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Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes. -
Biography Else Alfelt 1910-1974 Else Alfelt at the Høst Exhibition, 1948
By Lotte Korshøj biography Else Alfelt 1910-1974 Else Alfelt at the Høst exhibition, 1948. Photo: © Børge Venge Drawing from 1920. Crayon on paper, 11,2 x 16,2 cm on paper, 1920. Crayon from Drawing Else Alfelt, at her confirmation service, 1925 The young Communist, 1933-34. Oil on canvas, 49,5 x 38,5 cm Communist, 1933-34. Oil on canvas, The young 1910-25 1925-27 1927-29 1933-34 91 Else Kirsten Tove Alfelt was born on September 16th 1910 On leaving the orphanage Else knew that she wanted She did her first oil paintings in 1927, and in 1929, Not only was her interest in painting awakened at an in Copenhagen as the daughter of a senior bank clerk to work and live as an artist, and she therefore entered two years later, she submitted paintings to the Art- early age, Else also, very early on, felt a strong longing Carl Valdemar Alfelt and housewife Edith Thomsen. the Technical School in Copenhagen. The two-year ists’ Autumn Exhibition (KE) for the first time, but to go abroad. She dreamed of travelling the world to Her parents were divorced when Else was very young. training functioned as a preparation course for the Art was turned down; this would repeat itself several experience other cultures. In 1933 she was admitted When her father remarried, his new wife demanded Academy, but when she subsequently applied to the times in the following years, until she was finally as a student to the International Folk High School in that Else and her younger sister were sent away from Academy to study with Aksel Jørgensen she was turned accepted in 1936. -
Yaacov Agam. Transformable - Transformables
1 [AGAM]..YAACOV AGAM. New York, Marlborough-Gerson Gallery 1966. 22x21. 52 pp. including 4 pages on one folding leaf. More than 70 photos and reproductions including 10 in colour. Pictorial wrappers. 200 2 [AGAM]..YAACOV AGAM. TRANSFORMABLE - TRANSFORMABLES. New York, Galerie Denise René, 1971. 26x21. 52 pp. + 6 opaque leaves with drawings. 76 photos, 26 full-page including 2 in colour, plus 12 portrait photos etc. Pictorial wrappers. Exhibition publication with introduction by Jean-Jacques Lévèque. 300 4 3 Alechinsky, Pierre / Christian Dotremont. ABSTRATES. Printed in Denmark (Copenhagen) by Permild & Rosengreen 1963. Colour lithograph 64x87 with text rendered in "tapuscrit. No. 14 of 25 numbered copies, signed in pencil by Alechinsky. This copy also has a pencil inscription "Pour mon ami Rune J. / Christian Dotremont" (to the Swedish artist Rune Jansson). Very weak damp streak in lower left corner, otherwise fine. A collaboration of the two Cobra co-founders consisting of a vivid colour print made by Alechinsky around a text by Dotremont. 5000 4 Alechinsky, Pierre. L'AVENIR DE LA PROPRIETÉ. (Paris), Yves Rivière, 1972. 31x21. 64 pp. + a loosely inserted colour etching signed by Alechinsky. 35 facsimile reproductions including 15 full- or double-page. A beautiful copy in pictorial covers with protective glassine wrapper, kept in the original decorated slipcase. No. 159 of 999 copies, signed by Alechinsky and Rivière. From the total edition of 999, this is one of 151 copies numbered 100-250 and provided with an original colour etching printed on an 18th-century manuscript leaf. The etching is signed by Alechinsky and numbered 59 (of 151 plus 16 H.C. -
Artcurial | Livres Et Manuscrits | 15.12.2010 | Hôtel Marcel Dassault
1886 14 & 15 DÉCEMBRE 2010 – PARIS LIVRES ET MANUSCRITS LIVRES ET MANUSCRITS MARDI 14 DÉCEMBRE 2010 MERCREDI 15 DÉCEMBRE 2010 PARIS — HÔTEL MARCEL DASSAULT 14H30 Détail du lot n° 108 maquette livres artcurial 5.indd 1 16/11/10 22:58:40 ARTCURIAL BRIEST – P O U LAIN – F.TAJAN Hôtel Marcel Dassault 7, Rond-Point des Champs-Élysées 75008 Paris LIVRES ET MANUSCRITS ASSOCIÉS VENTE 1886 EXPOSITIONS PUBLIQUES : Francis Briest, Co-Président Téléphone pendant l’exposition Vendredi 10 décembre Hervé Poulain +33 (0)1 42 99 16 49 de 11h à 19h François Tajan, Co-Président Commisaire priseur Samedi 11 décembre François Tajan de 11h à 19h DIRECTEURS ASSOCIÉS Dimanche 12 décembre Spécialiste junior de 11h à 19h Violaine de La Brosse-Ferrand Benoît Puttemans Martin Guesnet +33 (0)1 42 99 16 49 Lundi 13 décembre Fabien Naudan [email protected] de 11h à 17h VENTE I Experts 14 DÉCEMBRE À 14H30, Olivier Devers LOTS 1 À 420 +33 (0)1 42 99 16 12 [email protected] VENTE II 15 DÉCEMBRE À 14H30, Thierry Bodin LOTS 421 À 717 Pour les lots 4, 6, 13, 14, 19, 20, 22, 30, 32, 43, 48, 51, 52, 54, 60, 70, 75, Catalogue visible sur internet 77, 78, 79, 85, 95, 96, 105, 116. www.artcurial.com +33 (0)1 45 48 25 31 [email protected] Comptabilité vendeurs et acheteurs Marion Carteirac +33 (0)1 42 99 20 44 [email protected] Ordres d’achat, enchères par téléphone Anne-Sophie Masson +33 (0)1 42 99 20 51 [email protected] Détail du lot n° 256 illustration de couverture : détail du lot n° 290 2 Livres et manuscrits — 14–15 DÉCEMBRE 2010, 14H30. -
Scandinavian Review Clear Form Summer—2019
continuing up until today, concrete art has had a stronghold throughout Scandinavia. Extensive international travel by artists from the Nordic regions Clear Form during the post-war period enabled them to establish contacts with key con- temporary figures first in Berlin and then Paris. Eventually the Nordic artists also helped to shape the flow of events. In return, international exhibitions of Cutting Edges: concrete art also traveled to the Nordic capitals, such as in Klar Form (Clear Nordic Concrete Art from the Erling Neby Collection Form) in 1952 and Konkret Realisme (Concrete Realism) in 1956. opens at Scandinavia House this fall. A dedication to concrete art united the Nordic artists in many ways, and throughout the years there have been many joint efforts to focus on this shared aesthetic through various group exhibitions, such as Nordic Concrete By Karin Hellandsjø HIS FALL, SCANDINAVIA HOUSE will present an exhibition of paintings, T drawings and sculpture never before seen in the United States. Joined under the term “Concrete Art,” the works from all five Nordic countries span more than 70 years. All are from the inter- nationally known collection of Norway’s Erling Neby. But what is concrete art? The term “concrete art” was first used in 1929, launched by the Dutch artists Theo van Doesburg and Piet Mondrian. It was devised to avoid the ambiguity inherent in the word “abstract,” and was intended to emphasize the fact that forms and colors were already “concrete realities” in themselves, not needing to refer to anything outside a specific work of art. Over the years, internationally recognized artists such as Victor Vasarely, Frank Stella and Josef Albers became prominent exponents. -
AVANT-GARDE MODERN AVANT-GARDE Catalogue 151 a Selection from Ars Libri’S Stock of Rare Books
ARS LIBRI Catalogue 151 MODERN AVANT-GARDE MODERN AVANT-GARDE Catalogue 151 A selection from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé- cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig- nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. $2,750.00 3 (ARP) Hugnet, Georges. La sphère de sable. -
The Animate Object of Kinetic Art, 1955-1968
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The Animate Object Of Kinetic Art, 1955-1968 Marina C. Isgro University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Isgro, Marina C., "The Animate Object Of Kinetic Art, 1955-1968" (2017). Publicly Accessible Penn Dissertations. 2353. https://repository.upenn.edu/edissertations/2353 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2353 For more information, please contact [email protected]. The Animate Object Of Kinetic Art, 1955-1968 Abstract This dissertation examines the development of kinetic art—a genre comprising motorized, manipulable, and otherwise transformable objects—in Europe and the United States from 1955 to 1968. Despite kinetic art’s popularity in its moment, existing scholarly narratives often treat the movement as a positivist affirmation of postwar technology or an art of mere entertainment. This dissertation is the first comprehensive scholarly project to resituate the movement within the history of performance and “live” art forms, by looking closely at how artists created objects that behaved in complex, often unpredictable ways in real time. It argues that the critical debates concerning agency and intention that surrounded moving artworks should be understood within broader aesthetic and social concerns in the postwar period—from artists’ attempts to grapple with the legacy of modernist abstraction, to popular attitudes toward the rise of automated labor and cybernetics. It further draws from contemporaneous phenomenological discourses to consider the ways kinetic artworks modulated viewers’ experiences of artistic duration. -
Modern Art Modern
BRUUN RASMUSSEN MODERN ART MODERN ART Live auction 886 AUCTION 886 • JUNE 2019 886_modernekunst_omslag.indd 1 09/05/2019 12.21 MODERN ART Live auction 886 AUCTION 3 - 4 June 2019 PREVIEW Thursday 23 May 3 pm - 6 pm Friday 24 May 11 am - 5 pm Saturday 25 May 11 am - 4 pm Sunday 26 May 11 am - 4 pm Monday 27 May 11 am - 5 pm or by appointment Bredgade 33 · DK-1260 Copenhagen K · Tel +45 8818 1111 [email protected] · bruun-rasmussen.com 886_modernekunst_s001-015_start.indd 1 09/05/2019 14.31 Lot 1021 886_modernekunst_s001-015_start.indd 2 09/05/2019 14.32 DAYS OF SALE Tuesday 28 May 2 pm Asian Art 1 - 64 4 pm Paintings, drawings and sculptures 101 - 237 Antiquities, weapons and greenlandica 238 - 261 Wednesday 29 May 2 pm Silver, glass and ceramics 262 - 307 Furniture, clocks, bronzes and carpets 308 - 436 Thursday 30 May Bank holiday – closed Monday 3 June 4 pm Modern paintings and sculptures 1001 - 1135 Tuesday 4 June 2 pm Modern paintings and sculptures 1136 - 1235 Prints 1236 - 1298 5 pm Silver 1299 - 1331 Ceramics 1332 - 1366 Furniture, lamps and carpets 1367 - 1534 Wednesday 5 June Constitution Day – closed Thursday 6 June 3 pm Jewellery 437 - 648 6 pm Wristwatches 649 - 721 Friday 7 June 2 pm Russian Art 2001 - 2072 DEADLINE FOR CLAIMING ITEMS: WEDNESDAY 19 JUNE Items bought at this auction must be paid no later than eight days from the date of the invoice and claimed on Bredgade 33 by Wednesday 19 June at the latest. -
Primitivism, Humanism, and Ambivalence: Cobra and Post-Cobra Karen Kurczynski, University of Massachusetts - Amherst Nicola Pezolet
University of Massachusetts Amherst From the SelectedWorks of Karen Kurczynski Spring 2011 Primitivism, Humanism, and Ambivalence: Cobra and Post-Cobra Karen Kurczynski, University of Massachusetts - Amherst Nicola Pezolet Available at: https://works.bepress.com/kkurczynski/2/ 282 RES 59/60 SPRING/AUTUMN 2011 Figure 2. Ernest Mancoba, Composition, 1940. Oil on canvas, 59 x 50 cm (23.2 x 19.7 in). Collection of Jens Olesen, Copenhagen. Primitivism, humanism, and ambivalence Cobra and Post-Cobra KAREN KURCZYNSKI and NICOLA PEZOLET Introduction the ambivalent relationship to primitivism among some of its major artists during and after the movement (when In a herringbone tweed jacket, carrying folded some of its members went on to found the Situationist glasses and a copy of the day’s London Times in his International [SI], 1957–1972): Danish artist Asger Jorn, hands, Ernest Mancoba looks more like a gentleman the Dutch artists Constant and Karel Appel, and South than a modern painter (fig. 1). A South African living in African Mancoba. Formerly a sculptor, Mancoba made Paris and a French citizen since 1961, he was visiting his first abstract, primitivist painting in 1940 in Paris Denmark to work on a set of lithographs with Peter (fig. 2). He had learned of the connections between Johansen. His sidelong glance at Swiss artist Alberto African traditions and modernism in Cape Town, when Giacometti’s bronze Spoon Woman of 1926–1927, a two European sculptors, Libby Lipschitz and Elza sculpture inspired by anthropomorphic carved wooden Dziomba, encouraged him to read the book Primitive spoons made by the Dan and Wobe peoples of the Negro Sculpture by Paul Guillaume and Thomas Munro.2 Ivory Coast, speaks volumes. -
Feuille1 Page 1 1 70 80 2 280 300 3 80 100 Leonor Fini
Feuille1 "Christiana" Etching Numbered "E.A."Signed in the bottom right Dimensions 66 x 50 Léonor Fini: Born in Buenos Aires in 1908, Léonor Fini is a Surrealist painter, set designer and author from italian origin. In 1937, she leaved Italy for Paris and met André Breton and the Surrealists. Inspired by their theories, she experimented the « automatic drawing ». She beccame a friend of Georges Bataille, Victor Brauner, Paul Éluard and Max Ernst without integrating the group. Her first monographic exhibiition took place in New York, in 1939. Leonor Fini realized many portraits (Jacques Audiberti, Jean Genet, Anna Magnani), costumes for theater, ballet and opera. She also illustrated texts by Marcel Aymé (La Vouivre), Edgar 1 Leonor Fini (1908-1996) Poe, The Marquis de Sade (History of Juliette, 1945). Many poets, writers, painters and critics dedicated her monographs, essays or poems as Jean Cocteau, Giorgio De Chirico, Éluard, Ernst, Alberto Moravia... She died in 1996. 70 80 "The King Saint Louis" Original Pencil Drawing on Paper Signed in pencil on bottom left hand corner 26 x 44 cm Dimensions: 26 X 44 cm Lucien-Philippe Moretti: (1922-2000) was a french painter, lithographer, and engraver who was born in 1922 in Suresnes and who died in 2000 in Étretat. In the mid 40's, ihe studied at the Ecole des Beaux-Arts de Paris, and was a student of Nicolas Untersteller and Demetrios Galanis. His life in Montmartre definitively left a mark on his work. Moretti would come everyday on la place du Tertre, at la Crémaillère, meeting point for young people, portraitists, guitar players, chess players, but also dansers who were coming to party in the evening, as well as lovers huging in the inside yard. -
Kandinsky in Paris
KANDINSKY IN PARIS KANDINSKY IN PARIS: 1934-1944 KANDINSKY IN PARIS 1934-1944 This exhibition and catalogue are supported by a grant from the National Endowment for the Humanities. Additional funding for the exhibition has been provided by the National Endowment for the Arts. Solomon R. Guggenheim Museum, New York Kandinsky Society Claude Pompidou, President Dominique Bozo, Vice-President Thomas M. Messer, Vice-President Christian Derouet, Secretary Edouard Balladur Karl Flinker Jean-Claude Groshens Pontus Hulten Jean Maheu Werner Schmalenbach Armin Zweite t Hans K. Roethel Library of Congress Cataloging in Publication Data Kandinsky, Wassily, 1866-1944. Kandinsky in Paris, 1934-1944. Exhibition catalogue. Bibliography: p. 158. Includes index. 1. Kandinsky, Wassily, 1866-1944—Exhibitions. 1. Concrete art—France—Paris—Exhibitions. 3. Art, Abstract— France—Paris—Exhibitions. I. Solomon R. Guggenheim Museum. II. Solomon R. Guggenheim Foundation. III. Title. N6999.K33A4 1985 76o'.09i'4 84-27617 ISBN: 0-89107-049-8 Published by The Solomon K. Guggenheim Foundation, New York, 1985 ® The Solomon R. Guggenheim Foundation, New York, 1985 (over: kandinsky, Sky Hlnc. March 1940 (cat. no. 116) The Solomon R. Guggenheim Foundation HONORARY TRUSTE] S IN PERPETUITY Solomon R. Guggenheim, Justin K. Thannhauser, Peggy Guggenheim president Peter Lawson-Johnston vice president The Right Honorable Earl Castle Stewart trustees Carlo De Benedetti, Elaine Dannheisser, Michel David-Weill, Joseph W. Donner, Rohm Chandler Duke, Robert M. Gardiner, John S. Hilson. Harold W. McGraw, Jr., Wendy L-J. McNeil, Thomas M. Messer, Bonnie Ward Simon. Seymour Slive, Stephen C. Swid, Michael F. Wettach, William T. Ylvisaker advisory board Barrie M. Damson, Susan Morse Hilles, Morton L. -
Helhesten and the Danish Avant-Garde, 1934-1946
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2015 Mobilizing The Collective: Helhesten And The Danish Avant-Garde, 1934-1946 Kerry Greaves Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/566 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MOBILIZING THE COLLECTIVE: HELHESTEN AND THE DANISH AVANT-GARDE, 1934-1946 by KERRY GREAVES A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 © 2015 KERRY GREAVES All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Professor Emily Braun Chair of Examining Committee Date Professor Claire Bishop Executive Officer Professor Romy Golan Professor David Joselit Professor Karen Kurczynski Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT MOBILIZING THE COLLECTIVE: HELHESTEN AND THE DANISH AVANT-GARDE, 1934-1946 by KERRY GREAVES Adviser: Professor Emily Braun This dissertation examines the avant-garde Danish artists’ collective Helhesten (The Hell- Horse), which was active from 1941 to 1944 in Nazi-occupied Copenhagen and undertook cultural resistance during the war. The main claim of this study is that Helhesten was an original and fully established avant-garde before the artists formed the more internationally focused Cobra group, and that the collective’s development of sophisticated socio-political engagement and new kinds of countercultural strategies prefigured those of postwar art groups such as Fluxus and the Situationist International.