Antonio Saura
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By Fernando Herrero-Matoses
ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body. -
Re-Seeing the Permanent Collection: the VIEWER’S VOICE
RE-SEEING THE PERMANENT COLLECTION: THE VIEWER’S VOICE 1 RE-SEEING THE PERMANENT COLLECTION: THE VIEWER’S VOICE The exhibition Re-Seeing the Permanent Collection: The Viewer’s Voice engages individuals from the museum’s audience in an experiment of interpretation. A work of art can elicit countless reactions and readings, depending on the perspective of the viewer. This exhibition seeks to provide a platform for Marquette University students, faculty, and staff from across the academic disciplines to share their personal observations about objects from the museum’s permanent collection. Participants were invited to write a brief reflection on the artwork of their choosing. The selected works include a range of historical and contemporary artistic styles and media, which represents the depth and breadth of the Haggerty’s holdings and reflects the diverse intellectual and creative interests of the Marquette community. Some participants describe the qualities that draw them to a particular work of art, others explain how the work is relevant to their teaching practices, and still others consider the myriad ways that thinking about their areas of specialization through the lenses of the visual arts stimulates new insight and understanding. All participants provide fresh interpretations that fall outside the scope of standard museum wall labels. This exercise demonstrates the collaborative spirit that is unique to a teaching museum like the Haggerty. By making its permanent collection available to the community, the museum enriches the educational experience at Marquette. It is the museum’s hope that Re-Seeing the Permanent Collection: The Viewer’s Voice will inspire visitors of all kinds to embrace the value of visual analysis and creative thinking and explore their own potential to derive personal meaning from the visual arts. -
Spanish Art of the 1950S and Its International Projection
Please, return this text to box no. 406 available at museoreinasofia.es Spanish Art of the 1950s and Its International Projection Between the years 1957 and 1960 Spain joined the international circuit of modern art thanks to an idiosyncratic contribution to Art Informel that appealed to both European and American abstract trends (the tradition of the new) and to the great tradition of Spanish art as exemplified by Velázquez and Goya. The context in which this autochthonous trend appeared was that of the end of autocracy and the diplomatic and economic openness promoted by the Franco regime. (perhaps as a result of the influence of Dubuffet and Fautrier, the formulators of Art Brut) introduced a new element in his painting, the wall, which replaced the dominant feature of his self-portraits, i.e. the face. Matter and texture established themselves over colour, line and contrasts, transforming painting into a continuum in which references either disappear or are concealed and the beholder faces the challenge of carrying out alternative vi- sual paths. Matter is also the central motif in the oeuvre of Modest Cuixart (1925), In 1958 Juan Eduardo Cirlot wrote in La Estafeta Literaria that Art Informel was ‘a ge- another member of Dau al Set who paid nuine mutation compared to abstraction,’ an idea on a par with Clement Greenberg’s his debt to Surrealism in Lyon, where he account of the vitality, ambition and inventiveness of Abstract Expressionism in his settled in 1951. Omorka (1957) illustrates 1955 essay ‘American-Type Painting,’ which the influential critic attributed to a new, the refinement to which Cuixart submit- pragmatic and American reading of the European classical avant-garde. -
International-Pop.Pdf
INTERNATIONAL POP INTERNATIONAL 4 BILLY APPLE 42 WALLY HEDRICK 8 ARMAN 44 JAN HENDERIKSE POP 10 EVELYNE AXELL 46 KEY HIRAGA 12 IMRE BAK 48 ALLEN JONES 14 RAFAEL CANOGAR 52 LUO BROTHERS 16 SISTER MARY CORITA KENT 54 ROBERT MALLARY 15 JUNE ‒ 29 JULY 2020 18 GERARD DESCHAMPS 56 DÉCIO NOVIELLO 20 ANTONY DONALDSON 58 MARIO SCHIFANO ONLINE AND BY APPOINTMENT ONLY 22 ERRÓ 60 COLIN SELF BOOK A VIEWING: [email protected] 26 FERDI 62 BOB STANLEY 28 STANO FILKO 64 EMILIO TADINI 30 CLAUDE GILLI 66 SHINKICHI TAJIRI 34 JOE GOODE 68 JOHN TWEDDLE 38 RICHARD HAMILTION 70 ANDY WARHOL THE 40 JANN HAWORTH 72 LIST OF WORKS MAYOR GALLERY BILLY APPLE® b. 1935 Auckland, New Zealand Born in New Zealand in 1935, Apple (then known as Barrie Bates) studied at the Royal College of Art between 1959 and 1962 exhibiting alongside fellow artists such as David Hockney, Derek Boshier and Pauline Boty in the annual Provenance: Young Contemporaries exhibitions. Acquired directly from the artist In 1962 after graduating he notoriously changed his name Exhibited: and altered his appearance becoming ‘Billy Apple®’ in a London, Hilton Hotel, British D&AD Professional self-conscious art action that doubled as a canny exercise Awards, 1963 in re-branding. In 1964 he moved to New York working London, RBA Galleries, 2 April – 24 April 1962 with Andy Warhol in the pivotal exhibition The American London, Victoria and Albert Museum, Rewind: 40 Supermarket including Oldenburg, Wesselmann and years of Design and Advertising from the D&AD Johns. In 1969, the artist opened Apple at 161 West 23rd Awards, 7 November 2002 – 2 February 2003, ill. -
Lot 1 Pablo Ruiz Picasso
Lot 1 Pablo Ruiz Picasso (Málaga, 1881 - Mougins, 1973) "Nature morte à la pastèque" Linoleum cut lithograph in colors, 1962. Signed in pencil and numbered 113/160. Published by Galerie Louise Leiris. Printed by Arnera Baer 1301. Bloch 1098. Provenience: Sala Gaspar Barcelona. “Picasso 15 Linóleums recientes", in 1964. Acquired by the present owner in that exhibition. The exhibition triptych, in which the work is reproduced, will be given to the buyer. 62 x 75,5 cm. Estimate: 7.000 / 15.000 euros Lot 2 Pablo Ruiz Picasso (Málaga, 1881 - Mougins, 1973) "Nature morte a la bouteille" Linoleum cut lithograph, 1962. Signed in pencil and numbered 6/50, on Arches wove paper. Published by Galerie Louise Leiris. Bloch 1099. Provenience: Sala Gaspar Barcelona. “Picasso 15 Linóleums recientes", in 1964. Acquired by the present owner in that exhibition. The photocopy of the exhibition triptych, in which the work is reproduced, will be given to the buyer. 75,5 x 62 cm. Estimate: 7.000 / 15.000 euros Lot 3 Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Le repos du sculpteur devant le jaune chevalier". Suite Vollard. Etching. Signed in pencil. Bloch 164. Sheet measurements: 34 x 44.5 cm. Etching measurement: 19.5 x 26.5 cm. Estimate: 4.000 / 6.000 euros Lot 4 Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Le repos du sculpteur II". Suite Vollard. Etching plate. Signed in pencil. Bloch 172. Sheet measurements: 34 x 44 cm. Etching measurements: 19 x 26.2 cm. Estimate: 4.000 / 6.000 euros Lot 5 Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Le repos du sculpteur devant un centaure et une femme". -
Antonio Saura Crucifixions I Crucifixiones Antonio Saura
ANTONIO SAURA CRUCIFIXIONS I CRUCIFIXIONES ANTONIO SAURA. Cuenca, 1984. © Ad Petersen ACKNOWLEDGEMENTS I AGRADECIMIENTOS Esta obra se ha publicado con ocasión de la exposición This work was published on the occasion of the exhibition, Antonio Saura, Crucifixiones Antonio Saura, Crucifixions coproducida por el Musée d’art moderne et contemporain de Estrasburgo coproduced by the Musée d’art moderne et contemporain of Strasbourg La exposición y el catálogo se han realizado gracias a la colaboración The exhibition and catalogue were possible thanks to the collaboration of de la Sucesión Antonio Saura. the Succession Antonio Saura. Debemos expresar nuestra profunda gratitud a We wish to express our deep gratitude to MERCEDES BELDARRAIN MERCEDES BELDARRAIN MARINA SAURA MARINA SAURA OLIVIER WEBER-CAFLISCH OLIVIER WEBER-CAFLISCH Debemos también expresar nuestra gratitud And for their decisive contribution, por su decisiva contribución a we also wish to thank FABRICE HERGOTT FABRICE HERGOTT AD PETERSEN AD PETERSEN EXHIBITION I EXPOSICIÓN CATALOGUE I CATÁLOGO Artist I Artista Publishing I Producción editorial ANTONIO SAURA EDICIONES DEL UMBRAL Curator I Comisario Design and lay-out I Diseño y maqueta EMMANUEL GUIGON JAVIER CABALLERO Coordination I Coordinación Photography I Fotografía MARTA RINCÓN Cortesía I Courtesy SUCCESSION I SUCESIÓN ANTONIO SAURA Cortesía I Courtesy MUSÈE D’ART ET D’HISTOIRE DE GENÈVE AD PETERSEN ORONOZ Translation I Traducción WADE MATTHEWS, LAURA GUTIÉRREZ MINISTERIO DE ASUNTOS EXTERIORES SOCIEDAD ESTATAL PARA LA ACCIÓN -
Stedelijk Museum 1957-1984 176 Exhibition Catalogues L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia Tel
Stedelijk Museum 1957-1984 176 exhibition catalogues L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia tel. ++390302522472 - fax ++390302522458 mail: [email protected] - website: www.arengario.it Instagram - Facebook: @arengariostudiobibliografico A.L.A.I. Associazione Librai Antiquari d’Italia I.L.A.B. International League Antiquarian Booksellers Stedelijk Museum 1957-1984 176 exhibition catalogues a cura di Andrea Bono graphic design di Valentino Tonini 1. SANDBERG Willem (Jonkheer Willem Jacob Henri Berend Sandberg, Amersfoort 1897 - Amster- dam 1984) - GKF [Federatie van Beroepsverenigingen van Kunstenaars], Hand en machine, 1957 (maggio), 25,8x19 cm., brossura, pp. 28 n.n., copertina illustrata in rosa e cobalto su fondo bianco e impaginazione di Willem Sandberg, 40 illustrazioni b.n. n.t. con riproduzioni di manufatti. Testo di Bert Schierbeek. In appendice nomi e indirizzi degli artisti operanti nei diversi campi del design, dall’arre- damento, alla fotografia, alla grafica. Il catalogo documenta la mostra organizzata in occasione del 12° anniversario della liberazione dell’Olanda, a cura del GKF (Federatie van Beroepsverenigingen van Kun- stenaars / Federazione delle Associazioni dei Designers). Questa mostra, curata da Wim Brusse, è una anticipazione della partecipazione dell’Olanda (il cui padiglione sarà allestito da G. Rietveld) alla Trienna- le di Milano 1957 e costituisce un importante tentativo di mettere in comunicazione i diversi ambiti delle arti decorative. Catalogo originale della mostra (Amsterdam, Stedelijk Museum, 5 maggio 1957). € 180 2. VAN DEN BERGHE Frits (Gand, Belgio 1883 - Gand, Belgio 1939), Frits van den Berghe, 1957, 25,9x18,9 cm, punto metallico, pp. [36], copertina illustrata con un’immagine fotografica a colori. -
Complete ICA Exhibitions List 1948
1 Date Title Artists / Description 1948 40 Years of Modern Art 1907-1947: Jankel Adler, Jean Arp, Francis Bacon, Balthus, John Banting, 10 Feb – 6 Mar a Selection from British Eugene Berman, Pierre Bonnard, Constantin Brancusi, Georges Collections Braque, Edward Burra, Alexander Calder, Marc Chagall, Georgio de Chirico, Robert Colquhoun, John Craxton, Salvador Dali, Paul Held at the Academy Hall, Oxford Delvaux, André Derain, Charles Despiau, Frank Dobson, Raoul St Dudy, Jacob Epstein, Max Ernst, Lyonel Feininger, Lucian Freud, Naum Gabo, Henri Gaudier-Brzeska, Alberto Giacometti, Duncan Grant, Juan Gris, Barbara Hepworth, Ivon Hitchens, Frances Hodgkins, Edgar Hubert, Augustus John, Wassily Kandinsky, Paul Klee, Oscar Kokoschka, John Lake, Wifredo Lam, Louis Le Brocquy, Fernand Leger, Wilhelm Lembruck, Wyndham Lewis, Jean Lurçat, Rene Magritte, Aristide Maillol, Franz Marc, Louis Marcoussis, André Masson, Henri Matisse, Robert MacBride, F E McWilliam, Joan Miro, Amadeo Modigliani, Piet Mondrian, Henry Moore, Paul Nash, Ben Nicholson, Eduardo Paolozzi, Victor Pasmore, Pablo Picasso, John Piper, Man Ray, Ceri Richards, William Roberts, Peter Rose Pulham, Georges Rouault, William Scott, Walter Sickert, Matthew Smith, Stanley Spencer, Graham Sutherland, Chiam Soutine, Tves Tanguy, Pavel Tchelitchev, John Tunnard, Maurice Utrillo, Edouard Vuillard, Edward Wadsworth, Christopher Wood, Jack Yeats, Ossip Zadkine 1948/1949 40,000 Years of Modern Art: a List of artists only includes the artists from the ‘Art of Our 20 Dec - 29 Jan Comparison of -
New Spanish Painting and Sculpture "By Frank 0'Hara Book
DAMAGED PAGE(S) For Release W THE MUSEUM OF MODERN ART Salter3' 196° 11 WEST 53 STREET. NEW YORK 19. N. Y. No' 101 TELEPHONI: CIRCLE 5-8900 gp"SPANISH PAINTING AND SCULPTURE by Frank O'Hara. 6H- pages, 61 plates. Published bv the Museum of Modern Art, New York. Distributed to booksellers throughout the world 1 noubleday and Co., Inc. $2.75* Publication date; September 23, 19^0r t|0tfgpanish Painting and Sculpture, an introduction to the work of sixteen artists who hflVe come into prominence during the past decade, will be published by the Museum of Modern Art on September 23, in conjunction with its current exhibition. The profusely illustrated book is written by Frank O'Hara, director of the show, which will travel throughout the United States after closing in New York on September 25• Mr. O'Hara discusses the emergence of intense artistic activity following Spain's long period of isolation from the end of its Civil War (1936-39) until the close of World War II. In contrast with the generation of Picasso, Miro and Gonzalez, which hat lived and worked largely outside Spain, the "new" Spaniards, though exposed to current sft movements, have tended to work in their homeland. There, much of their time is de voted to the dissemination of contemporary esthetic ideas through exhibitions and art publications. All sixteen artists have exhibited in various international exhibitions, including the Venice Biennale, the S&o Paulo Bienal, and the Pittsburgh International Exhibition of Contemporary Painting and Sculpture• Although several have won awards and critical acclaim at these events, they have not yet received widespread recognition in Spain. -
Cartografías De Un Museo (PDF)
Titulo Cartografías de un Museo Patio Herreriano Proyecto Cartografías de un Museo consta de una red nacida en la colección del Patio Herreriano y que se vincula a través de la obra de estos artistas con otras instituciones cuyos fondos son comunes creando así un panorama o un contexto de carácter rizomatico. Para poder mostrar esta red de archivo se creará un mapa identificativo con nexos entre las partes y el todo por medio de una web dinámica que mostrará las relaciones en distintos estratos, convirtiendo la investigación en una obra de arte en la era de la inmediatez virtual. Curriculum Marcos Gutiérrez Morquecho es un artista multidisciplinar el cual ha llevado la investigación por numerosos terrenos, creando así un perfil humanista contemporáneo. Cabe destacar su formación académica la cual se ha ido desarrollando desde la estructura estatal hasta la libre formación del individuo con sólidos pilares. Los títulos fundamentales que obtiene son el de Técnico Superior de Artes Plásticas y Diseño en Ilustración, el Graduado en Bellas Artes y un Master Universitario en Investigación en Arte y Creación, obteniendo en el transcurso varias Becas a la Excelencia y una depuración del método científico aplicado al arte con un tinte peculiarmente efectivo, la aplicación de la fractalidad como modus operandi. En la actualidad participa en varios proyectos tanto Europeos como Locales diferenciando su obra entre lo público (social) y lo privado (personal), cuyas características se modifican según el contexto. https://www.march.es/arte/palma/coleccion/organismo-vivo.aspx?l=1 -
My Art Guide Milan 2019 Miart/Exhibitions
My Art Guide� Milan 2019 miart/Exhibitions/ Events/Museums/ Foundations/ Galleries/ Restaurants/ Hotels/ City Maps WHERE ART IS TRULY ALIVE. Basel is the perfect place to embark on a fascinating > With the free BaselCard you benefi t from journey through the world of art. An exceptional density a 50 % discount on admission to museums of museums, the world’s most important art fair and (incl. special exhibitions) a lively urban art scene make Basel a compact city of culture with an appeal that reaches well beyond Europe. BASEL.COM Dear miart guest, has developed over the years on behalf of the the city of and helped confirm its role as Milan I would like to welcome an international hub of creative you to the new edition of miart, thinking and as the ideal city for one of the most prestigious contemporary art production. international fairs of modern and contemporary art. Miart Enjoy the beauty, heritage and fair takes place in the old Milan cultural life of this capital of fair Fiera Milano City gathering creativity! together 185 galleries from 19 different countries. Filippo Del Corno Councillor for Culture, For the 2019 edition an ever City of Milan more dense programme of events, exhibitions, special openings in museums, galleries, independent art spaces accompanies the twenty-first edition of miart, bringing together the main Milanese art institutions under the supervision of the City of Milan. From the 1st April and throughout the duration of the fair, this special art week hosts daily events. A mix of creativity involving italians and international artists alike, such as Anna Maria Maiolino, Marinella Pirelli, Renata Boero, Teresa Maresca, and the exhibitions in Palazzo Reale “De Coding. -
A Finding Aid to the Thomas Hess Papers, 1939-1978, in the Archives of American Art
A Finding Aid to the Thomas Hess Papers, 1939-1978, in the Archives of American Art Sarah Mundy Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund. 2017 October 6 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, 1945-1977........................................................... 5 Series 2: Correspondence, circa 1945-1978............................................................ 6 Series 3: Writings and Notes, circa 1940-1978.....................................................