Between Music and the Machine: Francis Picabia and the End of Abstraction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pontus Carle a D a M G a L L E R Y
Pontus Carle a d a m g a l l e r y Pontus Carle 24 CORK STREET London W1S 3NJ t: 0207 439 6633 13 JOHN STREET Bath BA1 2JL t: 01225 480406 Cover: Hourglass Lake Oil on canvas 73 x 60 cm e: [email protected] www.adamgallery.com Pontus Carle was born in Sweden in 1955. In 1959 his family moved to Paris. It was there that he began to attend French and international schools. When he turned 18, he decided to dedicate himself to art, and began to study etching with Henri Goetz, an American artist who ran a school in Montparnasse. He was then accepted at the Beaux-Arts in Paris, where he studied painting and lithography. School in Paris was followed by a year in Sweden spent pursuing his study of lithography with Bertil Lundberg, the renowned Swedish print maker. After finishing his studies, he traveled in Europe and Africa and began to exhibit his work. In 1980 he visited New York and settled there, living in downtown Manhattan in the midst of a thriving art scene and occupying studios in Soho, TriBeCa and Chinatown. He would live in New York for nearly a decade, until 1989. New York impacted him strongly and he has said that the first years there were like being back in school – his work went through a total revolution. The second half of his extended sojourn in the city was extremely productive and he had a number of exhibitions in both New York and around the United States. By 1989, he was drawn back to Europe and based himself in Paris. -
Lalique-Haviland-Burty Famille Des Arts, Famille D'artistes
276 Nicole M ARITCH -HAVILAND , Catherine de L ÉOBARDY Lalique-Haviland-Burty Famille des arts, famille d’artistes 1 ALIQUE -H AVILAND -B URTY est un fascinant livre de photos , un conte pour grandes personnes, et en même temps un document capital, avec la caution de deux conser - Lvateurs en chef: du musée d’Orsay et du musée des Arts décoratifs. Pour moi, le livre de l’année 2009. Je suis un juge partial, ayant rencontré pour la pre - mière fois Suzanne Lalique à l’étage Rachel sous des cordes à linge d’où pendaient des collections multicolores de gants et de chausses fraîchement teints. Elle régnait encore , à soixante-dix ans passés, sur tous les costumes de la Comédie-Française. «Donner sa robe à sa doublure, vous n’y songez pas! C’est une blonde, la robe est jaune». Elle disait aussi: «Ici, on peut faire n’importe quoi, mais pas n’importe comment». Je l’ai revue au 40 cours Albert 1 er , dans le bel immeuble construit par son père, l’illustre René Lalique, bijoutier et maître-verrier: magasin d’exposition, atelier d’art, et maison de famille superposés sur cinq étages. Elle confiait aux Robert Margerit aurait aimé «Amis de Jean Giraudoux», pour être exposées à Bellac, les maquettes des décors qu’elle avait dessinées et elle- même découpées pour la Maison de Molière, maquettes qui sont aujourd’hui au Palais-Royal, parmi les joyaux de la bibliothèque-musée. Giraudoux avait été adopté comme elle au foyer des Morand, elle était un peu sa jeune sœur. -
Hamilton Easter Fiel
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Dada Bros Man Ray & Picabia
MAN RAY & PICABIA DADA BROS MAN RAY & PICABIA The Avant-Garde Masters at Vito Schnabel Gallery By Ines Valencia April 26, 2021 Man Ray, The Tortoise, 1944. Oil on canvas, 20 x 24 inches (50.8 x 61 cm) © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2021. Vito Schnabel Gallery, in New York, is hosting the historical different media types (including painting, photography, exhibition Man Ray & Picabia. This show brings together collage, and sculpture,) although he considered himself a two of the most legendary artists of the avant-garde and painter. In Paris, he joined the Dadaist group and became essential contributors to the Dada movement. It runs well known for his photography (his subjects included through May 15, 2021. some of the biggest names in the art world, including Pablo Picasso, Salvador Dalí, Peggy Guggenheim, Gertrude Stein, Man Ray & Picabia focuses on nine carefully selected and Jean Cocteau). However, he abandoned the medium for paintings produced between the late 1920s and mid-1950s painting in 1937. (some of which have not been on display to the public for decades.) Both artists did meet briefly in 1915 (Marcel Francis Picabia (1879-1953) was a French artist specializing Duchamp introduced them). Still, the dialogue presented in in painting, poetry, and typography. Like Man Ray, he was the exhibition is an imaginary one between the two, one one of the central figures in the Dada movement. Having that uses juxtaposition to bring their similarities to light. moved on from Impressionism, Pointillism, and Cubism, Both were prominent figures in the Dada and Surrealist Picabia identified with the provocative spirit of Dada and movements, and breaking rules played significant roles was active in both Paris and Zürich but renounced his ties in redefining what can be considered art and what it can to the movement in 1921, the same year Man Ray arrived in contain and do. -
Maurice Allemand OR HOW MODERN ART CAME to SAINT-ÉTIENNE (1947-1966) a Story of the Collections / Nov
maurice allemand OR HOW MODERN ART CAME TO SAINT-ÉTIENNE (1947-1966) A STORY OF THE COLLECTIONS / NOV. 30TH 2019 - JAN. 3RD 2021 press kit PRESS CONTACT Lucas Martinet [email protected] Tél. + 33 (0)4 77 91 60 40 Agence anne samson communications Federica Forte [email protected] Tel. +33 (0)1 40 36 84 40 Clara Coustillac [email protected] Tél. +33 (0)1 40 36 84 35 USEFUL INFO MAMC+ Saint-étienne Métropole rue Fernand Léger 42270 Saint-Priest-en-Jarez Tél. +33 (0)4 77 79 52 52 mamc.saint-etienne.fr Maurice Allemand in 1960 in front of the Musée d’Art et d’Industrie de Saint-Étienne with Reclining Figure by Henry Moore (1958), temporary [email protected] exhibition One Hundred Sculptors from Daumier to the Present Day. Photo credit: Geneviève Allemand / MAMC+ OR HOW MODERN maurice allemand the Curator’s foreword ART CAME TO SAINT-ÉTIENNE (1947-1966) The foundations of the exceptional collection of modern art at the MAMC+ were laid after the Second World War A STORY OF THE COLLECTIONS by Maurice Allemand (1906-1979), director of the musée d’Art et d’Industrie from 1947 to 1966, at that time the NOV. 30TH 2019 - JAN. 3RD 2021 only museum in Saint-Étienne. This art collection is now part of the MAMC+, created in 1987, and a pioneer of regional modern art museums. The story recounting the genie of the institution is retraced from largely unpublished archives. They provide an alternative understanding of the founding of the collection and allow to rediscover, next to the masterpieces, artists who are little known today, and some one hundred works which have not been on display for twenty years. -
Rare Artists' Books with Etchings Lithographs and Pochoirs, Signed
Rare Artists’ Books with etchings lithographs and pochoirs, signed and limited editions, by: Braque, Chagall, Dali, Gauguin, Leger, Manet, Matisse, Miro’, Picasso, Renoir, and others Masters Etchings and Lithographs by: Chagall, Picasso, and Renoir. THE RED FINCH Reston Auction House is a new branch of the well- established MARNINART Rare Art Books & Modern and Contemporary Art. Since 2000 Marninart has operated on the market of rare books and contemporary art, accomplishing a worldwide clientele that includes Collectors, Museums, and Art Galleries. Marninart is recognized as one of the most specialized libraries for Illustrated Art Books of Picasso, Chagall, Matisse, and the Impressionists, and is a member of two prestigious worldwide bookseller’s associations specializing in rare books: ABAA Antiquarian Booksellers Association of America, and ILAB the International League of Antiquarian Booksellers. The latest trend for online art dealers and booksellers has evolved into online auctions, in order to reach a larger audience and visibility in the surreal internet world. Marninart is ready to begin this new adventure in the online auction market with great excitement and enthusiasm, presenting THE RED FINCH Reston Auction House as result of its expertise, knowledge and reliability. Visit Marninart @ www.marninart.net to learn more about us Our Goal is to provide the same dedicated costumer service, maintaining a real relationship with our clientele, buyers or consignors, in the wish of giving an enjoyable experience through our auction service. 1 Francis Bacon. Derriere le Miroir 162 - Francis Bacon Deluxe Edition. Michel Lereis, David Sylvester Maeght, Paris 1966 – Deluxe edition of Derriere le Miroir # 162 dedicated to Francis Bacon. -
The Artwork Caught by the Tail*
The Artwork Caught by the Tail* GEORGE BAKER If it were married to logic, art would be living in incest, engulfing, swallowing its own tail. —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death. To death, to death, to death. The only thing that doesn’t die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920 Je m’appelle Dada He is staring at us, smiling, his face emerging like an exclamation point from the gap separating his first from his last name. “Francis Picabia,” he writes, and the letters are blunt and childish, projecting gaudily off the canvas with the stiff pride of an advertisement, or the incontinence of a finger painting. (The shriek of the commodity and the babble of the infant: Dada always heard these sounds as one and the same.) And so here is Picabia. He is staring at us, smiling, a face with- out a body, or rather, a face that has lost its body, a portrait of the artist under the knife. Decimated. Decapitated. But not quite acephalic, to use a Bataillean term: rather the reverse. Here we don’t have the body without a head, but heads without bodies, for there is more than one. Picabia may be the only face that meets our gaze, but there is also Metzinger, at the top and to the right. And there, just below * This essay was written in the fall of 1999 to serve as a catalog essay for the exhibition Worthless (Invaluable): The Concept of Value in Contemporary Art, curated by Carlos Basualdo at the Moderna Galerija Ljubljana, Slovenia. -
Research.Pdf (1.328Mb)
VISUAL HUMOR: FEMALE PHOTOGRAPHERS AND MODERN AMERICAN WOMANHOOD, 1860- 1915 A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Meghan McClellan Dr. Kristin Schwain, Dissertation Advisor DECEMBER 2017 © Copyright by Meghan McClellan 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled Visual Humor: Female Photographers and the Making of Modern American Womanhood, 1860-1915 presented by Meghan McClellan, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Kristin Schwain Dr. James Van Dyke Dr. Michael Yonan Dr. Alex Barker To Marsha Thompson and Maddox Thornton ACKNOWLEDGMENTS The difficulty of writing a dissertation was never far from anyone’s lips in graduate school. We all talked about the blood, sweat, and tears that went into each of our projects. What we also knew was the unrelenting support our loved ones showed us day in and day out. These acknowledgments are for those who made this work possible. This dissertation is a testament to perseverance and dedication. Yet, neither of those were possible without a few truly remarkable individuals. First, thank you to all my committee members: Dr. Alex Barker, Dr. Michael Yonan, and Dr. James Van Dyke. Your input and overall conversations about my project excited and pushed me to the end. Thank you Mary Bixby for giving me the “tough love” I needed to make sure I met my deadlines. -
Gonzâlez/Picasso Dialogue
Gonzâlez/Picasso dialogue Collections du Centre Georges Pompidou, Musée national d'art moderne Ensemble conventuel des Jacobins, Toulouse 1 er juin-20 septembre 1999 Le Centre Georges Pompidou, Musée national d'art moderne présente, dans le cadre de sa programmation " Hors-les-murs ", l'exposition " Gonzâlez/Picasso, dialogue ", à l'Ensemble conventuel des Jacobins à Toulouse, du 1er juin au 20 septembre 1999 . Cette exposition conçue et réalisée conjointement avec " les Abattoirs " de Toulouse se propose de mettre en lumière la collaboration entre le sculpteur Julio Gonzâlez et Pablo Picasso, et de confronter les apports réciproques des deux artistes. L'exposition présente quarante-quatre oeuvres de Gonzâlez (vingt et une sculptures et vingt-trois dessins) issues des collections du Centre Georges Pompidou, Musée national d'art moderne, et dix-neuf oeuvres de Picasso (sept sculptures, neuf peintures et trois dessins) . Ces dernières proviennent des collections du Musée national d'art moderne, du Musée Picasso, du Museo Nacional Centro de Arte Reina Sofia de Madrid . Le Centre Georges Pompidou, Musée national d'art moderne réalisera à cette occasion, un dépôt exceptionnel de 393 oeuvres, issues de la Donation Cordier, pour le futur Centre d'art moderne et contemporain de Toulouse " les Abattoirs ". La collaboration entre les deux artistes débute en 1928, et s'achève en 1932 . Dès 1921, Picasso reçoit la commande d'un monument funéraire à la mémoire d'Apollinaire décédé en 1918 . Ce projet est porteur d'une forte charge émotionnelle puisque Apollinaire était, depuis leur rencontre en 1905, le meilleur ami de Picasso . Un comité est créé pour mener à bien le financement du projet . -
22 Biografie
Elenco degli artisti presenti in mostra Annan, James Craig - Cameron, Julia Margaret - Coburn, Alvin Langdon -Davison, George - Demachy, Robert - De Meyer, Baron Adolf Gayne - Eugene, Frank - Evans, Frederick Henri - Haviland, Burty Paul - Hill, David Octavius e Adamson, Robert - Käsebier, Gertrude - Kühn, Heinrich - Puyo Constant - Rubincam, Harry C. - Seeley, George Henry - Steichen, Jean Edward -Stieglitz, Alfred - Strand, Paul - Struss, Karl F. - White, Clarence Hudson Biografie Annan, James Craig (Hamilton, Scozia, 1864 - Glasgow, 1946) Figlio di Thomas Annan, che fu per qualche tempo associato al celebre calotipista David Octavius Hill, egli apprende molto facilmente l’arte di fotografare dal padre. Dopo gli studi di Chimica e Filosofia all’università di Glasgow, nel 1883 si reca a Vienna per studiare l’héliogravure dal suo inventore Karl Klic. Di ritorno in Scozia, cerca di mettere a profitto le sue nuove conoscenze: nel 1890, cosciente dell’importanza dei suoi compatrioti Hill e Adamson, realizza una serie di fotografie a partire dai loro negativi calotipi. Interessato dall’aspetto artistico del mezzo fotografico, Annan diviene nel 1895 membro del Club Linked Ring di Londra. La sua opera è fortemente influenzata dall’estetica dei suoi amici della scuola impressionista di Glasgow, dall’arte giapponese così come da Velásquez e Whistler. Nel 1904, Stieglitz pubblica nella rivista Camera Work una selezione delle opere di Annan che diviene il primo presidente dell’International Society of Pictorial Photographers. Ha partecipato a tutte le esposizioni internazionali del movimento pittorialista fino al 1916, proseguendo ugualmente la sua carriera nello studio fotografico familiare. Cameron, Julia Margaret (Calcutta, 1815 - Ceylon, 1879) Nata in India, a Calcutta, da una famiglia agiata e colta, sposa il diplomatico Charles Hay Cameron nel 1838. -
Miró's Prints
JOAN MIRÓ MIRÓ'S PRINTS FORMIRO, PRINTMAKING WAS A TECHNIQUE, LIKE PAINTING OR SCULPTURE, RULED BY LAWS OF ITS OWN. FROMCHISEL TO DRY-POINT, FROM ETCHING TO AQUATINT, FROM SOFT VARNISH TO CARVING, THE ARTIST EXPERIMENTED EXHAUSTIVELY, INVENTING VARIATIONS AND TECHNIQUES WHICH HE OFTEN COMBINED, IN A PROCESS THAT WENT FROM THE FIG-URATIVE ART OF THE THIRTIES TO PURE ABSTRACTION. MARlA LLU~SABORRAS ART CRITIC print can have al1 the beauty much his own. It was like starting from combined, in a process that went from and dignity of a good painting," scratch and travelling a long road the figurative art of the thirties to pure wrote Joan Miró, and indeed, from engraving at the service of figur- abstraction; from the etching Dafnis i printmaking was an important aspect of ative art to that which explores the few Cloe (1933), with its painstaking tech- his art and made up a large part of his but sufficient formal resources, to cap- nique, to the resounding explosion of production, as a technique governed by ture the renovatory ideas of the art of this 1963, when he produced aquatints like laws of its own, just like painting and century. From chisel to dry-point, from Lluna i vent, Fons marí and L'ocell del sculpture. When he first took up print- etching to aquatint, from soft varnish to paradís, colour lithographs of great making, Miró was thirty-seven years old carving, the artist experimented exhaus- energy and power he called Dansa (bar- and had already made a name for him- tively, at the same time inventing varia- barous, nuptial fire-dancing), or else self as a painter with a language very tions and techniques which he often combinations of etching and aquatint in JOAN MIRÓ AUTORETRA T. -
Joan of Arc and Francis Picabia's La Sainte-Vierge." Dada/ Surrealism 22 (2018): N
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Dada/Surrealism ISSN 0084-9537 No. 22 DOI: 10.17077/0084-9537.1321 Dada, War and Peace Article 5 The Blood of France: Joan of Arc and Francis Picabia's La Sainte- Vierge Simon Marginson University of York accessible Copyright © 2018 Simon Marginson Recommended Citation Marginson, Simon. "The Blood of France: Joan of Arc and Francis Picabia's La Sainte-Vierge." Dada/ Surrealism 22 (2018): n. pag. Web. Available at: https://doi.org/10.17077/0084-9537.1321 Hosted by Iowa Research Online This Theme Essay is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Dada/Surrealism by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. The Blood of France: Joan of Arc and Francis Picabia’s La Sainte-Vierge Simon Marginson Francis Picabia’s blasphemously titled drawing La Sainte-Vierge first appeared in the twelfth issue of his journal 391 (fig. 1). Originally published in May 1920, Picabia’s iconoclastic gesture is now canonical. An icon in its own right, La Sainte-Vierge continues to serve as the ubiquitous visual shorthand for Dada’s nihilistic, anti-art tendencies within general accounts of modernism, despite the existence of a large body of specialist literature that expands the significance of the drawing well beyond these persistent clichés. Indeed, La Sainte-Vierge has been subject to such wide- ranging interpretations that George Baker has complained that it is in danger of becoming the Rorschach blot of art history (38).