Gauguin: Maker of Myth February 27, 2011 - June 5, 2011
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M/S Paul Gauguin SHIP FACTS & FEATURES
m/s Paul Gauguin SHIP FACTS & FEATURES Awards & Accolades “#1 Small-Ship Cruise Line” Travel + Leisure, World’s Best Awards (2014) “Top 20 Small Cruise Ships,” (2013—our 15th year in a row) Condé Nast Traveler, Readers’ Choice Awards “#1 Small-Ship for Families,” Travel + Leisure, World’s Best Awards Readers’ Survey (2014, 2013) Cruise Critic, Small Ship Category, Cruisers’ Choice Awards (2014) “Best South Pacific Itinerary,”Porthole Cruise Magazine, Readers’ Choice Awards (2013, 2012, 2011, 2010, 2007, 2006) Silver Magellan Award Winner, Travel Weekly, Small Cruise Ship Category (2013, 2012, 2011) 6‒Star Rating, Stern’s Guide to the Cruise Vacation (2014, 2013, 2012, 2011) Your Home at Sea Our emphasis is on providing the 332 guests on each sailing with a delightful experience, aboard and ashore. Join us, and enjoy unsurpassed service and attention to detail amid elegant, relaxing surroundings. SHIP FEATURES: • All-inclusive pricing: select wines and spirits, beer, soft • A day at Motu Mahana, Paul Gauguin’s exclusive, private drinks, bottled water, and hot beverages retreat off the coast of Taha’a, featuring Polynesian • Shipboard gratuities for room stewards and dining staff hospitality, snorkeling, watersports, bar service, and a delicious feast • Complimentary 24-hour room service, including selections from L’Etoile Restaurant during regular dining hours • Access to an exclusive, private beach located on a motu off the coast of Bora Bora that offers an idyllic white-sand • All oceanview accommodations, nearly 70% with balconies, beach, excellent snorkeling, and bar service on Tahiti and measuring from 200 to 588 sq. ft., including balcony French Polynesia itineraries. -
David Chipperfield Architects
David Chipperfield Architects Museum Folkwang Essen, Germany 2007–2010 The Museum Folkwang, founded in Hagen by Karl Ernst Osthaus in 1902, was the first museum of contemporary art in Europe. The most significant works were transferred from Hagen to Essen in 1922, from which point on, aside from a period when the National Socialists temporarily divested the collection, the museum was able to pursue a high level of collecting activity. Today, it is one of the most high profile museums of the classic modern in Germany. In 2007, David Chipperfield Architects won the international architecture competition for the museum extension, held by the city of Essen, one year before Prof. Dr. Berthold Beitz, the Chairman of the Board of Trustees of the Alfried Krupp von Bohlen and Halbach Foundation, announced that the foundation would be the sole sponsor in providing the funding for the new building. The building was constructed by the Neubau Museum Folkwang Essen GmbH, a company of the Wolff Group. The opening of the museum is one of the most important cultural events to be held in Essen and the Ruhr region during their time as European Capital of Culture 2010. The new building by David Chipperfield Architects complements the original building, continuing the architectural principle of an ensemble of six structures and four inner courtyards, gardens and galleries. The publicly accessible areas connect seamlessly with the existing exhibition areas. A generous open stairway leads from the Bismarckstraße into the new foyer, which takes the form of an open interior courtyard with a restaurant and a bookstore, and is protected from the street by a glass facade. -
Paul Gauguin 8 February to 28 June 2015
Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland), -
2016 Maketas.Indd
CREATIVITY STUDIES ISSN 2345-0479 / eISSN 2345-0487 2016 Volume 9(1): 25–41 doi:10.3846/23450479.2015.1112854 II. THRee InvestiGatiOns OF CReativitY: ART, Science anD MeDia CREATIVE TRANSFORMATIONS IN VISUAL ARTS OF EARLY FRENCH MODERNISM: TREATMENT OF NUDE BODY Agnieška JUZEFOVIČ Vilnius Gediminas Technical University, Faculty of Creative Industries, Department of Philosophy and Communication Trakų g. 1, LT-01132, Vilnius, Lithuania E-mails: [email protected]; [email protected] Received 22 May 2015; accepted 22 October 2015 Resent paper is focused on the early modern culture, particularly on the topic of visual art and its confrontation with traditional, pre-modern culture and aes- thetic. The author unveils how and why painters of early French modernism had rejected traditional representation of eroticism, typical for pre-modern art, espe- cially for the art of academicism. Thus from their artworks disappeared sublim- ated, exalted nudity, withdrew nudes modestly hidden under mythological or reli- gious context. In the works of impressionists and postimpressionists naked body was depicted frankly, openly, without any excuse of what was supposed to be decent. Such were the nude women of paintings of Auguste Manet and Amedeo Modigliani who present merely their femininity and sexuality, while symbolizing the liberation from moral norms and heralding sexual revolution of the 20th cen- tury. Relaxed, healthy, pink-cheeked girls in Pierre-Auguste Renoir’s paintings spread subtle eroticism and the mood of joyful life. Life of Parisian cabarets and brothels come alive through naked or semi-naked female figures which on Henri de Toulouse-Lautrec and Edgar Degas canvases seem as if they are unaware of being watched. -
Jaarverslag 2005 1
Jaarverslag 2005 1 Stichting Van Gogh Museum Van Gogh Museum Museum Mesdag Het personeel van het Van Gogh Museum gefografeerd op 31 januari 2006 met op de voorgrond, rechts van het midden scheidend directeuren John Leighton en Ruth Kervezee en links van hen Axel Rüger, de nieuwe algemeen directeur per 1 april 2006 Inhoudsopgave 3 Inleiding van de directie 4 Aanwinsten 2005 8 Collecties 10 Tentoonstellingen 12 Abramovic´ en De Châtel omlijsten tentoonstelling Egon Schiele 18 Onderzoek 20 De atelierpraktijk van Van Gogh 22 Educatie en publiekservice 25 Vrijdagavonden in het Van Gogh Museum 30 Voorlichting, PR & Fondsenwerving 33 Partners en sponsors 34 Van Gogh Museum Publicaties 35 Museum Mesdag 36 Van Gogh Museum Enterprises 40 Personeel & Organisatie 42 Bijlagen Bezoekcijfers 45 Aanwinsten 45 Restauratie en conservering 46 Tijdelijke bruiklenen aan tentoonstellingen 46 Langdurige bruikleen door het Van Gogh Museum 55 Langdurige bruikleen aan het Van Gogh Museum 55 Tentoonstellingen 56 Museumpublicaties 57 Programma vrijdagavonden 58 Activiteiten medewerkers 62 – Nevenfuncties – Lezingen – Publicaties – Overig Lijst van medewerkers 67 Organisatiestructuur 74 Financiële verslaglegging 76 Annual Report 2005: Summary 84 4 Inleiding van de directie Missie van het Van Gogh Museum Het Van Gogh Museum bewaart, bestudeert en ontwikkelt ’s werelds meest vooraanstaande kunstcollectie van Vincent van Gogh en zijn tijdgenoten teneinde een zo breed mogelijk publiek te bereiken, te inspireren en kennis te verschaffen, nu en in de toekomst. Het Van Gogh Museum vervult zijn missie door: – het verwerven, beheren en behouden van verzamelingen van werk van Vincent van Gogh en westerse kunst uit de periode van circa 1830 tot 1914; – een actief onderzoeks- en publicatieprogramma, gebaseerd op deze verzamelingen; – een programma van tentoonstellingen in het museum en elders dat de reikwijdte en aantrekkingskracht van de vaste presentaties vergroot en versterkt; – een educatief programma dat tegemoet komt aan de behoeften van een breed publiek. -
The New-York Historical Society Quarterly Bulletin
THE NEW-YORK HISTORICAL SOCIETY QUARTERLY BULLETIN VOL. VI OCTOBER, 1922 No 3 GRACE CHURCH, NEW YORK, 1850. BROADWAY AT TENTH STREET NEW YORK: 170 CENTRAL PARK WEST PUBLISHED BY THE SOCIETY AND ISSUED TO MEMBERS • '-• .>.y.,..;,. l^;. £.« _^;. #. -%-^jffi i|)|i|^jy|gih( THE NEW-YORK HISTORICAL SOCIETY, 170 CENTRAL PARK WEST (Erected by the Society igo8 ) Wings to be erected on the 76th and 77th Street corners OFFICERS OF THE SOCIETY- Elected January 6, 1920, for Three Years, ending 1923 PRESIDENT FOREIGN CORRESPONDING SECRETARY JOHN ABEEL WEEKES ARCHER MILTON HUNTINGTON FIRST VICE-PRESIDENT DOMESTIC CORRESPONDING SECRETARY . WALTER LISPENARD SUYDAM ARTHUR CURTISS JAMES SECOND VICE-PRESIDENT RECORDING SECRETARY WILLIAM CHURCH OSBORN STUYVESANT FISH THIRD VICE-PRESIDENT TREASURER WALTER JENNINGS R. HORACE GALLATIN FOURTH VICE-PRESIDENT LIBRARIAN FRANCIS ROBERT SCHELL ALEXANDER J. WALL* * Elected to succeed Robert H. Kelby, now Librarian Emeritus. SAMUEL LOUDON (1727-1813) {Merchant, Printer and Patriot) WITH SOME OF HIS LETTERS Samuel Loudon, said to have been born in Scotland in 1727, lived the greater part of his life in New York. To antiquarians he is best known as a printer, for he established and printed one of New York's important newspapers, The New York Packet and the American Advertiser, which he began on January 4, 1776, and in 1784 changed to Loudon's New York Packet. Upon the occupa tion of the City by the British in September, 1776, he removed to Fishkill, where he continued its publication. Through the courtesy of Dr. Austin Baxter Keep, the Library secured photostat copies of thirteen letters written by Samuel Loudon between the years 1767 and 1795, the originals of which are in the pdssession of the Peck Library of the Norwich Free Academy, Norwich, Conn. -
Paul Gauguin
Sarah Kapp Art History and Visual Studies Major (honours) Business Minor De-Mythicizing the Artist: Presented March 6, 2019 This research was supported by the Jamie Cassels Undergraduate Research Award University of Victoria Supervised by Dr. Catherine Harding How Gauguin Responded to the Art Market Assistance from Dr. Melissa Berry Political Conditions Introduction Imperialism and Primitivism in the Late-Nineteenth Century Like celebrities, famous artists face rumours and myths Gauguin’s stylistic innovations were just one component of his self-promotional endeavor that overwhelm their public reception. Vincent van Gogh that appeared in the Volpini Suite. It was his engagement with ‘primitive’ subject- has become inextricably linked to the tale of the tortured matter—which included depictions of local peasant and folk culture—that served as a soul who sliced off his ear; Pablo Picasso to the tale fashionable and marketable technique (Perry 6). In the 1889 suite, Gauguin depicted of the womanizing innovative artist; and Salvador Dalí people in their daily surroundings, including: Breton peasant women chatting, Martinican as the eccentric artist who did too many drugs. This women carrying baskets of fruit, and women from Arles out walking (Juszczak 119). research dismantles the myth of Paul Gauguin (1848- After his creation of the Volpini Suite, Gauguin’s use of ‘primitive’ subjects intensified, 1903), who, in the late-twentieth century, became ultimately becoming a defining feature of his artistic practice. Gauguin’s work in the the target of feminist and post-colonialist theorists, Volpini Show correlated to contemporary ideas about the ‘primitive’. The Exposition who criticized him for sexualized depictions of young Universelle juxtaposed the newly built Eiffel Tower and the Gallery of Machines with women, as well as ‘plagiarizing’ and ‘pillaging’ the art ethnographic exhibits from around the world (Chu 439). -
Bibliography for Gauguin and Polynesia: an Elusive Paradise – Prepared by Traci Timmons, SAM Librarian
Bibliography for Gauguin and Polynesia: An Elusive Paradise – Prepared by Traci Timmons, SAM Librarian Books for Adults: The Dorothy Stimson Bullitt Library Books are available in the Bullitt Library (Seattle Art Museum, Fifth Floor, South Building). Starred resources (*) are strongly recommended. The exhibition’s catalogue is denoted by a double-star (**). 1. Adorning the World: Art of the Marquesas Islands. Eric Kjellgren. New York: Metropolitan Museum of Art, 2005. N 7411 M3. 2. Ancient Tahitian Society. Douglas L. Oliver. Honolulu: University Press of Hawaii, 1974. DU 870 O5. 3. The Art of Paul Gauguin. Richard Brettell et al. Washington, D.C.: National Gallery of Art, 1988. ND 553 G3 N27. 4. Challenges and Choices: Te Fenua 'Enata (The Marquesas Islands) (video). Carol S. Ivory. Seattle: Seattle Art Museum, 2007. VIDEO N 7411 M3 I96. 5. Dimensions of Polynesia. Jehanne Teilhet-Fisk. San Diego, 1973. N 7411 P6 F5. 6. Gauguin: A Savage in the Making: Catalogue Raisonné of the Paintings, 1873-1888. Daniel Wildenstein. Milan: Skira Editore, 2002. ND 553 G3 W52. 7. Gauguin and Impressionism. Richard Brettell et al. New Haven, CT: Yale University Press, 2005. N 6853 G34 A4. 8. Paul Gauguin: A Life. David Sweetman. New York: Simon & Schuster, 1995. ND 553 G3 S96 9. Gauguin and Maori Art. Bronwen Nicholson. Birkenhead, Auckland, N.Z.: Godwit Publishers, 1995. ND 553 G3 N53. 10. Gauguin et le Mythe du Sauvage. Isabelle Cahn. Paris: Flammarion, 1988. N 6853 G3 C3. 11. Gauguin: Le Sauvage Imaginaire. Stéphane Guégan. Paris: Edition du Chêne, 2003. N 6853 G3 G84. 12. Gauguin: Maker of Myth. -
Paul Gauguin L'aventurier Des Arts
PAUL GAUGUIN L’Aventurier des arts Texte Géraldine PUIREUX lu par Julien ALLOUF translated by Marguerite STORM read by Stephanie MATARD © Éditions Thélème, Paris, 2020 CONTENTS SOMMAIRE 6 6 1848-1903 L’apostrophe du maître de la pose et de la prose 1848-1903 The master of pose and prose salute 1848-1864 Une mythologie familiale fondatrice d’un charisme personnel 1848-1864 Family mythology generating personal charisma 1865-1871 Un jeune marin du bout du monde 1865-1871 A far-flung young sailor 1872-1874 L’agent de change donnant le change en société devient très artiste 1872-1874 The stockbroker becomes a code-broker artist 8 8 1874-1886 Tirer son épingle du jeu avec les Impressionnistes 1874-1886 Playing ball with the Impressionists 1886-1887 Le chef de file de l’École de Pont-Aven 1886-1887 The leader of the Pont-Aven School 1887-1888 L’aventure au Panama et la révélation de la Martinique 1887-1888 Adventure in Panama and a revelation in Martinique 1888-1889 L’atelier du Midi à Arles chez van Gogh : un séjour à pinceaux tirés 1888-1889 Van Gogh’s atelier du Midi in Arles: a stay hammered with paintbrushes 1889-1890 Vivre et s’exposer, avec ou sans étiquette, avec ou sans les autres 1889-1890 Living and exhibiting, with or without label, with or without others 46 46 1891-1892 Un dandy tiré à quatre épingles, itinérant et sauvage 1891-1892 A wild, dressed-to-the-teeth travelling dandy 1893-1894 En peignant la Javanaise : Coup de Jarnac à Concarneau 1893-1894 Painting Javanaise Woman: Jarnac blow in Concarneau 1895 Le retour à Pont-Aven -
Memorial Exhibition Miss Lizzie P.Bliss
=~-.:"""< ·------ ..2 -- ~ Ex, Ie.- MEMORIAL EXHIBITION THE COLLECTION OF THE LATE MISS LIZZIE P. BLISS VICE, PRESIDENT OF THE MUSEUM MoMAExh_0012_MasterChecklist I MAY 17 - SEPTEMBER 27-1931 \ MUSEUM OF MODERN ART· NEW YORK ) J, , / CEZANNE Paul Cezanne. Born in Aix-en-Prcvence, 1839_Painted in Paris intermittently 1860-1880. First influenced by Daumier, Delacroix, Courbet, by study of the Renaissance and Baroque masters and later, in the '70S, by Pissarro and the Impressionists with whom he exhibited. Retired in 1880 to Provence where he painted till his death in 1906. Cezanne, in many ways the most important influence upon aoth Century painting, is remarka- ble for his sense of structure, solidity and order obtained through composition and through his researches in modelling by color (as well as by light and shade). His method of color-modelling is well illustrated in his watercolors. Asidefrom its structural quality the superb decorative beauty of his color is remarkable. *1 SELFPORTRAIT (L'Avocat). before 1870 Oil on canvas, 3I}/a x 25 Ji inches Bequeathed to Museum of Modern Art LANDSCAPE, about 1875 MoMAExh_0012_MasterChecklist *, Oil on canvas, 22;4 x 27Y; inches r Bequeathed to Museum of Modern Art *3 FRUIT AND KNIFE Oil on canvas, 7% x I2Y8 inches Bequeathed to Museum of Modern Art 4 THE DECANTER Oil on canvas, IO}/a x 13K inches Bequeathed to Museum of Modern Art *5 ORANGES Oil on canvas, 22% x 28;.1' inches Bequeathed to Museum of Modern Art *6 PORTRAIT OF M. CHOCQUET, about 1885 Oil on canvas, I7~ x I4>{ inches Bequeathed to Museum of Modern Art Chocquet was one of the few collectors to appreciate Cezanne's work while he was still alive. -
Gentse · Bijdragen ·- Tot De Kunstgeschiedenis En Oudheidkunde
GENTSE · BIJDRAGEN ·- TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT T E GENT MET DE STEUN VAN HET UN IVERSITEITSVERMOGEN GENT 1988 F GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE EDITORlAL ADDRESS e.o. Joost Vander Auwera Secretary of the Editorial Board St.-Hubertusstraat 2, B-9000 Gent DISTRIBUTION up to vol. 26: idem from vol. 27 onwards: PEETERS PRESS- P.B. 41 - B-3000 LOUVAIN All rights reserved. No part of this pub/ication may be reproduced, slored in a retrieval system, or transmitted in any form or by any means, e/ectronic, mechanica/ photocopying, recording, or otherwise, without the prior permission of the Faculteit Letteren en Wijsbegeerte, Sectie Kunst geschiedenis en Oudheidkunde. Copyright: © Faculteit Letteren en Wijsbegeerte Sectie Kunstgeschiedenis en Oudheidkunde Wettelijk depot: D. 1989/0634/8 ISSN: 0772-7151 GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE . 4 XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT TE GENT MET DE STEUN VAN HET UNIVERSITEITSVERMOGEN GENT 1988 INHOUDSTAFEL H. F. MusscHE, Holzwege im Laureion Patriek MoNSIEUR, Het Herakteion van Thasos: Een evaluatie van het onderzoek . 8 F.J. DE HEN, Tohu Ubohu en Genesis van de muziekinstrumenten tijdens de middeleeuwen . 21 Juliaan H.A. DE RIDDER, Villard de Honnecourt en de Kabbala . 31 Frieda VAN TYGHEM - Jean VAN CLEVEN, Het kasteel van Moregem bij Oudenaarde ( 1792-1798). Een merkwaardig ensemble uit de 'Direc- toire '-tijd . 39 Sibylle VALCKE, François-Joseph Navez et les peintres primitifs 79 Anthony DEMEY, Een blik in het archief van de Koninklijke Commissie voor Monumenten en Landschappen: Henri Geirnaerf en de kerk van Eksaarde 88 Francisca VANDEPITTE, Het exotisme bij Gauguin . -
Mnittv of Fmt ^Rt (M
PAULGAUGUIN AS IMPRESSIONIST PAINTER - A CRITICAL STUDY DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIRIMENTS FOR THE AWARD OF THE DEGREE OF Mnittv of fmt ^rt (M. F. A.) BT MS. SAB1YA K4iATQQTI Under the supervision of 0^v\o-vO^V\CM ' r^^'JfJCA'-I ^ M.JtfzVl Dr. (Mrs.) SIRTAJ RIZVl Co-Supervisor PARTMENT OF FINE ART IGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 DS2890 ^^ -2-S^ 0 % ^eAtcMed to ^ff ^urents CHAIRMAN ALiGARH MUSLIM UNIVERSITY DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.). INDIA Dated. TO WHOM IT BIAY CONCERN This is to certify that Miss Sabiya Khatoon of Master of Fine Arts (M.F.A.) has completed her dissertation entitled "PAOL GAUGUIN AS IMPRESSIONIST PAINTER - A CRITICAL STUDY", under the supervision of Prof. Ashfaq M. Rizvi and Co-Supervision Dr. (Mrs.) Sirtaj Rizvi, Reader, Department of Fine Arts. To the best of my knowledge and belief, the work is based on the investigations made, data collected and analysed by her and it has not been submitted in any other University or Institution for any Degree. 15th MAY, 1997 ( B4RS. SEEMA JAVED ) ALIGARH CHAIRMAN PHONES—OFF. : 400920,400921,400937 Extn. 368 RES. : (0571) 402399 TELEX : 564—230 AMU IN FAX ; 91—0571—400528 CONTENTS PAGE ND. ACKNOWLEDGEMENT 1. INTRODUCTION 1-19 2. LIFE SKETCH OF PAUL 20-27 GAUGUIN 3. WORK AND STYLE 28-40 4. INFLUENCE OF PAUL 41-57 GAUGUIN OWN MY WORK 5. CONCLUSION ss-eo INDEX OF PHOTOGRAPHS BIBLIOGRAPHY ACKNOWLEDGEMENT I immensely obliged to my Supervisor Prof. Ashfaq Rizvi whose able guidance and esteemed patronage the dissertation would be given final finishing.