Alphabetical List of Catalogue Raisonnés in the Collection Of
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A Passion for Rodin Set a Manhattan Couple on an Ambitious Collecting Journey& Covering the Past Century of Art History
dreamers creators A passion for Rodin set a Manhattan couple on an ambitious collecting journey& covering the past century of art history. By Margie Goldsmith • Photography by Billy Cunningham The collector looks up at his cast of “The Thinker.” Perhaps he is recalling what Rodin himself wrote about his sculpture: “The Thinker has a story. In the days long gone by I conceived the idea of the Gates of Hell. Before the door, seated on the rock, Dante thinking of the plan of the poem behind him ... all the characters from the Divine Comedy. This proj- ect was not realized. Thin ascetic Dante in his straight robe separated from all the rest would have been without meaning. Guided by my first inspiration I conceived another thinker, a naked man, seated on a rock, his fist against his teeth, he dreams. The fertile thought slowly elaborates itself within his brain. He is no longer a dreamer, he is a creator.” Rodin’s tale helps reveal why a boy from a small Mid- western town who became one of New York’s most suc- cessful fund managers would identify with a working-class sculptor whose masterpieces created a Rodin, “The Thinker,” conceived bronze bridge between 19th-century Romanticism and c. 1880 (this version was cast 20th-century Modernism. “I identify with the creativity and the before 1952), bronze with dark passion with which Rodin led his life,” says the collector, who brown and green patina. wishes to remain anonymous, as he continues to regard “The Charles Ephraim Burchfield, “Sultry Thinker.” “Look at the combination of strength, beauty and emo- Day” (right), 1957, watercolor on tional passion that Rodin manages to put in a lump of bronze. -
Rapport D'activité 2019 Musées D'orsay Et De L'orangerie
Rapport d’activité 2019 Musées d’Orsay et de l’Orangerie Rapport d’activité 2019 Établissement public des musées d’Orsay et de l’Orangerie Sommaire Partie 1 Partie 3 Les musées d’Orsay Le public, au cœur de la politique et de l’Orangerie : des collections de l’EPMO 57 exceptionnelles 7 Un musée ouvert à tous 59 La vie des collections 9 L’offre adulte et grand public 59 Les acquisitions 9 L’offre de médiation famille et jeune Le réaccrochage des collections permanentes 9 public individuel 60 Les inventaires 10 L’offre pour les publics spécifiques 63 Le récolement 22 L’éducation artistique et culturelle 64 Les prêts et dépôts 22 Les outils numériques 65 La conservation préventive et la restauration 23 Les sites Internet 65 Le cabinet d’arts graphiques et de photographies 25 Les réseaux sociaux 65 Les accrochages d’arts graphiques Les productions audiovisuelles et numériques 66 et de photographies 25 Le public en 2019 : des visiteurs venus L’activité scientifique 30 en nombre et à fidéliser 69 Bibliothèques et documentations 30 Des records de fréquentation en 2019 69 Le pôle de données patrimoniales digitales 31 Le profil des visiteurs 69 Le projet de Centre de ressources La politique de fidélisation 70 et de recherche 32 Les activités de recherche et la formation des stagiaires 32 Partie 4 Les colloques et journées d’étude 32 L’EPMO, Un établissement tête de réseau : l’EPMO en région 33 un rayonnement croissant 71 Les expositions en région 33 Les partenariats privilégiés 34 Un rayonnement mondial 73 Orsay Grand Département 34 Les expositions -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Rapport Annuel 2016
Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België RAPPORT16 ANNUEL Service public fédéral de Programmation Politique scientifique Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België RAPPORT16 ANNUEL Service public fédéral de Programmation Politique scientifique Rue du Musée | Museumstraat 9 B – 1000 Bruxelles | Brussel www.fine-arts-museum.be PRÉFACE Les missions des MRBAB Les Musées Royaux des Beaux-Arts de Belgique ont transcrit l’ensemble des tâches en une mission claire et univoque : protéger et étudier le patrimoine artistique et le rendre accessible à un public très hétérogène. L’importance accordée aux œuvres d’art et aux visiteurs forme le fil rouge de notre mission et de notre vision et se traduit dans nos objectifs stratégiques. La portée sociale de nos missions est très grande. Les musées sont responsables de la préservation du patrimoine fédéral des beaux-arts, qui comprend 20.000 œuvres, non seulement pour la génération actuelle, mais également pour les générations à venir. Michel Draguet Directeur général 5 6 TABLE DES MATIÈRES 7. ORGANISATION 53 Organigramme 1. TEMPS FORTS 2016 9 Organisation Dates Chiffres clés Expositions intra et extra muros > Finances > Expositions produites par les MRBAB ou en > Personnel partenariat > Shops · Expositions intra muros > Visiteurs · Expositions Focus intra muros > Presse > Collaboration aux expositions extra muros > Nocturnes 2. VIE MUSÉALE 19 8. PARTENAIRES 67 Nouvelle offre Educateam Généralités > Activités educateam Association des Amis > Publications, films et matériel pédagogique > Bénévoles MRBAB > Formations et collaborations/partenariats > Association des Amis Nouveau service Mécénat et Partenariat Partenaires par mécénat et partenariat Loterie nationale 3. -
To Theo Van Gogh and Jo Van Gogh-Bonger. Auvers-Sur-Oise, Sunday, 25 May 1890
To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, Sunday, 25 May 1890. Sunday, 25 May 1890 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b686 V/1962 Date: On Monday, 2 June Theo wrote that he had wanted to reply earlier to the present letter, which must have been written shortly before a Tuesday (see l. 4). Van Gogh remarks that it has been raining yesterday and today (ll. 53-54). This must have been Saturday, 24 and Sunday, 25 May (Mto-France). On the basis of this information we have dated the letter to Sunday, 25 May 1890. On the same day Theo recorded in his account book the 50 francs for which Vincent thanks him in the first lines of the present letter (see Account book 2002, p. 45). See also Hulsker 1998, p. 51. Additional: This letter, which confirms the receipt this morning (ll. 1*-2) of the money Theo sent, most likely caused Vincent to decide not to send RM20 (this explains why the two letters contain several identical passages). Van Gogh enclosed a letter for Isacson (cf. RM21). Original [1r:1] Mon cher Theo, ma chre Jo, merci de ta lettre que jai reue ce matin1 et des cinquante francs qui sy trouvaient. Aujourdhui jai revu le Dr Gachet et je vais peindre chez lui Mardi matin puis je dinerais avec lui et aprs il viendrait voir ma peinture. Il me parait trs raisonable mais est aussi decourag dans son metier de mdecin de campagne que moi de ma peinture. -
Works on Paper & Editions 11.03.2020
WORKS ON PAPER & EDITIONS 11.03.2020 Loten met '*' zijn afgebeeld. Afmetingen: in mm, excl. kader. Schattingen niet vermeld indien lager dan € 100. 1. Datum van de veiling De openbare verkoping van de hierna geïnventariseerde goederen en kunstvoorwerpen zal plaatshebben op woensdag 11 maart om 10u en 14u in het Veilinghuis Bernaerts, Verlatstraat 18 te 2000 Antwerpen 2. Data van bezichtiging De liefhebbers kunnen de goederen en kunstvoorwerpen bezichtigen Verlatstraat 18 te 2000 Antwerpen op donderdag 5 maart vrijdag 6 maart zaterdag 7 maart en zondag 8 maart van 10 tot 18u Opgelet! Door een concert op zondagochtend 8 maart zal zaal Platform (1e verd.) niet toegankelijk zijn van 10-12u. 3. Data van afhaling Onmiddellijk na de veiling of op donderdag 12 maart van 9 tot 12u en van 13u30 tot 17u op vrijdag 13 maart van 9 tot 12u en van 13u30 tot 17u en ten laatste op zaterdag 14 maart van 10 tot 12u via Verlatstraat 18 4. Kosten 23 % 28 % via WebCast (registratie tot ten laatste dinsdag 10 maart, 18u) 30 % via After Sale €2/ lot administratieve kost 5. Telefonische biedingen Geen telefonische biedingen onder € 500 Veilinghuis Bernaerts/ Bernaerts Auctioneers Verlatstraat 18 2000 Antwerpen/ Antwerp T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be [email protected] Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500 No telephone biddings when estimation is less than € 500 Live Webcast Registratie tot dinsdag 10 maart, 18u Identification till Tuesday 10 March, 6 pm Through Invaluable or Auction Mobility -
Im Pressio Nist M O Dern & Co Ntem Po Rary Art 27 January
IMPRESSIONIST MODERN & CONTEMPORARY ART CONTEMPORARY & MODERN IMPRESSIONIST 27 JANUARY 2015 8 PM 8 2015 JANUARY 27 27 JANUARY 2015 PM 8 2015 JANUARY 27 134 IMPRESSIONIST MODERN & CONTEMPORARY ART CONTEMPORARY & MODERN IMPRESSIONIST VIEWINGS: Thu 15 Jan 5 pm - 10 pm Fri 16 Jan 11 am - 3 pm Sat 17 Jan 10 pm - 12 am IMPRESSIONISSun - Thu /T 18-22, MO JanDERN 11 am - 10 pm Fri 23 Jan 11 am - 3 pm & CONSat T24EMPORAR Jan Y 10 pm - 12 am Sun - Mon / 25 - 26 Jan 11 am - 10 pm FINE TueAR 27T JanAUCTION 11 am - 8 pm JERUSALEM, JANUARY 27, 2015, 8 PM SALE 134 PREVIEW IN JERUSALEM: Thu 15 Jan 5 pm - 10 pm Fri 16 Jan 11 am - 3 pm Sat 17 Jan 10 pm - 12 am Sun - Thu / 18-22 Jan 11 am - 10 pm Fri 23 Jan 11 am - 3 pm Sat 24 Jan 10 pm - 12 am Sun - Mon / 25 - 26 Jan 11 am - 10 pm Tue 27 Jan 11 am - 8 pm PREVIEW IN NEW YORK: Thu 15 Jan 12 pm - 5 pm Fri 16 Jan 11 am - 3 pm Sun - Thu / 18-22 Jan 12 pm - 5 pm Fri 23 Jan 11 am - 3 pm Sun - Mon / 25 - 26 Jan 12 pm - 5 pm Tue 27 Jan 11 am - 1 pm PREVIEW & AUCTION MATSART GALLERY 21 King David St., Jerusalem tel +972-2-6251049 www.matsart.net בס"ד MATSART AUCTIONEERS & APPRAISERS 21 King David St., Jerusalem 9410145 +972-2-6251049 5 Frishman St., Tel Aviv 6357815 +972-3-6810001 415 East 72 st., New York, NY 10021 +1-718-289-0889 LUCIEN KRIEF OREN MIgdAL Owner, Director Head of Department Expert Israeli Art [email protected] [email protected] StELLA COSTA ALICE MARTINOV-LEVIN Senior Director Head of Department [email protected] Modern & Contemporary Art [email protected] EVGENY KOLOSOV YEHUDIT RATZABI AuctionAdministrator AuctionAdministrator Modern & Contemporary Art [email protected] [email protected] REIZY GOODWIN MIRIAM PERKAL Logistics & Shipping Client Accounts Manager [email protected] [email protected] All lots are sold “as is” and subject to a reserve. -
Early Paintings by Frederic Edwin Church
Bibliography for The American Landscape's "Quieter Spirit": Early Paintings by Frederic Edwin Church Books and a bibliography of additional sources are available in the Reading Room of the Dorothy Stimson Bullitt Library (SAM, Downtown). Avery, Kevin J. and Kelly, Franklin. Hudson River School visions: the landscapes of Sanford R. Gifford (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2003). Carr, Gerald L. and Harvey, Eleanor Jones. The voyage of the icebergs: Frederic Church's arctic masterpiece (Dallas: Dallas Museum of Art; New Haven: Yale University Press, 2002). _____. Frederic Edwin Church: the icebergs (Dallas: Dallas Museum of Fine Arts, 1980). _____. In search of the promised land: paintings by Frederic Edwin Church (New York: Berry-Hill Galleries, Inc., 2000). Cock, Elizabeth. The influence of photography on American landscape painting 1839- 1880 (Ann Arbor: UMI Dissertation Services [dissertation], 1967). Driscoll, John Paul et al. John Frederick Kensett: an American master (New York: Worcester Art Museum, 1985). Fels, Thomas Weston. Fire & ice : treasures from the photographic collection of Frederic Church at Olana (New York: Dahesh Museum of Art; Ithaca: Cornell University Press, 2002). Glauber, Carole. Witch of Kodakery: the photography of Myra Albert Wiggins, 1869- 1956 (Pullman: Washington State University Press, 1997). Harmon, Kitty. The Pacific Northwest landscape: a painted history (Seattle: Sasquatch Books, 2001). Hendricks, Gordon. Albert Bierstadt: painter of the American West (New York: H. N. Abrams, 1974). Howat, John K. The Hudson River and its painters (New York: Viking Press, 1972). Huntington, David C. The landscapes of Frederic Edwin Church: vision of an American era (New York: G. -
Of Painting and Seventeenth-Century
Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special -
CALIFORNIA DEPARTMENT of INSURANCE Holocaust Era
CALIFORNIA DEPARTMENT OF INSURANCE Source: AXA, Dutch Insurance Assn., MONY Life, European archive Holocaust Era Insurance Registry Insurer Certification Policyholder / Policyholder Named Insured Insurer Which Insurer Current Distribution Amount Name Address Named Insured Named Beneficiary Policy Type Issued Policy Currently Responsible Status of Proceeds Unpaid Payment to Other Pd Q., Guiseppe (Named Insured) Not Available, Genoa, Italy Q., Guiseppe Not Available, Life Mutual Of New York Mony Life Insurance Company Paid Bene/Heir/Owner - - Quadagnini, Aug (Named Pd Insured) Not Available, Vienna, Austria Quadagnini, Aug Not Available, Not Available Mutual Of New York Mony Life Insurance Company Paid Bene/Heir/Owner - - Quadrelli, Luigi (Named Pd Insured) Not Available, Genoa, Italy Quadrelli, Luigi Quadrelli, Elvira Imperatori Endowment Mutual Of New York Mony Life Insurance Company Paid Bene/Heir/Owner - - Quagliero, Antonio (Named Pd Insured) Not Available, Genoa, Italy Quagliero, Antonio Wife And Children, Life Mutual Of New York Mony Life Insurance Company Paid Bene/Heir/Owner - - Quaglietti Fu Luigi, Gini Pd (Named Insured) Not Available, Genoa, Italy Quaglietti Fu Luigi, Gini Self, Life Mutual Of New York Mony Life Insurance Company Paid Bene/Heir/Owner - - Transfer To 10 Rue De La Liberte Cachan Generales Quanon, (Named Insured) Seine, Paris, France Quanon, Not Available, Not Available Mutual Of New York Mony Life Insurance Company Vie Not Available - Quarti, Eugenio (Named Pd Insured) Not Available, Genoa, Italy Quarti, Eugenio -
Lackawanna Valley
MAN and the NATURAL WORLD: ROMANTICISM (Nineteenth-Century American Landscape Painting) NINETEENTH-CENTURY AMERICAN LANDSCAPE PAINTING Online Links: Thomas Cole – Wikipedia Hudson River School – Wikipedia Frederic Edwin Church – Wikipedia Cole's Oxbow – Smarthistory Cole's Oxbow (Video) – Smarthistory Church's Niagara and Heart of the Andes - Smarthistory Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836, oil on canvas Thomas Cole (1801-1848) was one of the first great professional landscape painters in the United States. Cole emigrated from England at age 17 and by 1820 was working as an itinerant portrait painter. With the help of a patron, he traveled to Europe between 1829 and 1832, and upon his return to the United States he settled in New York and became a successful landscape painter. He frequently worked from observation when making sketches for his paintings. In fact, his self-portrait is tucked into the foreground of The Oxbow, where he stands turning back to look at us while pausing from his work. He is executing an oil sketch on a portable easel, but like most landscape painters of his generation, he produced his large finished works in the studio during the winter months. Cole painted this work in the mid- 1830s for exhibition at the National Academy of Design in New York. He considered it one of his “view” paintings because it represents a specific place and time. Although most of his other view paintings were small, this one is monumentally large, probably because it was created for exhibition at the National Academy.