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George Bellows on Monhegan Island
David Peters Corbett The World Is Terrible and It Is Not There at All: George Bellows on Monhegan Island Painted on Monhegan Island off the coast of Maine during the summer of 1913, George Bellows’s small oil on panel Churn and Break (fig. 1) depicts a shore and its surrounding sea. The observer’s gaze encounters a mound of dark, almost black, rocks, which glisten with trails of moisture and light. To the left, the sea, sweeping in a great wave up against the rocks, threatens to overtop the ridge. In the midground, further dramatic swells rise and fall, and overhead, in a dreary sky, Bellows’s paint describes the insistent perpendicular fall of rain. Above the rocks and to the right, a plume of spray, dense and gray and white, jets up in a balletic swirl of creamy pigment. Bellows’s painting uses dazzling mixed brushwork to portray the variety of forms and textures of this scene, from the fluid lines and sinuous handling of the fore- ground sea to the dragged marks that describe the descending curtain of rain and cast a shadowy veil across the distance. The world we are confronted by in Churn and Break seems to fall into two disparate levels of experience: on the one hand, a discrete, self-contained universe of vital but inhuman matter, formed by the crashing sea and mute shoreline; on the other, an intimately human domain, the gestural runs and virtuoso flourishes of Bellows’s hand and brush.1 Despite this apparently radical division, the two levels also merge fleetingly into a single identity. -
Notes from New York: Names, Networks, and Connectors in Art History
ISSN: 2471-6839 Notes from New York: Names, Networks, and Connectors in Art History Susan Greenberg Fisher Chaim Gross Foundation The Renee and Chaim Gross Foundation, located in Greenwich Village, is the historic home and studio of American sculptor Chaim Gross (1904–1991) (fig. 1). The foundation is housed in a four story townhouse, with the artist's dramatic sculpture studio on the ground floor (fig. 2). Gross built the studio in 1963 when he purchased the building. It was his final workspace after a long history of studios he had in the Village beginning in the 1930s.1 He and his wife Renee rented the second floor, and in the third floor living space, Gross installed a portion of what had grown to Fig. 1. Home and studio of sculptor Chaim Gross at 526 LaGuardia Place, be an extensive art collection of over one thousand works by Greenwich Village, New York City, built circa 1830 and purchased by Gross 2 his American and European contemporaries (fig. 3). Gross and his wife Renee Gross in 1963. This photograph is circa 1970. The building admired artist house museums that he had seen during his is now The Renee & Chaim Gross Foundation. Archives, The Renee & travels in Europe after World War II, such as the Delacroix Chaim Gross Foundation, New York. museum in Paris, and it was his dream to have a house museum similar to the European models. He incorporated the foundation as a nonprofit organization in 1989, shortly before his death in 1991. Susan Greenberg Fisher. “Notes from New York: Names, Networks, and Connectors in Art History.” Panorama: Journal of the Association of Historians of American Art 2 no. -
254 CHAPTER 10 Proportion CHAPTER 10 Proportion
ᮡ FIGURE 10.1 This painting is a fresco. Italian for “fresh,” fresco is an art technique in which paint is applied to a fresh, or wet, plaster surface. Examine the size of the figures depicted in this fresco. Is this depiction always realistic? Diego Rivera. The Making of a Fresco Showing the Building of a City. 1931. Fresco. 6.9 x 9 m (22’7” ϫ 29’9”). Located at the San Francisco Art Institute, San Francisco, California. Gift of William Gerstle. 254 CHAPTER 10 Proportion CHAPTER 10 Proportion ou may be taller than some students in your art class, Yshorter than others. Distinctions like these involve proportion, or relative size. As an art principle, proportion can direct the viewer’s eye to a specific area or object in an artwork. In this chapter, you will: Explain and recognize the Golden Mean. Identify scale and proportion in artworks. Create visual solutions using direct observation to reflect correct human proportions. Compare and contrast the use of proportion in personal artworks and those of others. Figure 10.1 was painted by the Mexican artist Diego Rivera (1886–1957). At age 21, Rivera went to study art in Europe, where he met Paul Cézanne and Pablo Picasso. Returning to Mexico in 1921, Rivera rejected what he had learned. He chose instead to imitate the simplified forms of his pre-Columbian ancestors in Mexico. Rivera also became a champion of the rights of the working class. Social themes inspired him to create large mural paintings. His murals, which adorn the walls of public buildings, all have political or historical themes. -
Bellows, George Also Known As Bellows, George Wesley American, 1882 - 1925
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Bellows, George Also known as Bellows, George Wesley American, 1882 - 1925 Peter A. Juley & Son, George Bellows, c. 1920, photograph, 1913 Armory Show, 50th anniversary exhibition records, 1962–1963, Archives of American Art, Smithsonian Institution BIOGRAPHY George Bellows was born in Columbus, Ohio, on August 12, 1882, the only child of a successful building contractor from Sag Harbor, Long Island, New York. He entered Ohio State University in 1901, where he played baseball and basketball and made drawings for college publications. He dropped out of college in 1904, went to New York, and studied under Robert Henri (American, 1865 - 1929) at the New York School of Art, where Edward Hopper (American, 1882 - 1967), Rockwell Kent (American, 1882 - 1971), and Guy Pène du Bois (American, 1884 - 1958) were his classmates. A superb technician who worked in a confident, painterly style, Bellows soon established himself as the most important realist of his generation. He created memorable images of club fights, street urchins swimming in the East River, and the Pennsylvania Station excavation site and garnered praise from both progressive and conservative critics. In 1909 he became one of the youngest artists ever admitted as an associate member of the National Academy of Design. In 1910 Bellows began teaching at the Art Students League and married Emma Story, by whom he had two daughters. After 1910 Bellows gradually abandoned the stark urban realism and dark palette characteristic of his early work and gravitated toward painting landscapes, seascapes, and portraits. -
Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with Statements by the Artist
Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with statements by the artist. The Museum of Modern Art, New York, in collaboration with the Minneapolis Institute of Art Author Museum of Modern Art (New York, N.Y.) Date 1956 Publisher Minneapolis Institute of Art Exhibition URL www.moma.org/calendar/exhibitions/3333 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art JULIO GONZALEZ JULIO GONZALEZ introduction by Andrew Carnduff Ritchie with statements by the artist The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Art TRUSTEES OF THE MUSEUM OF MODERN ART John Hay W hitney, Chairman of theBoard;//enry A//en Aloe, 1st Vice-Chairman; Philip L. Goodwin, 2nd Vice-Chairman; William A. M. Burden, President; Mrs. David M. Levy, 1st Vice-President; Alfred IL Barr, Jr., Mrs. Bobert Woods Bliss, Stephen C. (dark, Balph F. Colin, Mrs. W. Murray Crane,* Bene ddfarnon court, Mrs. Edsel B. Ford, A. Conger Goodyear, Mrs. Simon Guggenheim,* Wallace K. Harrison, James W. Husted,* Mrs. Albert D. Lasker, Mrs. Henry B. Luce, Ranald II. Macdonald, Mrs. Samuel A. Marx, Mrs. G. Macculloch Miller, William S. Paley, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, Duncan Phillips,* Andrew CarndujJ Bitchie, David Bockefeller, Mrs. John D. Bockefeller, 3rd, Nelson A. Bockefeller, Beardsley Buml, Paul J. Sachs,* John L. Senior, Jr., James Thrall Soby, Edward M. M. Warburg, Monroe Wheeler * Honorary Trustee for Life TRUSTEES OF THE MINNEAPOLIS INSTITUTE OF ARTS Putnam D. -
THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
March 3-9, 2017 Books/Talks Santa Fe Ukulele Social Club Events ¡Chispa! at El Mesón Jordan Flaherty Thebeestrobistro, 101 W
CALENDAR LISTING GUIDELINES •Tolist an eventinPasa Week,sendanemail or press release to [email protected] or [email protected]. •Send material no less than twoweeks prior to the desired publication date. •For each event, provide the following information: time,day,date, venue/address,ticket prices,web address,phone number,and brief description of event(15 to 20 words). •All submissions arewelcome; however, events areincluded in Pasa Week as spaceallows. Thereisnocharge forlistings. • Returnofphotos and other materialscannot be guaranteed. • Pasatiempo reserves the righttopublish received information and photographs on The NewMexican's website. ARTS AND ENTERTAINMENT CALENDAR •Toadd your eventtoThe New Mexican online calendar,visit santafenewmexican.com and click on the Calendar tab. March3-9,2017 •For further information contactPamela Beach: [email protected], 202 E. MarcySt., Santa Fe,NM87501, phone: 505-986-3019. CALENDAR COMPILED BYPAMELABEACH FRIDAY 3/3 available,505-988-1234, ticketssantafe.org, Saturdayencore. Galleryand Museum Openings Enfrascada AdobeGallery Teatro Paraguas Studio,3205 Calle Marie, 505-424-1601 221 Canyon Rd., 505-955-0550 Teatro Paraguas presents acomedy by playwright ACenturyofSan Ildefonso Painters: 1900-1999; TanyaSaracho,7:30 p.m., $12 and $20, enfrascada reception 5-7 p.m.; through April. .brownpapertickets.com, Thursdays-Sundays Axle Contemporary through March12. Look forthe mobile galleryinfront of the New Mexico Spring IntoMotion Museum of Art, 107W.PalaceAve. National DanceInstituteNew MexicoDanceBarns, Physical,mixed-media installation by Kathamann; 1140 Alto St. reception 5-7 p.m. Visit axleart.com forvan Astudentproduction, 7p.m., $10 and $15, locations through March26. ndi-nm.org, 505-983-7661. Back PewGallery UnnecessaryFarce First Presbyterian Church of SantaFe, 108 GrantAve., SantaFePlayhouse,142 E. -
Vintage Posters
IN OUR TIME So far 2013 has been an exciting year at Swann. In January, a sale of illustration art and illustrated books established what will be a new department for us, while our reinstated Old Master Drawings auction drew crowds and much interest for a newly discovered J.M.W. Turner watercolor. February saw our best winter Vintage Posters auction ever, setting records for images by Art Nouveau master Alphonse Mucha, and love was in the air at our Valentine’s Day auction of African-American Fine Art, where paintings by Barkley L. Hendricks and Hughie Lee-Smith, as well as a sculpture by Elizabeth Catlett, achieved top-dollar results. We wrapped up the month with Fine Photographs, featuring early Asian travel albums and avant-garde modernist images, followed by scarce Early Printed Books. American and European artists divided the top lots at our March 7 Prints & Drawings auction, and the word of the day at our Writing Instruments sale was Montblanc, Montblanc, Montblanc. Looking ahead, May is a busy month full of intriguing offerings, including graphic design and typography from the inventory of the late Irving Oaklander, noted bookseller, followed by more scintillating design, typography and graphic art in our sale of modernist posters. Our Contemporary Art sale coincides with Frieze week in New York, and the month concludes with a diverse auction of Autographs. In early June a sale of Maps & Atlases offers rare items of American interest, and mid-month American Art features paintings and drawings by artists including Milton Avery, Robert Gwathmey and John Singer Sargent. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
The Museum of Modern Art U West 53 Street, New York, N.Y
The Museum of Modern Art U west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart NO. 13 FOR RELEASE: FEBRUARY 11, 1972 RECENT ACQUISITIONS X A construction and a painting from the early twentieth century by two Russians and a group of six paintings from the sixties make up the exhibition of new acquisitions to The Museum of Modern Art Painting and Sculpture Collection on view on the first floor through March 5. The Russian works are a life-size figure constructed of painted wood elements (with some crushed eggshells applied for pointillist effect) by the virtually forgotten sculptor and painter Vladimir Baranoff-Rossine (1888-1942), and a large gouache by Ivan Puni (1894- 1956) called Flight of Forms. These purchases constitute major additions by artists not previously represented in the Museum's collection of the crucial, short-lived development of abstract art in Russia before and after the Revolution of 1917. Historically, the Bara- noff-Rossine is especially interesting. Called Symphony Number 1, it was done in Paris in 1913 under the influence of Cubism and establishes the artist as a pioneer experimenter, together with Picasso and Archipenko, with the concept of constructed sculpture, using found components and unconventional materials. In its ambitious scale and intricacy of construction and painted surface, however, it goes beyond anything produced until then by either Picasso or Archipenko. Its title parallels the use of musical nomenclature by the artist's fellow Russian, Wassily Kandinsky, and other works by Baranoff-Rossine confirm his interest in finding a means of integrating musical concepts with those of the visual arts. -
Alexander Calder James Johnson Sweeney
Alexander Calder James Johnson Sweeney Author Sweeney, James Johnson, 1900-1986 Date 1943 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2870 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF RN ART, NEW YORK LIBRARY! THE MUSEUM OF MODERN ART Received: 11/2- JAMES JOHNSON SWEENEY ALEXANDER CALDER THE MUSEUM OF MODERN ART, NEW YORK t/o ^ 2^-2 f \ ) TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; McAlpin*, William S. Paley, Mrs. John Park Mrs. John D. Rockefeller, Jr., ist Vice-Chair inson, Jr., Mrs. Charles S. Payson, Beardsley man; Samuel A. Lewisohn, 2nd Vice-Chair Ruml, Carleton Sprague Smith, James Thrall man; John Hay Whitney*, President; John E. Soby, Edward M. M. Warburg*. Abbott, Vice-President; Alfred H. Barr, Jr., Vice-President; Mrs. David M. Levy, Treas HONORARY TRUSTEES urer; Mrs. Robert Woods Bliss, Mrs. W. Mur ray Crane, Marshall Field, Philip L. Goodwin, Frederic Clay Bartlett, Frank Crowninshield, A. Conger Goodyear, Mrs. Simon Guggenheim, Duncan Phillips, Paul J. Sachs, Mrs. John S. Henry R. Luce, Archibald MacLeish, David H. Sheppard. * On duty with the Armed Forces. Copyright 1943 by The Museum of Modern Art, 11 West 53 Street, New York Printed in the United States of America 4 CONTENTS LENDERS TO THE EXHIBITION Black Dots, 1941 Photo Herbert Matter Frontispiece Mrs. Whitney Allen, Rochester, New York; Collection Mrs. -
Calder September 25, 1943
43925 - 52 THE MUSEUM OF MODERN ART t WEST 53RD STREET, NEW YORK 19, N. Y. FOR IMMEDIATE RELEASE • TELEPHONE: CIRCLE 5-8900 * UXl -L1VUVU1U'^x M * ",l" " MUSEUM OF MODERN ART OPENS EXHIBITION OF GALDER MOBILES, STABILES, CONSTELLATIONS AND JEWELRY An American sculptor, peculiarly the product of his age and country, will be presented in a full-length retrospective exhibition Wednesday, September 29, when nearly one hundred sculptures, con structions, drawings, and pieces of Jewelry by Alexander Calder go on view at the Museum of Modern Art, 11 West 53 Street. The exhibi tion, directed by James Johnson Sweeney assisted by Margaret Miller of the Museum staff, will be shown in the first floor galleries and sculpture garden of the Museum and will remain on view through Sunday, November 28. The installation has been designed by Herbert Matter, who has also takren many of the photographs for the catalog. Mr. Sweeney has written the text for the sixty-eight-page catalog illustrated with fifty-eight halftones, which the Museum is publishing in conjunction with the exhibition. €n his introduction Mr. Sweeney writes in part as follows: "Exuberance, buoyancy, vigor are characteristics of a young art. Humor, when it is a vitalizing force not a surface distraction, adds a dimension to dignity. Dignity is the product of an artists whole-hearted abandon to his work. All these are features of Alexander Calder1s work,together with a sensibility to materials that induces new forms and an insatiable interest in fresh patterns of order. "On the side of tradition, two generations of sculptors—father and grandfather—gave him an intimate familiarity with the grammar and conventions of art.