakothek.de/en/sammlung-schack DEaR viSitoRS, NEUE PiNakothEk We hope you have an exciting visit and request that you please do not Barer Straße 29 touch the artworks. Please put umbrellas, large bags (bigger than A4) D 80799 Munich and backpacks in the lockers or check them into the cloakroom located T +49.(0)89.2 38 05-195 in the basement. -
Deree College Syllabus For: at 3017 Modern Greek Art
DEREE COLLEGE SYLLABUS FOR: AT 3017 MODERN GREEK ART US CREDITS: 3/0/3 (Updated Spring 2018) PREREQUISITES: NONE CATALOG Modern Greek art from the formation of the Greek state in the nineteenth century DESCRIPTION: to the present. Focus on the historical/political/social events that determined the developments of art in conjunction with the creation of modern Greek identity RATIONALE: Art in Greece in the nineteenth and twentieth centuries is characterized by a unique paradox. While a necessary means for the creation of a Greek identity, it was nourished by foreign traditions. Because of the lack of a school of Fine Arts, the first Greek artists studied in Europe. Munich was the first popular destination because of the Bavarian origin of the first king of Greece These are the two parameters that define Modern Greek art: the country’s socio-political situation and the artistic interaction with Europe. The course is of fundamental importance for art history students who are planning to be professionally engaged in Greece, but also for all students who wish to acquire a deeper understanding of modern Greek reality. It provides a unique opportunity to appreciate original works of art in museums, galleries and the city itself. LEARNING OUTCOMES: As a result of taking this course, the student should be able to: 1. Obtain systematic knowledge of the art works in terms of identification, production, and function. 2. Develop the skills of formal and iconographic analysis through the comparison/contrast of art works. 3. Situate and assess artistic production within its social, political and economic context. -
Methods for Modernism: American Art, 1876-1925
METHODS FOR MODERNISM American Art, 1876-1925 METHODS FOR MODERNISM American Art, 1876-1925 Diana K. Tuite Linda J. Docherty Bowdoin College Museum of Art Brunswick, Maine This catalogue accompanies two exhibitions, Methods for Modernism: Form and Color in American Art, 1900-192$ (April 8 - July 11, 2010) and Learning to Paint: American Artists and European Art, 1876-189} (January 26 - July 11, 20io) at the Bowdoin College Museum of Art, Brunswick, Maine. This project is generously supported by the Yale University Art Gallery Collection- Sharing Initiative, funded by the Andrew W. Mellon Foundation; a grant from the American Art Program of the Henry Luce Foundation; an endowed fund given by the Andrew W. Mellon Foundation; and Bowdoin College. Design: Katie Lee, New York, New York Printer: Penmor Lithographers, Lewiston, Maine ISBN: 978-0-916606-41-1 Cover Detail: Patrick Henry Bruce, American, 1881-1936, Composition 11, ca. 1916. Gift of Collection Societe Anonyme, Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 53. Pages 8-9 Detail: John Singer Sargent, American, 1856-1925, Portrait of Elizabeth Nelson Fairchild, 1887. Museum Purchase, George Otis Hamlin Fund and Friends of the College Fund, Bowdoin College Museum of Art. Illustrated on page 18. Pages 30-31 Detail: Manierre Dawson, American, 1887-1969, Untitled, 1913. Gift of Dr. Lewis Obi, Mr. Lefferts Mabie, and Mr. Frank J. McKeown, Jr., Yale University Art Gallery, New Haven, Connecticut. Illustrated on page 32. Copyright © 2010 Bowdoin College Table of Contents FOREWORD AND ACKNOWLEDGMENTS Kevin Salatino LEARNING TO PAINT: 10 AMERICAN ARTISTS AND EUROPEAN ART 1876-1893 Linda J. -
The Blue Rider
THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction. -
13771873 Lprob.Pdf
4527_BlauerReiter_180211_ENG_rl.indd I 06.07.11 09:16 INVITATION It is often difÞ cult for art-lovers seeking an introduction to a subject to Þ nd the right approach amid the bewildering array of literature available. Read on; you’ll not be bored! The aim of this book is to provide an entertaining but well-found- ed introduction to the world of the artists’ group the Blue Rider, which ß ourished in German in the early years of the twentieth century. The Þ rst seven chapters lead readers through the exciting period from 1908 until the First World War and let them witness the birth of the group. The views of the artists are described as well as their often complicated personal relationships with each other. The most important works are introduced and their signiÞ cance examined. In the last chapter there is, literally, much to discover, including the places in Bavaria where the members of the Blue Rider left their traces. The museums where you can admire the works of Kandinsky & Co. will be described, as will, as far as is possible today, the locations where it all happened. Where did the artists live; where were their studios; and where was the famous salon of Marianne von Werefkin, in which the artists drank, smoked and spent long nights in animated discussion? My sincere thanks go to the great authority on the Blue Rider, Dr. Annegret Hoberg of the Lenbachhaus in Munich, who encour- aged me to embark on this project and to whom I am grateful for important advice. -
Croatian Painting and the Munich Academy of Fine Arts
zagreb – munich Croatian Painting and the Munich Academy of Fine Arts exhibition and international symposium 21st October – 6th December 2009 project organised by Institute of Art History and Art Pavilion in Zagreb 1. exhibition title: Zagreb - Munich. Croatian Painting and the Munich Academy of Fine Arts venue: Art Pavilion in Zagreb time: 21st October - 6th December 2009 information on the exhibition: Besides the Vienna Academy of Fine Arts and the Vienna School of Arts and Crafts, the Munich Academy was an important destination for Croatian painters at the end of the 19th century and the beginning of the 20th century. It was through the Munich Academy that the Croatian painting was pervaded by the well-known Piloty school of painting, followed by tone painting, plain-airism and the impact of French realism à la Leibl and Lindenschmit in the painting interpretations of Iso Kršnjavi, Ferdinand Quiquerez, Oton Iveković, Celestin Medović, Nikola Mašić and Menci Clement Crnčić. Symbolist and art nouveau influences were transmitted by Bela Čikoš Sesija, Robert Auer and Ljubo Babić. The Croatian history of art traditionally associates Munich with the notion of the so-called Munich Circle, which refers to education and the work of four Croatian painters, namely Josip Račić, Vladimir Becić, Miroslav Kraljević and Oskar Herman, who attended the Academy in the first decade of the 20th century and were often called the “Croatian School”. Though represented in smaller numbers than other European nations, Croatian painters were present and recognised in Munich. Medović, Mašić and Auer participated in exhibitions and received awards. Although the role of Munich in the development of Croatian painting has long since been recognised in the Croatian history of art, on the occasion of the anniversary of the Munich Academy, this important part of the Croatian historical and artistic heritage is to be revived and given the place it deserves in the multi-national community of the “Munich School”. -
National Gallery of Art
National Gallery of Art FOR IMMEDIATE RELEASE: Deborah Ziska, April 30, 2001 Press and Public Information Officer MEDIA CONTACT: Lisa Knapp, publicist (202) 842-6804 /-/<[email protected]/ "SPIRIT OF AN AGE" PRESENTS MAJOR 19TH-CENTURY GERMAN PAINTINGS SURVEY FROM ROMANTICISM TO EXPRESSIONISM OPENS JUNE 10 AT THE NATIONAL GALLERY OF ART Washington, D.C.-One of the most significant presentations, in terms of range and quality, of 19th-century German painting ever to be shown in the United States will be on view at the National Gallery of Art, East Building, June 10 through September 3, 2001. Spirit of an Age: Nineteenth-Century Paintings from the Nationalgalerie, Berlin provides a survey of 19th-century German painting, and a history of Germany itself, through 75 of the finest works by 35 artists from the collection of the Alte Nationalgalerie (Old National Gallery), Berlin. The museum, which opened in 1876 to house the Prussian king's collection of paintings and sculpture, is currently closed for renovations as part of a larger reorganization of all Berlin's museums. In December 2001, when the museum reopens, it will display for the first time since 1939 the complete collection of work for which it was built. ("aspai David I-nednch mm ill//if ll'uulm. 182: The exhibition is made possible by the Anna-Maria and Stephen Kellen Foundation. "This enlightening exhibition offers American audiences the unique opportunity to study the works of important German painters who are rarely represented in North American collections," said Earl A. Powell III, director, National Gallery of Art, Washington. -
The Greek Sale Rencontre Grecque
The Greek Sale Rencontre grecque Paris | 19 May 2021 The Greek Sale Paris | Mercredi, 19 Mai 2021 à 2pm COMMISSAIRE-PRISEUR INFORMATIONS PENDANT ENCHÈRES HABILITE LA VENTE - Enchérir en ligne/APP Catherine Yaiche Londres et Paris Inscrivez-vous pour enchérir Anastasia Orfanidou en ligne en visitant BONHAMS FRANCE SAS +44 (0) 20 7468 8356 www.bonhams.com/27187 N° AGRÉMENT 2007-638 anastasia.orfanidou @bonhams.com Enchérissez via l'application. 4 Rue de La Paix Téléchargez maintenant 75002 PARIS pour Android et IOS +33 (0)1 42 61 10 10 Athens +33 (0)1 42 61 10 15 fax Terpsichore Maria Angelopoulou - Enchérissez via telephone/ Lola-Theodora Stefanidou en abscance Philippe Glyptis NUMERO DE LA VENTE d'inscription et d'enchère et le Timos Economopoulos soumettre par email a bids@ 27187 +30 210 36 36 404 bonhams.com Lots 1 - 130 [email protected] [email protected] Le formulaire se trouve au dos de ILLUSTRATIONS 7, Neofytou Vamva Street chaque catalogue et sur notre site Couverture Avant: lot 58 106 74 Athens Web à l'adresse www.bonhams.com Couverture Arrièrer: lot 33 Veuillez noter que nous ne pouvons Couverture avant intérieure: lot 25 FRAIS D’ADJUDICATION pas garantir les offres dans les 24 Couverture arrière intérieure: lot 59 En sus du prix d’adjudication, heures suivant la vente. l’acheteur devra payer EXPOSITIONS PIBLIQUES Les enchères par téléphone ne sur le prix d’adjudication de chaque seront acceptées que sur un lot Athens lot des frais de vente. avec une estimation basse 36 Amalias Avenue Veuillez consulter les « informations supérieure à 1000 euro. -
The Evolution of Franz Von Lenbach's Portraiture
Carola Muysers Physiology and Photography: The Evolution of Franz von Lenbach's Portraiture Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Citation: Carola Muysers, “Physiology and Photography: The Evolution of Franz von Lenbach's Portraiture,” Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002), http://www.19thc- artworldwide.org/autumn02/256-physiology-and-photography-the-evolution-of-franz-von- lenbachs-portraiture. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2002 Nineteenth-Century Art Worldwide Muysers: Physiology and Photography: The Evolution of Franz von Lenbach‘s Portraiture Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Physiology and Photography: The Evolution of Franz von Lenbach's Portraiture by Carola Muysers Introduction In an 1878 letter to his confidante Josephine von Wertheimstein, the German painter Franz von Lenbach wrote, "The great problem for me is [to capture] people's fleeting expressions, but I believe and hope I shall surmount this obstacle."[1] This was a startling admission, given that Lenbach, at age forty-two, was well on his way to becoming one of the best- known and highest-paid portraitists in the German Empire. By 1878 he had already painted portraits of such public figures as King Ludwig I of Bavaria (1866), Richard Wagner (1872), and Emperor Franz-Joseph I (1873). In this article, I argue that the late 1870s (immediately after the artist settled in Munich, in 1876, to devote himself full-time to portraiture) constituted a period of reflection during which Lenbach rethought the concept of portraiture, reviewed his past practices, and created a new method of portrait painting that led to some of his most interesting works in this genre.