Tarsila Do Amaral

Total Page:16

File Type:pdf, Size:1020Kb

Tarsila Do Amaral 01-04 GUARDA DELANTERA 28/1/09 09:31 Página 2 Fundación Juan March 01-04 GUARDA DELANTERA 28/1/09 09:31 Página 3 Fundación Juan March 01-04 GUARDA DELANTERA 28/1/09 09:31 Página 4 Fundación Juan March Fundación Juan March This catalogue and its Spanish edition are published on the occasion of the exhibition TARSILA DO AMARAL Fundación Juan March, Madrid February 6 – May 3, 2009 Fundación Juan March Fundación Juan March ACKNOWLEDGEMENTS The Fundación Juan March wishes to express their gratitude to the We would also like to give thanks for the generous support and help following institutions and people that generously granted the loans of Luis Antonio de Almeida Braga; Rosanna Almeida; João Alves de that made this exhibition possible, as well as those who facilitated Queiróz Filho; Aracy Amaral; Tarsilinha do Amaral; Helena do Ama- these loans through their negotiation and administration: Biblioteca ral Galvão Bueno; Thales Estanislau do Amaral Sobrinho; Michele José e Guita Mindlin, São Paulo: José Mindlin and Cristina Antunes; Behar; Evelyn Berg Ioschpe; Jones Bergamín; Jean and Geneviève Centro Cultural São Paulo: Martin Grossmann, Isis Baldini Elias, Ana Boghici; Juan Manuel Bonet; Augusto de Bueno Vidigal; Luciana Roberta Alcântara, Vera M. Porto de Toledo Piza and Roseli Borelli Cavalheiro Fleischner; Joel Coelho de Souza; Flávio and Peter Cohn; Carvalho; Fundação Cultural Ema Gordon Klabin: Celso Lafer and Pedro Conde Filho; Fabio Coutinho; Felippe José Crescenti; Reynal- Paulo de Freitas Costa; Fundação José e Paulina Nemirovsky: Maria do Dabus Abucham; EAO–Emprendimentos Agropecuários e Obras Alice Milliet and Soraya Bataglia; Governo do Estado de São Paulo: S/A, Salvador da Bahia; Sergio, Hecilda and Marta Fadel; Betty Fe- João Sayad; Ana Cristina Carvalho and Alessandra Godano Chidi- ffer; Priscila Freire; Luciana Freire Rangel; Anette Hoffmann; Breno quimo (Palácios do Governo); Instituto de Estudos Brasileiros USP: Krasilchik; Paulo Kuczynski; Alessandra Labate Rosso (Expomus); Ana Lucia Duarte Lanna and Bianca Dettino; Instituto Moreira Sal- Silvia Landa; Fúlvia Leirner; Gerard Loeb; Ana Carmen Longobar- les: Flávio Pinheiro, Sergio Burgi, Odette Vieira and Samuel Titan; di; Roberto Marinho; Leila Martinusso; Simão Mendel Guss; David Museu de Arte Contemporânea USP: Lisbeth Rebollo Gonçalves, Ricardo Guss; Marcelo Noschese; Luiz Roberto Ortiz Nascimento; Helouise Costa, Paulo Roberto A Barbosa and Ana Maria Hoffmann; Max Perlingeiro; Beatriz Pimenta Camargo; Sérgio Pizoli; Randol- Museu de Arte Brasileira–FAAP, São Paulo: Maria Izabel Branco fo Rocha; Dora Rosset; Adriano Samarone; Roberta Saraiva; Jorge Ribeiro and Laura Rodríguez; Museu de Arte Moderna da Bahia: Schwartz; Yazaku Soussumi; Antônio Luiz Teixeira de Barros Júnior; Solange Farkas, Carolina Câmara, Aline Jabar, Joana Flores, Stella and Maura and Ricardo Torre-Simões. Carrozzo and Sandra Regina Jesus; Museu de Arte Moderna, Rio de Janeiro: Gilberto Chateaubriand, Reynaldo Roels Jr. and Claudia Lastly, we would especially like to thank the staff of Base7 for their Calaça; Museu de Arte Moderna de São Paulo: Felipe Chaimovich, coordination and administration of the loans from Brazil, in parti- Andrés I. M. Hernández and Ana Paula Montes; Museu Nacional de cular Maria Eugênia Saturni, Ricardo Ribenboim, Arnaldo Spindel, Bellas Artes, Rio de Janeiro: Mônica F. Braunschweiger Xexéo, Pe- Sandra Pandeló, Renata Viellas Rödel and Marta Masiero; Banca dro Martins C. Xexéo, Laura Abreu and Jane Ritter; Museus Castro March and Corporación Financiera Alba for their generous support Maya: Vera de Alencar and Glaucia Abreu; Pinacoteca do Estado de of the exhibition in Madrid and the Spanish and English editions of São Paulo: Marcelo Mattos Araujo, Regina Teixeira de Barros, Ma- the catalogue; His Excellency D. José Viegas Filho, Brazil’s Ambas- ria Luiza Moraes and Natasha Barzaghi Geenen; MNCARS, Madrid: sador to Spain, as well as José Luiz Vieira and Joaquim Paiva; Rafael Manuel Borja-Villel, Soledad de Pablo, Victoria Fernández-Layos and López de Andújar, Cintya Floriani and Fabiana Brzeski Alves and Carmen Sánchez García; Museo de América, Madrid: Paz Cabello Cristina Gramacho of the Fundación Cultural Hispano-Brasileña; Carro, Concepción García Sáiz, Ana Verde and Ana Castaño Lloris; José do Nascimento Júnior, Eneida Braga Rocha de Lemos, Márcio Museo de Antropología, Madrid: Pilar Romero de Tejada y Picatos- Rangel, Flávia Mello, Paulo Brum Ferreira and Erlon José Pascoal of te, Javier Rodrigo del Blanco and Isabel Ortega Fernández; Museo the Ministry of Culture IPHAN; Instituto y Fundação Escultor Victor Thyssen–Bornemisza, Madrid: Carmen Thyssen–Bornemisza, Guil- Brecheret; Gênese Andrade and Adriana Astuti; Luis Manuel Gaspar; lermo Solana, Sara Martínez-Sarandeses, Carolina García Carmueja Raúl Antélio; Lourdes Fernández, María Aranguren and Ana Álvarez and Purifi cación Ripio; Biblioteca Nacional, Madrid: Carmen Líter of ARCO; Moacir dos Anjos, responsible for the Brazil Program at Mayayo, María Luisa Cuenca, Sergio Martínez, Amalia Jiménez, An- ARCO’08; José Mª Ballesteros (Decograf) and Marco Estudio Norte, tonio Sánchez Rodríguez, Pilar Pérez Sacristán and Jesús Rodríguez S.L.; Lourdes Rico and her staff of conservators (Celia Martínez and Izquierdo; Biblioteca Valenciana, Valencia: Francisca Cerdá Vara, Victoria de las Heras); Karine Korbier; Anna Lozbeneva of Ingoss- Nuria Soler and Mª Ángeles Martínez; Fundación Ortega y Gasset, trakh Insurance Company, Millennium Broker Management Int’l Madrid: Enriqueta del Olmo and Ascensión Uña; The State Hermi- LLC and Gonzalo Domínguez Barragán of UNIPSA Correduría de tage Museum, Saint Petersburg: Mikhail B. Piotrovsky, Vladimir Ma- Seguros S.A.; Laura Lozano and Ana Tabuenca of SIT Transportes tveev, Anastasia Mikliaeva and Olga Ilmenkova; Musée de Grenoble: Internacionales and Luiz Carlos Santório of Transportes Fink S/A; Guy Tosatto, Isabelle Varloteaux and Katia Blanchard; Centre natio- and Guillermo Nagore for the design and layout of the catalogue. In nal des arts plastiques, Fonds national d’art contemporain, Puteaux: addition to the staff members of the Fundación Juan March’s depart- Richard Lagrange, Claude Allemand-Cosneau and Benedicte Godin; ments, thanks especially go to María Toledo, Aida Capa, Jacqueline and the Nationalmuseet, Copenhagen: Ulf Johannson Dahlarn, Bar- de la Fuente, Daniela Heinze, Deborah L. Roldán, María Zozaya, bara Berlowicz, Inge Schjellerup and Morten Ryhl-Svendsen. Belén Lugo, José Enrique Moreno and Jordi Sanguino. 4 Fundación Juan March LENDERS INSTITUTIONS Country City Institution Cat. n.º BRAZIL Rio de Janeiro, RJ Gilberto Chateaubriand Collection Museu de Arte Moderna 26, 93 Rio de Janeiro, RJ Museu da Chácara do Céu, Museus Castro Maya 154, 155, 156 Rio de Janeiro, RJ Museu Nacional de Belas Artes 2 Rio de Janeiro, RJ Instituto Moreira Salles 165, 166, 167, 168 Salvador da Bahia, BA Museu de Arte Moderna da Bahia 24 São Paulo, SP Secretaria Municipal de Cultura 39, 40, 45, 47, 68, 74, 75, 76, 77, 78, Centro Cultural São Paulo 79, 80, 81, 82, 99, 101 São Paulo, SP Fundação Cultural Ema Gordon Klabin 178, 179 São Paulo, SP Fundação José e Paulina Nemirovsky 22, 29, 96, 152, 177 São Paulo, SP Instituto de Estudos Brasileiros, Universidade de São Paulo 13, 38, 41, 46, 58, 73, 83, 85, 92, 94, 95, 104, 108, 113, 114, 119, 170, 171 São Paulo, SP Museu de Arte Brasileira da Fundação Armando Álvares Penteado 23 São Paulo, SP Museu de Arte Contemporânea da Universidade de São Paulo 5, 27, 57, 169 São Paulo, SP Museu de Arte Moderna de São Paulo 182 São Paulo, SP Palácios do Governo do Estado de São Paulo 1, 6, 18, 31, 34 São Paulo, SP Pinacoteca do Estado de São Paulo 9, 129, 130, 132, 133, 134, 135, 136, 137, 138 São Paulo, SP Biblioteca José e Guita Mindlin 116, 117, 121, 123, 127 DENMARK Copenhagen Nationalmuseet 146, 147 FRANCE Grenoble Musée de Grenoble 7 SPAIN Madrid Biblioteca Nacional 150, 151 Madrid Fundación Juan March 118 Madrid Fundación Ortega y Gasset 124 Madrid Museo de América 140, 149, 153, 157 Madrid Museo Nacional Centro de Arte Reina Sofía 16, 90, 181 Madrid Museo Nacional de Antropología 141, 142, 143, 144, 145, 158, 159, 160, 161, 162, 163, 164 Madrid Museo Thyssen-Bornemisza 148 Valencia Biblioteca Valenciana 120, 122 RUSSIA Saint Petersburg The State Hermitage Museum 14 PRIVATE COLLECTIONS BRAZIL Belo Horizonte, MG Private collection 50, 51 Belo Horizonte, MG Randolfo Rocha 55, 71, 89 Riberão Preto, SP Anette Hoffmann 49 Rio de Janeiro, RJ Max Perlingeiro, Pinakotheke Cultural 44, 67, 103, 105, 106, 107, 174, 175, 176 Rio de Janeiro, RJ Paula and Jones Bergamin 32 Rio de Janeiro, RJ Geneviève and Jean Boghici 4, 25, 28 Rio de Janeiro, RJ Hecilda and Sergio Fadel 3, 8, 20, 21 Rio de Janeiro, RJ Roberto Marinho 12 Rio de Janeiro, RJ Private collections 17, 30 Salvador da Bahia, BA EAO–Emprendimentos Agropecuários e Obras S/A 37 São Paulo, SP Tarsilinha do Amaral 97 São Paulo, SP Augusto de Bueno Vidigal 53 São Paulo, SP Marta and Paulo Kuczynski 102, 172, 180 São Paulo, SP Fulvia Leirner 52, 84 São Paulo, SP Gérard Loeb 86 São Paulo, SP Simão Mendel Guss 19 São Paulo, SP Beatriz and Mario Pimenta Camargo 66 São Paulo, SP S. Pizoli 70 São Paulo, SP Dora Roset 35 São Paulo, SP Jorge Schwartz 173 São Paulo, SP Maura and Ricardo Simões 56, 61 São Paulo, SP Private collections 10, 11, 15, 33, 36, 42, 43, 48, 54, 59, 60, 62, 63, 64, 65, 69, 72, 87, 88, 91, 98, 100, 115, 125, 126, 128, 131 SPAIN Madrid MJM 109, 110, 111, 112, 139 5 Fundación Juan March CONTENTS 9 Tarsila, Brazil, Europe Fundación Juan March 13 Study of an Oeuvre. And a Biography Aracy Amaral 1. Manifestos and Testimonials of Avant-garde Brazil 19 Oswald de Andrade: Manifesto of Pau-Brasil Poetry (1924) • 23 Mário de Andrade: Letter to Tarsila (November 15, 1924) • 25 Oswald de Andrade: Anthropophagite Manifesto (1928) • 31 Tarsila do Amaral: Pau-Brasil and Anthropophagite Painting (1939) • 34 Tarsila do Amaral: Lasar Segall (1936) • 37 Blaise Cendrars (1938) • 41 Still the “Week” (1943) • 44 Anita Malfatti (1945) • 46 General Confession (1950) • 48 Memories of Paris (1952) 2.
Recommended publications
  • Feb. 7 to Apr. 30, 2017 Great Hall
    Ministry of Culture and Museu de Arte To celebrate the 100th anniversary of the Moderna de São Paulo present exhibition that inaugurated Brazilian modernism, Anita Malfatti: 100 Years of Modern Art gathers at FEB. 7 MAM’s Great Hall about seventy different works covering the path of one of the main names in TO Brazilian art in the 20th century. Anita Malfatti’s exhibition in 1917 was crucial to the emergence of the group who would champion modern art in Brazil, so much so that APR. 30, critic Paulo Mendes de Almeida considered her as the “most historically critical character in the 2017 1922 movement.” Regina Teixeira de Barros’ curatorial work reveals an artist who is sensitive to trends and discussions in the first half of the 20th century, mindful of her status and her choices. This exhibition at MAM recovers drawings and paintings by Malfatti, divided into three moments in her path: her initial years that consecrated her as “trigger of Brazilian modernism”; the time she spent training in Paris and her naturalist production; and, finally, her paintings with folk themes. With essays by Regina Teixeira de Barros and GREAT Ana Paula Simioni, this edition of Moderno MAM Extra is an invitation for the public to get to know HALL this great artist’s choices. Have a good read! MASTER SPONSORSHIP SPONSORSHIP CURATED BY REALIZATION REGINA TEIXEIRA DE BARROS One hundred years have gone by since the 3 03 ANITA Exposição de pintura moderna Anita Malfatti [Anita Malfatti Modern Painting Exhibition] would forever CON- MALFATTI, change the path of art history in Brazil.
    [Show full text]
  • Tarsila Do Amaral, Anita Malfatti
    MULHERES DE CONOTAÇÃO CULTURAL :TARSILA DO AMARAL, ANITA MALFATTI Autores: THAIS CARDOSO SANTOS, JANETE RODRIGUES PEREIRA, MARIA DE FÁTIMA GOMES LIMA DO NASCIMENTO, THAIS CARDOSO SANTOS Introdução A década de 1920 foi um período de mudanças estruturais, como o crescimento industrial impulsionado pelas exportações da Primeira guerra Mundial pelo próprio consumo interno; dentre essas mudanças se destacaram também as novas tendências artísticas culturais. Entre essas, podemos citar o modernismo, surrealismo, impressionismo e o cubismo. Tendo em vista que tais movimentos se despontaram na Europa, os mesmos obtiveram grande repercussão também no Brasil. No contexto da Republica Oligárquica e da chamada política do café com leite entre 11 e 17 de fevereiro de 1922, ocorreu um movimento artístico e intelectual denominado “Semana da Arte Moderna” que modificou sensivelmente a sociedade brasileira. Esse movimento de Arte Moderna ocorreu, portanto no Teatro Municipal de São Paulo, em 1922, e como objetivo principal mostrar as novas tendências artísticas aqui já citadas, que vigoravam na Europa. No Brasil, o descontentamento com o estilo anterior foi mais explorado no campo da literatura, com maior ênfase na poesia. Entre os escritores modernistas destacam-se: Oswald de Andrade, Guilherme de Almeida e Manuel Bandeira. Na pintura, destacou-se Anita Malfatti, Tarsila do Amaral, Di Cavalcante e Victor Brecheret. Dentro desse contexto histórico e político social, as mulheres ocuparam um papel de destaque na cultura. Espaço que reivindicavam desde o século XIX, quando passaram a desafiar a sociedade,ao comerciar, prestar serviços e trabalhar fora de casa nas indústrias. Desta forma, a Semana da Arte moderna, trouxe consigo uma maneira muito especial para as mulheres mostrar o quanto havia mudado e contribuído para a sociedade brasileira atingir o auge nas artes.
    [Show full text]
  • 70 Documentos Do Acervo
    DOBRA DOBRA MUSEU LASAR SEGALL MUSEU LASAR SEGALL Os documentos reunidos em vida por Lasar Segall ( ) formam o Arquivo Lasar Segall, uma importante coleção para pesquisa da história da arte brasileira e europeia. Esse acervo, composto por cerca de . itens, constitui-se, pelo seu ineditismo, natureza e dimensão, em uma das mais importantes fontes para a análise e compreensão da vida e da obra do artista, um dos principais nomes da arte moderna brasileira. _CAPA final_70 documentos_MLS.indd 1 06/02/20 11:05 DOBRA DOBRA _CAPA final_70documentos_MLS.indd 2 DOBRA DOBRA DOBRA DOBRA 06/02/20 11:05 MeMória e História MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 1 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 2 06/02/20 11:04 MUSEU LASAR SEGALL 70 DOCUMENTOS DO ACERVO LASAR SEGALL MUSEUM 70 DOCUMENTS FROM THE ARCHIVES _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 3 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 4 06/02/20 11:04 7 ApresentAção Daniel Rincon caiRes 11 MeMóriA e históriA VeRa D’HoRta 31 CurAdoriA e Arquivos de Museus de Arte ana MagalHães 49 divisAs biográficas 63 diásporAs, derivAs, desloCAMentos 79 inquietAções estéticas 99 revolução ModernistA nA AleMAnhA 133 ModernisMos brAsileiros 169 intiMidAde 177 rAízes JudAicas 189 AnotAções téCnicas 197 biblioteCA pArtiCulAr 209 eMpreendiMentos iMobiliários 221 english version 287 Créditos _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 5 06/02/20 11:04 _FINAL_miolo novo_70 documentos_sem codigo com inglês.indd 6 06/02/20 11:04 Apresentação Daniel Rincon caiRes Em 1986 o Arquivo Lasar Segall inaugurava a sua jorna- da.
    [Show full text]
  • O Verde Na Metrópole: a Evolução Das Praças E Jardins Em Curitiba (1885-1916)
    APARECIDA VAZ DA SILVA BAHLS O VERDE NA METRÓPOLE: A EVOLUÇÃO DAS PRAÇAS E JARDINS EM CURITIBA (1885-1916) Dissertação apresentada como requisito parcial à obtenção do grau de Mestre. Curso de Pós-Graduação em História, Setor de Ciências Humanas, Letras e Artes, Universidade Federal do Paraná. Orientadora: Prof.a Dr.a Maria Luiza Andreazza. Co-orientador: Prof. Dr. Magnus Roberto de Mello Pereira CURITIBA 1998 AGRADECIMENTOS À Fundação Cultural de Curitiba, sem a qual este trabalho não poderia ter se concretizado, em especial à Professora Oksana Boruszenko, Diretora do Patrimônio Histórico-Cultural. Aos professores Etelvina Maria de Castro Trindade, Magnus Roberto de Mello Pereira e Maria Luiza Andreazza, pela orientação e apoio. Aos funcionários dos arquivos pesquisados: Arquivo Público do Paraná, Biblioteca Pública do Paraná, Casa da Memória e, especialmente, a Helena Soares, do Museu Paranaense. A meus pais, pelo incentivo, e aos parentes e amigos: Aarão, Adão, Afonso, André, Antony, Edward, Fernanda, Gabriel, Gisele, Isabel, Marcelo e Solange. Com amor, ao meu marido Allan, pela compreensão, apoio e auxílio nos momentos difíceis. SUMÁRIO INTRODUÇÃO 01 PARTE I - A CIDADE E O VERDE 09 1 O VERDE NO SURGIMENTO DO URBANISMO MODERNO 10 1.1 A FÁBRICA EA CIDADE 11 1.2 A CIDADE E SUAS TRANSFORMAÇÕES NA ERA INDUSTRIAL 14 1.3 MORAR NA CIDADE INDUSTRIAL 17 1.4 0 PODER PÚBLICO E OS PROBLEMAS URBANOS 21 1.5 AS NOVAS CONCEPÇÕES URBANÍSTICAS 30 1.60 VERDE NA METRÓPOLE 37 2 O VERDE E O DESENVOLVIMENTO DO URBANISMO NO BRASIL 49 2.1 AS TRANSFORMAÇÕES URBANAS NO BRASIL OITOCENTISTA...
    [Show full text]
  • Group Exhibition at Pina Estação Brings Together Works Which Allude to Fictions About the Origin of the World
    Group exhibition at Pina Estação brings together works which allude to fictions about the origin of the world Experimental works by Antonio Dias, Carmela Gross, Lothar Baumgarten, Solange Pessoa and Tunga suggest cosmogonic narratives Opening: November 10th, 2018, Saturday, at 11 am Visitation: until February 11th, 2019 Pinacoteca de São Paulo, museum of the São Paulo State Secretariat of Culture, presents, from November 10th, 2018 to February 11th, 2019, the exhibition Invention of Origin, on the fourth floor of Pina Estação. With curatorship by Pinacoteca's Nucleus of Research and Criticism and under general coordination of José Augusto Ribeiro, the museum curator, the group exhibition takes as the starting point the film The Origin of the Night: Amazon Cosmos (1973-77), by the German artist Lothar Baumgarten. The film, rarely exhibited, will be presented alongside a selection of works by four Brazilian artists — Antonio Dias, Carmela Gross, Solange Pessoa and Tunga. In common, the selected works allude to primordial times and actions which could have contributed to the narratives about the origin of life. Shot on 16 mm between 1973 and 1977, The Origin of the Night: Amazon Cosmos, by Lothar Baumgarten, is based on a Tupi myth, registered by the French anthropologist Claude Lévi-Strauss, on the origin of the night — which, according to the narrative, used to “sleep” under waters, when animals still did not exist and things had the power of speech. From images captured in the Reno River, between Dusseldorf and Cologne, the artist creates ambiguous situations. “The images are paradoxical, they show a kind of virgin forest in which, however, the waste of human civilization is spread.
    [Show full text]
  • Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)
    Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18) São Paulo, Museu de Arte Contemporânea, Apr 25–27, 2018 Deadline: Mar 9, 2018 Erika Zerwes In 1937 the German government, led by Adolf Hitler, opened a large exhibition of modern art with about 650 works confiscated from the country's leading public museums entitled Degenerate Art (Entartete Kunst). Marc Chagall, Otto Dix, Max Ernst, George Grosz, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Piet Mondrian and Lasar Segall were among the 112 artists who had works selected for the show. Conceived to be easily assimilated by the general public, the exhibition pre- sented a highly negative and biased interpretation of modern art. The Degenerate Art show had a rather large impact in Brazil. There have been persecutions to modern artists accused of degeneration, as well as expressions of support and commitment in the struggle against totalitarian regimes. An example of this second case was the exhibition Arte condenada pelo III Reich (Art condemned by the Third Reich), held at the Askanasy Gallery (Rio de Janeiro, 1945). The event sought to get support from the local public against Nazi-fascism and to make modern art stand as a synonym of freedom of expression. In the 80th anniversary of the Degenerate Art exhibition, the University of São Paulo’s Museum of Contemporary Art, in partnership with the Lasar Segall Museum, holds the International Seminar “Degenerate Art – 80 Years: Repercussions in Brazil”. The objective is to reflect on the repercus- sions of the exhibition Degenerate Art (Entartete Kunst) in Brazil and on the persecution of mod- ern art in the country in the first half of the 20th century.
    [Show full text]
  • Littleton Bible Chapel Position Paper Covering and Uncovering of The
    Littleton Bible Chapel Position Paper Covering and Uncovering of the Head during Prayer and Ministry of the Word 1 Corinthians 11:2-16 It has been the practice of LBC for the past forty-five years to ask women to cover their heads when they pray and teach publicly, and for men to uncover their heads when they pray and teach in a public setting. This practice is not an empty tradition of our church but a direct injunction of the Scriptures. We have prepared the following paper on 1 Corinthians 11:2-16, for you to consider the accuracy and the truthfulness of our practice. It is our desire to encourage believers to take this passage seriously and to consistently practice the teaching therein. This has been a long neglected passage, and today is completely unacceptable in our feminist environment. We understand the offense of this teaching. But since we take the passage at face value and not as cultural, we have no choice but to practice its teaching. Our desire as elders is to make people aware of what the Bible teaches about this distinctive Christian practice and to encourage both men and women to practice this teaching. If however, people disagree with our interpretation, we do not force this practice on anyone. We respect the liberty of the conscience of all our fellow believers. 1 1 Corinthians 11:2-16 Headship and Subordination Symbolized by Covering and Uncovering of the Head The letter of 1 Corinthians deals with many practical local church issues and problems, ones that affect all churches in all ages.
    [Show full text]
  • * Kiki from Montparnasse for More Than Twenty Years, She Was the Muse of the Parisian Neighbourhood of Montparnasse. Alice Prin
    Blog Our blog will be a place used to tell you in detail all those museum's daily aspects, its internal functioning, its secrets, anecdotes and curiosities widely unknown about the building and our collections. How does people work in the museum when it is closed? What secrets lay behind the exemplars of our library? What do the “inhabitants” of our collections hide?... On this space the MACA completely opens its doors to everyone who wants to know us deeper. Welcome to the MACA! • Kiki de Montparnasse (Kiki from Montparnasse) | MACA's celebrities • Miró y el objeto (Miró and the object) | Publications • Derivas de la geometría (Geometry drifts) | Publications • Los patios de canicas (Marbles patios) | MACA's secrets • La Montserrat | MACA's celebrities • Una pasión privada (A private passion) | Publications • Estudiante en prácticas (Apprentice) | MACA's secrets • Arquitectura y arte (Architecture and art) | Publications • Nuestro público (Our public) | MACA's secrets • Gustavo Torner | MACA's celebrities • René Magritte y la Publicidad (René Magritte and Advertising) |MACA's celebrities * Kiki from Montparnasse For more than twenty years, she was the muse of the Parisian neighbourhood of Montparnasse. Alice Prin, who was commonly and widely called Kiki, posed for the best painters of the inter-war Europe and socialized with the most relevant artists of that period. Alice Ernestine Prin, Kiki, was born on the 2nd of October 1901 within a humble family from Châtillon-sur-Seine, a small city of Borgoña. Kiki visited Paris for the first time when she was thirteen and when she was fourteen her family send her to work in the capital.
    [Show full text]
  • Pagu: a Arte No Feminino Como Performance De Si
    UNIVERSIDADE FEDERAL DE GOIÁS FACULDADE DE CIÊNCIAS SOCIAIS MESTRADO INTERDISCIPLINAR EM PERFORMANCES CULTURAIS LUCIENNE DE ALMEIDA MACHADO PAGU: A ARTE NO FEMININO COMO PERFORMANCE DE SI GOIÂNIA, MARÇO DE 2018. UNIVERSIDADE FEDERAL DE GOIÁS FACULDADE DE CIÊNCIAS SOCIAIS MESTRADO INTERDISCIPLINAR EM PERFORMANCES CULTURAIS LUCIENNE DE ALMEIDA MACHADO PAGU: A ARTE NO FEMININO COMO PERFORMANCE DE SI Dissertação apresentada ao Programa de Pós- Graduação Interdisciplinar em Performances Culturais, para obtenção do título de Mestra em Performances Culturais pela Universidade Federal de Goiás. Orientadora: Prof.ª Dr.ª Sainy Coelho Borges Veloso. Co-orientadora: Prof.ª Dr.ª Marcela Toledo França de Almeida. GOIÂNIA, MARÇO DE 2018. i ii iii Dedico este trabalho a quem sabe que a pele é fina diante da abertura do peito, que o coração a toca. Por quem sabe que é impossível viver por certos caminhos sem lutar e não brigar pela vida. Para quem entende que a paz e perdão não tem nada de silencioso quando já se viveu algumas guerras. E por quem vive como se sentisse o seu desaparecimento a cada dia, pois as flores não perdem a sua cor, apenas vivem o suficiente para não desbotar. iv AGRADECIMENTOS Não agradecerei neste trabalho a nomes específicos que me atravessaram na minha caminhada enquanto o escrevia, mas sim as experiências que passei a viver nesse período de tempo em que pela primeira vez me permite viver sem ser apenas agredida. Pelos dias que passei a cuidar de mim mesma. Pela minha caminhada em análise que me permitiu entender subjetivamente o que eu buscava quando coloquei essa temática como pesquisa a ser realizada.
    [Show full text]
  • Spanish Painting During Developmentism
    Spanish Painting during Developmentism From 1960 on, Spanish art consolidated the ground it had gained over the previous decade, in which informal- ism had managed to make itself noticed on the international scene through official promotion and awards given to artists like Antonio Saura and Antoni Tàpies. At the same time, a more lyrical side emerged, which, along with other members of this generation of varied aesthetic options, would set Cuenca’s Museum of Spanish Abstract Art in motion. tinued with what was called “veta brava” Informalism, international recognition was achieved by artists like Antoni Tàpies (1923-2012), who abandoned surrealist figuration in favour of a material informal- ism, Eduardo Chillida (1924-2002), an example of informalist sculpture, and José Guerrero (1914-1991) Spain’s represent- ative of the New York School. Others such as Fernando Zóbel (1924-1984), Gustavo Torner (1925) and Gerardo Rueda (1926- 1996), went on the form part of the central core of what was called the Cuenca Group, representatives of an abstract form that became known as lyrical. These three art- ists shared a sense of aesthetic perfection In the late Fifties and throughout the Sixties, Spain opened up to what lay beyond Fran- and purity of surfaces, producing reflec- co’s regime, so as to modernise the Spanish economy according to the liberal capitalism tive painting, with a very controlled feeling model, resulting in what were known as the Development Plans. One result of the end of far from spontaneity, thereby producing Spain’s isolation was a prolific period for Spanish art, which came into contact with the something that could be called “fake in- international scene for the first time.
    [Show full text]
  • Impressionist & Modern
    Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale.
    [Show full text]
  • FLETCHER-THESIS.Pdf
    Copyright by Kanitra Shenae Fletcher 2011 The Thesis Committee for Kanitra Shenae Fletcher Certifies that this is the approved version of the following thesis: Damage Control: Black Women's Visual Resistance in Brazil and Beyond APPROVED BY SUPERVISING COMMITTEE: Supervisor: Moyosore Okediji Cherise Smith Damage Control: Black Women's Visual Resistance in Brazil and Beyond by Kanitra Shenae Fletcher, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Dedication To my beloved late aunt Aundra Thornton. Abstract Damage Control: Black Women's Visual Resistance in Brazil and Beyond Kanitra Shenae Fletcher, M.A. The University of Texas at Austin, 2011 Supervisor: Moyosore Okediji Jezebels, Mammies, and Matriarchs… These labels signify racialized and gendered social constructions that transnationally pervade the lives of black women. By contextualizing black women’s artwork as visual responses to social subjugation and objectification, one can discern the (literal) materialization of black feminist epistemology through artistic production and the aesthetic concerns that drive expressive work. This thesis therefore analyzes black Brazilian artist Rosana Paulino’s work as a visual form of resistance to three major “controlling images” of black women in Brazil as sexually promiscuous, domestic laborers, and unfit mothers. Her work represents not only the Brazilian black woman’s experience; it broadens and deepens the conversation on black women’s art in Africa and its diasporas, where similar stereotypes exist. Several v of Paulino’s personal statements and artworks address subjects that parallel those made by black women artists--María Magdalena Campos-Pons, Lorna Simpson, Zanele Muholi, and Wangechi Mutu, to name a few--whose artwork is also considered in this paper.
    [Show full text]