An Intimate View of the Havemeyer, Stein, Cone, and Phillips Collection
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THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
In a Splendid Exhibition, the École Des Beaux- Arts in Paris Is Currently
Ausstellungsbericht 22.12.2008 Exhibition Review Editor: R. Donandt Exhibition: Figures du corps. Une leçon d'anatomie aux beaux-arts. Paris, École natio- nale supérieure des beaux-arts, Paris. 21.10.2008-04.01.2009 Exhibition catalogue: Philippe Comar (ed.): Figures du corps. Une leçon d'anatomie aux beaux-arts. Beaux-arts de Paris les editions, 2008. 509 p., 800 ill. ISBN: 978-2-84056-269- 6. 45,- EUR. Mechthild Fend, University College London In a splendid exhibition, the École des beaux- sixteenth-century displays include the well arts in Paris is currently showing their own known anatomical treatises by Vesalius and anatomical collections enriched by a small Estienne, studies on proportion after Vitruvius number of objects from other French institu- and by Lomazzo and Dürer, as well as écorchés tions. Usually behind the scenes - stored away and muscle studies by Bandinelli or Antonio del in archives and galleries reserved for the train- Pollaiuolo. In the next of the six sections, which ing of art students - the books, prints, draw- are organized more or less in chronological or- ings, photographs, waxmodels or casts are der, the formation of the French art academy up now centre stage in two large exhibition halls until the early nineteenth century is addressed, at Quai Malaquais. With these materials the especially the increasing specialisation of anat- exhibition traces the history of anatomy train- omy training for artists; this development is also ing at the French national art school. The pres- explored in the catalogue essay by Morwena tigious institution was founded in 1648 under Joly. -
The American Public Art Museum: Formation of Its Prevailing Attitudes
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1982 The American Public Art Museum: Formation of its Prevailing Attitudes Marilyn Mars Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art Education Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1302 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. THE AMERICAN PUBLIC ART MUSEUM: FORMATION OF ITS PREVAILING ATTITUDES by MARILYN MARS B.A., University of Florida, 1971 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of d~rts RICHMOND, VIRGINIA December, 1982 INTRODUCTION In less than one hundred years the American public art museum evolved from a well-intentioned concept into one of the twentieth century's most influential institutions. From 1870 to 1970 the institution adapted and eclipsed its European models with its didactic orientation and the drive of its founders. This striking development is due greatly to the ability of the museum to attract influential and decisive leaders who established its attitudes and governing pol.icies. The mark of its success is its ability to influence the way art is perceived and remembered--the museum affects art history. An institution is the people behind it: they determine its goals, develop its structure, chart its direction. -
Dillonsd2014.Pdf (377.0Kb)
UNIVERSITY OF CENTRAL OKLAHOMA DR. JOE C. JACKSON COLLEGE OF GRADUATE STUDIES Edmond, Oklahoma Hemingway: Insights on Military Leadership A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree Of MASTER OF ARTS IN ENGLISH By Shawn Dillon Edmond, Oklahoma 2014 Abstract of Thesis University of Central Oklahoma Edmond, Oklahoma NAME: Shawn Dillon TITLE OF THESIS: Hemingway: Insights on Military Leadership DIRECTOR OF THESIS: Dr. G.S. Lewis PAGES: 86 The literature of Ernest Hemingway is rich with military lessons derived from his lifetime of proximity to war and his understanding of soldiers and leaders at all levels as presented through his characters. Hemingway wrote two significant military works that treat deeply the psyche and behavior of soldiers in war: For Whom the Bell Tolls presented a guerilla band led by an American professor named Robert Jordan, and exposed the different types of junior and senior leaders, as well as an ideal soldier in Anselmo, the old, untrained partisan. Across the River and Into the Trees was equally rich in military insights, at a much higher level of command, through the bitter musings of Colonel Cantwell. Hemingway’s fiction represented and reproduced the detailed awareness he had of soldiers and leaders, good and bad. He was born with the natural instinct to lead, and through his proximity to men performing humanity’s most vaunted of tests, he produced a body of fiction that can serve collectively as a manual for understanding soldiers, terrain, and military -
A Stellar Century of Cultivating Culture
COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists. -
Vol. 23, No. 8 August 2019 You Can’T Buy It
ABSOLUTELY FREE Vol. 23, No. 8 August 2019 You Can’t Buy It As Above, So Below Artwork is by Diane Nations and is part of her exhibit Under the Influence of Jung on view at Artworks Gallery in Winston-Salem, North Carolina through August 31, 2019. See the article on Page 28. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Artworks Gallery (Winston-Salem) - Diane Nations Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 5 - Wells Gallery at the Sanctuary & Halsey MCallum Studio Page 4 - Redux Contemporary Art Center & Charleston Artist Guild Page 6 - Thomas Dixon for Mayor & Jesse Williams District 6 Page 5 - Charleston Museum & Robert Lange Studios Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 6 - Robert Lange Studios cont., Ella Walton Richardson Fine Art & Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Lowcountry Artists Gallery The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Page 9 - Lowcountry Artists Gallery cont. & Halsey Institute / College of Charleston Page 8 - Halsey Institute / College of Charleston Page 10 - Halsey Institute / College of Charleston & Art League of Hilton Head Page 9 - Whimsy Joy Page 11 - Art League of Hilton Head cont. & Society of Bluffton Artists Page 10 - Halsey Institute -
Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon D’Automne” of 1913
Experiment 25 (2019) 328-345 brill.com/expt Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon d’Automne” of 1913 Anna Winestein Executive Director, Ballets Russes Arts Initiative, and Associate, Davis Center at Harvard University and Center for the Study of Europe at Boston University [email protected] Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been gen- erally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instiga- tor, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee— both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project origi- nated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collec- tors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audi- ences with their own ideas and artworks. Keywords “Salon d’Automne” – Natalia Erenburg – Iakov Tugendkhold – Russian folk art – Paris – Mir iskusstva – Mikhail Larionov – Academie russe Overshadowed by both the “All-Russian Kustar Exhibitions” of 1902 and 1913 in St. -
Bma Presents Matisse Prints and Drawings
Media Contacts: Anne Brown Jessica Novak Sarah Pedroni 443-573-1870 BMA PRESENTS MATISSE PRINTS AND DRAWINGS New Arrivals exhibition recognizes BMA’s continued relationship with the Matisse family BALTIMORE, MD (December 3, 2015)—The Baltimore Museum of Art (BMA) presents a sublime exhibition of works by Henri Matisse, one of the greatest artists of the 20th century. On view December 9, 2015-July 3, 2016, New Arrivals: Matisse Prints & Drawings features approximately 40 recently acquired prints and drawings, most bestowed to the BMA by the collection of Matisse’s daughter, Marguerite Matisse Duthuit, and The Pierre and Tana Matisse Foundation in New York. The exhibition—one of nine celebrating the museum’s enormously successful Campaign for Art—demonstrates the legacy of renowned collectors Etta and Claribel Cone and the BMA’s continued relationship with members of the Matisse family. “Etta and Claribel Cone’s dedication to collecting the art of Matisse established at the BMA one of the most comprehensive collections of the artist’s work,” said Jay Fisher, Interim Co-Director and Deputy Director of Curatorial Affairs. “The close personal relationship between the artist and the Cone sisters provided the opportunity to acquire key works from the late ’20s and early ’30s, while encouraging Etta to collect all aspects of his work—painting, sculpture, and graphic arts.” Recognizing the unique character of the BMA’s Matisse collection, the artist’s family has made significant gifts that have added breadth to the museum’s collection. This support, which has included loans for major exhibitions such as Matisse: Painter as Sculptor, has enabled the BMA to organize exhibitions and undertake new research on the artist. -
Mickalene Thomas Sleep: Deux Femmes Noires
MICKALENE THOMAS SLEEP: DEUX FEMMES NOIRES Mickalene Thomas, Sleep: Deux Femmes Noires, 2013, Mixed Media Collage, 38 1/2 x 80 1/2 inches, Ed. 25 Durham Press is pleased to announce the completion of Mickalene Thomas’s Sleep: Deux Femmes Noires. The new edition is a large-scale mixed media collage, comprised of woodblock, silkscreen and photographic elements. It measures 38 ½ by 80 ½ inches and is made in an edition of 25. Sleep: Deux Femmes Noires is based on a small collage that Thomas used to conceive both the print and a large painting (of same title) that featured prominently in her solo exhibition “Origin of the Universe”. The widely acclaimed traveling show, organized by the Santa Monica Art Museum, was at the Brooklyn Museum earlier this year. Sleep, both in title and subject, directly references Gustave Courbet’s erotic painting Le Sommeil from 1866, but transports the interior scene of reclining nudes to a disparate collaged landscape of bright color and pattern. The work hints at influences from the Hudson River Painters, Romare Bearden, David Hockney and Seydou Keita. Thomas deftly weaves themes of black female beauty, power, and sexuality into classical genres of portraiture and landscape, creating works of stunning originality and strength. The print, Sleep: Deux Femmes Noires, is a remarkable work made with 61 colors, 58 screens, 27 individual blocks, and 50 different collage components, including mahogany and cherry veneers. Each component and process adds to the lush composition of color, texture and pattern. The figures included in the collage are printed from an interior scene Thomas composed and photographed at 20 x 24 Studio in New York using a large format camera. -
Courbet the Painters Studio Initial Analysis-14Dkgtk
Gustave Courbet. The Painter’s Studio initial analysis Gustave Courbet, initial analysis The painting was refused The Painter’s by the Salon and was first In the central section Gustave Courbet sits at large canvas shown in Courbet’s own Studio, Real on an easel painting a landscape. He is watched by a young pavilion titled RÉALISME, Allegory, boy and a naked female model. She holds a white sheet. On erected as an alternative to Determining a the floor other cloth and a wooden stall. Between them on the Salon. In the same the floor a white cat. Behind this scene a large wall painted space Courbet exhibited 40 Phase of Seven with an indistinct landscape. Hanging on the wall a large paintings including many Years in My circular gold medallion. portraits which directly Artistic Life, identify some of the people in the right hand section. 1854-55, oil on canvas, After this showing the 361 x 598 cm (142 x The painting hangs in the Musée d’Orsay, Paris. painting was not on public 236”) The painting was restored in recent years. That work was view until 1920 when it completed in 2016. was acquired for the Louvre from one of Courbet’s family. In the left hand section a In the right hand section a very varied group of group of people. All of figures and a dog, many them have been identified. can be named, all of them (See below.) On the floor a personify various political young boy is drawing. positions. On the floor a Behind the scene a window guitar and a dagger. -
Motivation of the Sign 261 Discussion 287
Picasso and Braque A SYMPOSIUM ORGANIZED BY William Rubin \ MODERATED BY Kirk Varnedoe PROCEEDINGS EDITED BY Lynn Zelevansky THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK Contents Richard E. Oldenburg Foreword 7 William Rubin and Preface and Acknowledgments 9 Lynn Zelevansky Theodore Reff The Reaction Against Fauvism: The Case of Braque 17 Discussion 44 David Cottington Cubism, Aestheticism, Modernism 58 Discussion 73 Edward F. Fry Convergence of Traditions: The Cubism of Picasso and Braque 92 Discussion i07 Christine Poggi Braque’s Early Papiers Colles: The Certainties o/Faux Bois 129 Discussion 150 Yve-Alain Bois The Semiology of Cubism 169 Discussion 209 Mark Roskill Braque’s Papiers Colles and the Feminine Side to Cubism 222 Discussion 240 Rosalind Krauss The Motivation of the Sign 261 Discussion 287 Pierre Daix Appe ndix 1 306 The Chronology of Proto-Cubism: New Data on the Opening of the Picasso/Braque Dialogue Pepe Karmel Appe ndix 2 322 Notes on the Dating of Works Participants in the Symposium 351 The Motivation of the Sign ROSALIND RRAUSS Perhaps we should start at the center of the argument, with a reading of a papier colle by Picasso. This object, from the group dated late November-December 1912, comes from that phase of Picasso’s exploration in which the collage vocabulary has been reduced to a minimalist austerity. For in this run Picasso restricts his palette of pasted mate rial almost exclusively to newsprint. Indeed, in the papier colle in question, Violin (fig. 1), two newsprint fragments, one of them bearing h dispatch from the Balkans datelined TCHATALDJA, are imported into the graphic atmosphere of charcoal and drawing paper as the sole elements added to its surface. -
In Turn-Of-The-Century Paris, an Explosion of Brash New Art
1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it.