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Le Pop Art Et Le Consumérisme
Le pop art et le consumérisme Après avoir étudié des mouvements comme la renaissance, le baroque ou encore l’impressionnisme, passons au pop art, mouvement multidisciplinaire du 20e siècle. “210 bouteilles de coca cola”, Andy Warhol, 1967 Origines britanniques ... Né en Grande-Bretagne dans le milieu des années 1950, le “pop art” (abréviation de la formule “popular art” ou art populaire) concerna d’abord principalement les techniques de la sérigraphie et du collage. Le mouvement émergea quelques années plus tard aux Etats-Unis. Bien que ce mouvement soit apparu dans un intervalle assez court dans ces deux pays, il divergea un peu comme nous le verrons ensuite. On peut considérer que les premières esquisses de pop art datent de 1947 avec une réalisation de Paolozzi. Cet artiste écossais créa des collages dans un style surréaliste dès la fin de la Apprendre à dessiner deuxième guerre mondiale dont un qui tendait vers un nouveau style artistique. L’oeuvre, intitulée « J’étais le jouet d’un homme riche » (I Was a Rich Man’s Plaything) fut réalisée à partir d’images découpées d’une pin-up, du logo Coca-Cola et du mot “pop”. L’artiste (comme Richard Hamilton, l’autre principal acteur du pop art britannique) savait bien cerner la société de consommation. “I Was a Rich Man’s Plaything”, Eduardo Paolozzi, 1947 Paolozzi était un des membres fondateurs de l’Independent Groupe dont les membres, dès 1952, se réunissaient très souvent à l’Institut des Arts Contemporains de Londres pour discuter de leur vision de l’art (une vision dominée par l’abstrait). -
Dialogues: Modern & Contemporary Art
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 26 JUNE 2 0 2 0 DIALOGUES: MODERN & CONTEMPORARY ART ONLINE-ONLY FROM 26 JUNE TO 14 JULY 2020 PART OF THE AUCTION PROGRAMME TO ACCOMPANY ONE: A GLOBAL SALE OF THE 20TH CENTURY Tamara de Lempicka, La couronne de fleurs II (c. 1932/c. 1950, estimate: £300,000-500,000), Glenn Ligon Figure #96 (2011, estimate: £280,000-350,000) and Peter Blake The National Gallery Madonna (1994-2000, estimate: £120,000-180,000) London – As part of the expanded online programme to accompany ONE: A Global Sale of the 20th Century, Christie’s presents Dialogues: Modern & Contemporary Art, an online auction running from 26 June to 14 July 2020, featuring painting, sculpture, works on paper and photography. Constructivism, Fauvism, Art Brut, Surrealism, Abstract Expressionism, Pop: the past century of Western art has been a period of vast change. As artists responded to events happening around them and the evolution of artistic practice, they also engaged with the work of other artists past and present. Dialogues: Modern & Contemporary Art highlights a selection of these conversations. Some dialogues are formal, as in the sharp, flat hues of Walter Dexel’s Constructivism and Josef Albers’ post-Bauhaus Homage to the Square: Oracle (1961, estimate: £220,000-320,000). Others are more visceral: an early work, Kallmünz – Regentag (1903, estimate: £150,000-200,000) by Wassily Kandinsky, from before his own revolutionary turn to abstraction, emits a sunny energy that echoes in Jack Butler Yeats’ bright, fluid California (1937, estimate: £500,000-800,000). Jean Dubuffet’s Art Brut figures share the totemic power of sculptures by Eduardo Paolozzi and Henri Laurens. -
Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on Panel, 35 X 27 Cm Private Collection
Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on panel, 35 x 27 cm Private Collection Designed by: Baseline Co Ltd 19-25 Nguyen Hue Bitexco Building, Floor 11th District 1, Ho Chi Minh City Vietnam © Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA © de Lempicka Estate / Artists Rights Society, New York, USA / ADAGP, Paris All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification. ISBN 978-1-78042-030-1 2 It can be argued that the Art Deco spirit expressed itself more naturally through portraiture than through any other kind of painting. The quintessential Art Deco portraitist is undoubtedly Tamara de Lempicka. The Fashionable society of the 1920s and 30s is now perceived very largely through her eyes. — Edward Lucie-Smith 3 Biography 1898 Born Tamara Gurwik-Gorska in Warsaw to wealthy, upper-class Polish parents. Her father, Bolris Gorski, was a lawyer with a French firm. Her mother was Malvina Decler. 1911 A trip to Italy with her grandmother helps Tamara discover her passion for art. 1914 Tamara moves in with her aunt Stephanie in St Petersburg, resenting her mother’s decision to remarry. She meets her future husband, Tadeusz Lempicki, a handsome lawyer from a wealthy Russian family. 1916 Tamara and Tadeusz marry in Petrograd in the chapel of the Knights of Malta. -
DRAWING and PAINTING FINAL PROJECT Mrs. J. Spadaro DUE MAY 11, 2016
DRAWING AND PAINTING FINAL PROJECT Mrs. J. Spadaro DUE MAY 11, 2016 Select an Art Movement: Classical Realism, Impressionism, Post Impressionism, Fauvism Select a Topic: A STILL LIFE FEATURING A COLLECTION OF OBJECTS: Choose ONE: 1. Sweet treats - candies, desserts, fruits – arranged in an interesting composition or looked upon from an unusual point of view 2. Natural objects – shells, pinecones, plant materials, etc arranged in an interesting composition OR A SELF PORTRAIT featuring yourself on an interesting background – a map that can showcase your heritage, the place you live now or a place that holds a special meaning to you; sheet music of a favorite song; newspaper with a meaningful article, etc. OR A well developed LANDSCAPE showcasing a particular season and including an interesting foreground, middle ground and background – no sunsets, simple beach scenes Refer to your text for reference… Pay close attention to your total work: drawing, composition, design elements, technique and color usage if applicable… remember, it is your final exam and will be graded as such. YOU MAY NOT WORK FROM PHOTOS UNLESS THEY ARE YOUR OWN REFERENCE. Draw or paint your subject influenced by the styles and artists in your selected movement. You may focus on one or more artists within that movement. Decide how you will treat color – achromatic or chromatic – perhaps a monochromatic study, or a color triad, perhaps neutral colors with the addition of one color, etc. Minimum size is 11” x 14 “ but keep your work stock size so that matting and framing is easy. THESE DRAWINGS MUST BE FULLY DEVELOPED, COMPLETED WORKS OF ART – not just quick sketches. -
Holly Trostle Brigham Myths, Portraits, and the Self Holly Trostle Brigham Myths, Portraits, and the Self
Holly Trostle Brigham Myths, Portraits, and the Self Holly Trostle Brigham Myths, Portraits, and the Self August 5 - September 27, 2013 Mary H. Dana Women Artists Series / Douglass Library Guest Curators: Judith K. Brodsky and Ferris Olin Copyright: Institute for Women and Art, Rutgers, The State University of New Jersey, 2013 INSTITUTE FOR WOMEN AND ART Programs Mary H. Dana Women Artist Series At the Douglass Library Galleries and in partnership with Rutgers University Libraries, this exhibition series was founded in 1971 by Joan Snyder and is the oldest continuously running venue for women visual artists in the US. Estelle Lebowitz Visiting Artist-in-Residence Lectureship Brings to the Rutgers University community and general public the work of a renowned contemporary woman artist through exhibitions, classes and public lectures. The Feminist Art Project (TFAP) A collaborative international initiative promoting and documenting diverse feminist art events and publications celebrating the feminist art movement and the aesthetic, intellectual and political impact of women on the visual arts, art history, and art practice, past and present. IWA Exhibition Series Exhibitions curated by the IWA and presented at selected venues. Miriam Schapiro Archives This archival collection contains files related to women artists and art organizations and is housed in Rutgers University Libraries Special Collections and University Archives. In addition to the files for the Mary H. Dana Women Artists Series, the Schapiro archives also contain the Contemporary Women Artists Files (CWAF) of emerging and established contemporary women artists. On-Line Education E-courses about women artists, their achievements, and impact on culture and society; race and contemporary art; homosexuality and visual culture. -
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NEGOTIATING THE GENDERED MARGINS OF MODERNITY: TAMARA DE LEMPICKA AND HER ICONIC FEMALE FORMS A Thesis Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Allison Ann Muscolino ________________________________ Kathleen Pyne, Director Graduate Program in Art, Art History, and Design Notre Dame, Indiana April 2008 TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................iii ACKNOWLEDGMENTS .........................................................................................iv INTRODUCTION .....................................................................................................1 CHAPTER ONE: FEMININIZING THE STAGE OF MODERNITY.....................10 CHAPTER TWO: DEFINING THE MODERN FEMININE ...................................20 CHAPTER THREE: PERFORMING THE MODERN ............................................31 APPENDIX: FIGURES.............................................................................................39 BIBLIOGRAPHY......................................................................................................51 ii LIST OF FIGURES Figure 1. Portrait of Romana de La Salle, 1928, oil on panel, unknown Collection.................................................................................................39 Figure 2. The Slave, 1929, oil on canvas, private collection ...................................40 Figure 3. The Musician, 1929, -
Tamara De Lempicka: a Life of Deco and Decadence by Laura Claridge (1999), 436 Pages. a Casual Reader of Polish
Tamara de Lempicka: A Life of Deco and Decadence by Laura Claridge (1999), 436 pages. A casual reader of Polish painting in the 20th century may have only a limited idea of Tamara Lempicka's life and her contribution to the Deco history of the 20s and 30s, and thus this excellent biography will be a revelation. Her prominence was primarily recognized in Western Europe and America, where she spent most of her creative life. Firstly, there is her irrepressible individuality that fascinates. She was an “artiste” to the core, and it is often difficult to figure out the dividing line between reality (read: facts) and legend (read: Tamara's fantasies.) Was she born in Warsaw or in Moscow? Perhaps in 1898 but, maybe in 1896 or some other year. We know very little about her father, Boris Gurwik Gorski; her mother was Malwina Dekler, a welltodo Pole of French descent. Her teen years were certainly exciting, as she divided her time between the French Riviera chic and the splendors of St. Petersburg salons, where she met the handsome Tadeusz Lempicki; she fell hopelessly in love and married him just before the Revolution overtook Russia. Their escape with the baby to France was a true odyssey. And here, in Paris, her career began. Unquestionably she had a formidable talent for painting and also amazing energy. Her erotic works are not to everybody's liking, but her portraits are stunning. Soon she was in the forefront of Deco art, which marked a world event in architecture as well as other art forms. -
$495 Million Highest Total in Auction History
PRESS RELEASE | N E W Y O R K FOR IMMEDIATE RELEASE | 1 5 M A Y 2 0 1 3 MAY 2013 POST-WAR AND CONTEMPORARY ART EVENING SALE ACHIEVED $495 MILLION HIGHEST TOTAL IN AUCTION HISTORY Christie’s auctioneer Jussi Pylkkanen, hammers down Jackson Pollock’s Number 19, 1948, which achieved the highest price for the artist at $58.3 million POLLOCK’S NUMBER 19, 1948, SOLD FOR $58M (£38.5M / €45.5M) A WORLD AUCTION RECORD FOR THE ARTIST LICHTENSTEIN’S WOMAN WITH FLOWERED HAT REALIZED $56M (£37M / €43M) A WORLD AUCTION RECORD FOR THE ARTIST DUSTHEADS FETCHED $48.8M (£32M / €38M), SETTING A NEW WORLD AUCTION RECORD FOR BASQUIAT GUSTON’S TO FELLINI, ACHIEVED $25.8 (£17M / €20) WORLD AUCTION RECORD FOR THE ARTIST STRONG INTERNATIONAL DEMAND FOR MASTERPIECES AND WORKS FROM PRESTIGIOUS PROVENANCE 16 NEW ARTIST RECORDS SET 3 WORKS SOLD ABOVE $40 MILLION, 9 ABOVE $10 MILLION, AND 59 ABOVE $1 MILLION New York – On May 15th Christie’s Post-War and Contemporary Art evening sale achieved a staggering $495,021,500 (£326,714,190/ €386,116,770), with a remarkably strong sell-through rate of 94% by value and by lot. Bidders from around the world competed for an exceptional array of Abstract Expressionist, Pop and Contemporary works from some of the century’s most inspiring and influential artists, including Jackson Pollock, Roy Lichtenstein and Jean-Michel Basquiat. The sale featured a range of superlative works from distinguished private collections and institutions, such as the Collection of Celeste and Armand Bartos and the Estate of Andy Williams. -
Art Era Timeline 3 Early 20Th C – Modern
1 Art Movement Timeline Early 20th C Centuryentury till the start of Modern Art Time Line Art Movement Description Artists & examples Late 19th/ Early 20th Century Design Britain, Late 19th Arts and Crafts The Arts and Crafts Century Movement was a celebration of individual design and craftsmanship, William Morris , a book designer, 18341834----18961896 spearheaded the William Morris movement. He also produced stained glass, textiles and wallpaper and was a painter and writer. © Nadene of http://practicalpages.wordpress.com 04/2010 2 Late 19th Century to Art Nouveau Art Nouveau is an Early 20th Century elegant decorative art style characterized by intricate patterns of curving lines. Its origins somewhat 18601860----19391939 rooted in the British Alphonse Mucha Arts and Crafts Movement of William Morris , 18721872----18981898 Aubrey Beardsley 18621862----19181918 Gustav Klimt Louis Comfort Tiffany . 18481848----19331933 © Nadene of http://practicalpages.wordpress.com 04/2010 3 1880's to 1920's The Golden Age of The Golden Age of European artists: Illustration Illustration was a period of unprecedented excellence in book and magazine 18451845----19151915 illustration. Walter Crane Advances in technology permitted accurate and inexpensive reproduction of art. The public demand for new graphic art grew in this time. Edmund Dulac 18821882----19531953 18721872----18981898 Aubrey Beardsley 18671867----19391939 Arthur Rackham 18861886----19571957 © Nadene of http://practicalpages.wordpress.com 04/2010 4 The Golden Age of Kay Nielsen . Illustration American artists: 18531853----19111911 Howard Pyle 18821882----19451945 N.C. Wyeth 18701870----19661966 Maxfield Parrish 18771877----19721972 Frank Schoonover 18521852----19111911 Edwin Austin Abbey . © Nadene of http://practicalpages.wordpress.com 04/2010 5 1920's to 1930's Art Deco Art Deco is an elegant style of decorative art, design and architecture which began as a Modernist reaction against the Art 18981898----19801980 Nouveau style. -
“Un Bel Atelier Moderne”: the Montparnasse Artist at Home Louise Campbell
CHAPTER 14 “UN BEl ATElIER MOdERNE”: THE MONTpARNASSE ARTIST AT HOmE Louise Campbell In 1925, an article about studio-houses in the rue Cassini, Montparnasse, concluded: “We hear that there are charming things inside, but respectful of the privacy of these ‘homes’ of artists, we have not spoken of them” (L’Architecture 1925: 436). Such restraint— more typical of an architectural journal than of the popular press—did not last long. By the end of the decade, even specialized journals like L’Architecture were illustrating the interiors of the homes of artists who had commissioned leading architects to work for them. The journal—published by the Société Centrale des Architectes—was until 1927 dominated by reviews of exhibitions, reports of architectural competitions and congresses, analyses of public buildings and town-planning schemes. After that date, L’Architecture grew in size and scope; now supported by the Société des Architectes Diplômés par le Gouvernement and the Association Provinciale des Architectes Français, it included accounts of new buildings alongside historic ones and adopted a more conversational style. Although house interiors were shown devoid of their inhabitants, there was some discussion of the personality and tastes of the clients, rather than simply the architectural character of their homes. By contrast, the drier and more factual journal L’Architecte illustrated few interiors and generally identified clients only by their initials. This informal new tone reflects both the journalistic practices of 1920s and the publicity courted by contemporary artists. It does not merely indicate a dwindling concern for privacy and a merging of the techniques of the mass media with the sober traditions of architectural journalism. -
The Rarity of Realpolitik the Rarity of Brian Rathbun Realpolitik What Bismarck’S Rationality Reveals About International Politics
The Rarity of Realpolitik The Rarity of Brian Rathbun Realpolitik What Bismarck’s Rationality Reveals about International Politics Realpolitik, the pur- suit of vital state interests in a dangerous world that constrains state behavior, is at the heart of realist theory. All realists assume that states act in such a man- ner or, at the very least, are highly incentivized to do so by the structure of the international system, whether it be its anarchic character or the presence of other similarly self-interested states. Often overlooked, however, is that Real- politik has important psychological preconditions. Classical realists note that Realpolitik presupposes rational thinking, which, they argue, should not be taken for granted. Some leaders act more rationally than others because they think more rationally than others. Hans Morgenthau, perhaps the most fa- mous classical realist of all, goes as far as to suggest that rationality, and there- fore Realpolitik, is the exception rather than the rule.1 Realpolitik is rare, which is why classical realists devote as much attention to prescribing as they do to explaining foreign policy. Is Realpolitik actually rare empirically, and if so, what are the implications for scholars’ and practitioners’ understanding of foreign policy and the nature of international relations more generally? The necessity of a particular psy- chology for Realpolitik, one based on rational thinking, has never been ex- plicitly tested. Realists such as Morgenthau typically rely on sweeping and unveriªed assumptions, and the relative frequency of realist leaders is difªcult to establish empirically. In this article, I show that research in cognitive psychology provides a strong foundation for the classical realist claim that rationality is a demanding cogni- tive standard that few leaders meet. -
1 Oversimplification As Remediation: Roy Lichtenstein's Paintings And
Oversimplification as Remediation: Roy Lichtenstein’s Paintings and 1960s Comics1 Denis Viva Introduction Within the Pop Art scene, Roy Lichtenstein’s work has unquestionably been associated with the language of comics. From the spring of 1961 when he first painted canvases inspired by the characters of Mickey Mouse and Popeye, up until his latest work in the 1990s, Lichtenstein never ceased to draw from the cheap and reduced palette, the schematic drawing, and the narrative cliché of the comic strip style. Throughout his career, innumerable art critics and scholars have dedicated laudable studies to this topic by comparing his paintings with their comics sources, or by arguing about the gender questions raised by his stereotyped feminine subjects.2 In light of its explicit and close relationship with comics, Hal Foster recently considered Lichtenstein’s work as a form of reflecting on the process of “mediation” through which the consumer society re- elaborates events and objects as artificial images (Foster 62-108). According to Foster, not only did Lichtenstein appropriate the comic subjects but also their way of “mediating” a fictitious reality through their images and style. By following up on Foster’s studies, nowadays it would be possible to further rephrase Lichtenstein’s interest for the visual “mediation” of mass media into new terms. Indeed, the notion of remediation, introduced by Jay Bolter and Richard Grusin (Bolter, Grusin 21-50), may better enlighten the doubling act of Lichtenstein’s painting, which tries to mediate, once more, something (the comic strips) that is in its turn already a mediation. Lichtenstein always followed a meticulous process of transposing the comics’ practice of mediation into painting by reversing the original process between the two media: while comics used to make handmade images reproducible, his canvases turned those comic pictures into unique, painted images.