DOCSLIB.ORG

Mecanicismo Y Dinamismo En Las Obras De Marcel Duchamp, Fernand Léger Y Umberto Boccioni

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mecanicismo Y Dinamismo En Las Obras De Marcel Duchamp, Fernand Léger Y Umberto Boccioni Mecanicismo y Dinamismo en las obras de Marcel Duchamp, Fernand Léger y Umberto Boccioni, Tres estilos diferentes Realizada por: Dn. Nabil El Hadri Dirigida por: Carmen Grau Bernardo Catedrática de Bellas Artes, Departamento de Pintura U.P.V Valencia 2008 En principio todo mi agradecimiento a las personas que han contribuido de forma significativa en el presente trabajo. A mi Madre por transmitirme la sensibilidad y la comprensión, por su cariño, amor y por enseñarme a que debemos tener la fortaleza de continuar hacia adelante sin importar las circunstancias que la vida nos presenta. A todos los miembros de mi familia. Gracias a la Dra. Carmen Grau Bernardo por ser una profesora ejemplar y por su apoyo y ayuda incondicional para la terminación de esta Tesis. A la Agencia Española de Cooperación Internacional, AECI. Al Señor Alfons Garcia Ninet, Director del Colegio Mayor La Coma por ser un padre y un amigo y por su gran ayuda. Al Dr. Jamal El Haskouri por ser mi amigo y hermano. A Silvia Valeria Aquila y a tod@s mis amigos y amigas. Al personal del Departamento de Pintura de la Facultad de Bellas Artes, Universidad Politécnica de Valencia. Gracias a todos Mecanicismo y dinamismo en las obras de Duchamp, Léger y Boccioni. Tres estilos Diferentes RESUMEN. Durante toda la historia existió una cierta relación entre la ciencia (matemática, física, dinámica, óptica)…y el arte. Desde “1900/1945”, la primera guerra mundial “1914-1918”, otras fechas como la revolución Rusa “1917”, y la teoría de la relatividad como física moderna, con sus nociones de Cuatridimensional, Espacio tiempo “1901”, marcarían tres hitos importantes en el devenir histórico de la iconografía industrial mecanicista. El surgimiento del Psicoanálisis, el cine, la velocidad, las comunicaciones y nuevas teorías físicas y filosóficas, motivaron a que artistas intelectuales vivieran en un constante cuestionamiento y en un ambiente de gran necesidad de conocimientos nuevos. El concepto del mecanicismo logró su máxima expresión con las vanguardias que tuvieron origen en los impresionistas, Cubistas, Dadaístas y Futuristas. Se trataba, por lo tanto, de establecer una estrecha relación entre, la ciencia en general y el arte, en busca de otras nuevas formas de expresión y de otros conceptos. El fenómeno de la atención artística por el mecanicismo y la utilización del objeto mecánico (La Máquina), surge como una actitud generalizada entre las diferentes tendencias de vanguardia. Tanto los futuristas como los dadaístas y cubistas, Boccioni, Duchamp y Léger afrontaron el valor de la máquina no como un nuevo sistema, sino como una fuente inagotable donde obtener las ideas para representar el mecanicismo y el dinamismo en sus cuadros. También como crítica de los temas y del objeto artístico tradicional. Se ha subtitulado precisamente esta Tesis “Mecanicismo y dinamismo en las obras de Marcel Duchamp, Fernand Léger y Umberto Boccioni, Tres estilos diferentes”, para concretar que la relación con el arte, la ciencia y la industria (El maquinismo) no se ha tomado en su significación habitual, sino atendiendo la utilización iconográfica que el artista ha hecho de los elementos formales propios de la industria, aplicados en su obra para lograr muchos objetivos, entre ellos, el movimiento y el dinamismo. La estructura de la tesis se ha organizado en siete capítulos: En el capítulo uno se trata de definir el mecanicismo, cómo surgió y su relación con muchas teorías científicas y filosóficas. En el capítulo dos se habla de Léger como ejemplo en comparación con Duchamp y Boccioni. En el tercer capítulo se trata de mostrar el mecanicismo en la obra de Léger. El capítulo 4 está dedicado a los nuevos lenguajes visuales, los Rayos x y la fotografía, tomando a Duchamp como ejemplo. En el capítulo cinco se hablará de la concepción mecanicista en la obra de Boccioni. En el capítulo seis encontramos los conceptos del movimiento futurista con un esquema detallado del mismo. En el capítulo siete se realizará una cronología sobre el mecanicismo en otros movimientos. La tesis recoge finalmente la relación de los artistas y el arte con la ciencia y el maquinismo a lo largo del siglo. 5 Mecanicismo y dinamismo en las obras de Duchamp, Léger y Boccioni. Tres estilos Diferentes RESUM. Durant tota la història va existir una certa relació entre la ciència (matemàtica, física, dinàmica, òptica)...i l'art. Des de "1900/1945", la primera guerra mundial "1914-1918", altres dates com la revolució Russa "1917", i la teoria de la relativitat com física moderna, amb les seues nocions deQuadridimensional, Espai temps "1901", marcarien tres fites importants en l'esdevindre històric de la iconografia industrial mecanicista. El sorgiment de la Psicoanàlisi, el cine, la velocitat, les comunicacions i novesteories físiques i filosòfiques, van motivar que artistes intel·lectuals visqueren en un constant qüestionament i en un ambient de gran necessitat de coneixements nous. El concepte del mecanicisme va aconseguir la seua màxima expressió amb les avantguardes que van tindre origen en els impressionistes, Cubistes, Dadaistes i Futuristes. Es tractava, per tant, d'establir una estreta relació entre, la ciència en general i l'art, a la recerca d'altres noves formes d'expressió i d'altres conceptes. El fenomen de l'atenció artística pel mecanicisme i la utilització de l'objecte mecànic (La Màquina), sorgix com una actitud generalitzada entre les diferents tendències d'avantguarda. Tant els futuristes com els dadaistes i cubistes, Boccioni, Duchamp i Léger van afrontar el valor de la màquina no com un nou sistema, sinó com una font inesgotable on trauen les idees per a representar el mecanicisme i el dinamisme en els seus quadros. També com a crítica dels temes i de l'objecte artístic tradicional. S'ha subtitulat precisament esta Tesi "Mecanicisme i dinamisme en les obres de Marcel Duchamp, Fernand Léger i Umberto Boccioni, Tres estils diferents", per a concretar que la relació amb l'art, la ciència i la indústria (El maquinisme) no s'ha pres en la seua significació habitual, sinó atenent la utilització iconogràfica que l'artista ha fet dels elements formals propis de la indústria, aplicats en la seua obra per aaconseguir molts objectius, entre ells, el moviment i el dinamisme. L'estructura de la tesi s'ha organitzat en set capítols: En el capítol u es tracta de definir el mecanicisme, com va sorgir i la seua relació amb moltes teories científiques i filosòfiques. En el capítol dos es parla de Léger com a exemple en comparació amb Duchamp i Boccioni. En el tercer capítol es tracta de mostrar el mecanicisme en l'obra de Léger. El capítol 4 està dedicat als nous llenguatges visuals, els Rajos x i la fotografia, prenent Duchamp com a exemple. En el capítol cinc es parlarà de laconcepció mecanicista en l'obra de Boccioni. En el capítol sis trobem els conceptes del moviment futurista amb un esquema detallat del mateix. En el capítol set es realitzarà una cronologia sobre el mecanicisme en altres moviments. La tesi arreplega finalment la relació dels artistes i l'art amb la ciència i el maquinisme al llarg del segle. 6 Mecanicismo y dinamismo en las obras de Duchamp, Léger y Boccioni. Tres estilos Diferentes SUMMARY. During all history a certain relation between science (mathematical existed, physical, dynamic, optical)... and the art. From "1900/1945", World War I "1914-1918", other dates like Russian revolution "1917", and the theory of relativity like modern physics, with their slight knowledge of Cuatridimensional, Space time "1901", would mark three important landmarks in historical happening of the mechanist industrial iconography. The sprouting of the Psychoanalysis, the cinema, the speed, the communications and new physical and philosophical theories, motivated to that intellectual artists lived in a constant cuestionamiento and an atmosphere of great necessity of new knowledge. The concept of the mecanicismo obtained its Maxima expression with the vanguards that had origin in the impresionists, Cubistas, Dadaístas and Futuristas. One treated, therefore, to establish one narrow relation between, science in general and the art, in search of other new forms of expression and other concepts. The phenomenon of the artistic attention by the mecanicismo and the use of the mechanical object (the Machine), arises like an attitude generalized between the different tendencies from vanguard. As much the futurist ones as the dadaístas and cubistas, Boccioni, Duchamp and Léger confronted the value of the machine not like a new system, but like an inexhaustible source where they remove the ideas to represent the mecanicismo and the dynamism in his pictures. Also like critic of the subjects and the traditional artistic object. This Thesis has been subtitled indeed "Mecanicismo and dynamism in works of Marcel Duchamp, Fernand Léger and Umberto Boccioni, Three styles different", to make specific that the relation with the art, science and the industry (the maquinismo) has not been taken in its habitual meaning, but taking care of the use that the artist has done of the own formal elements of the industry, applied in his work to obtain many objectives, among them, the movement and the dynamism iconographic. The structure of the thesis has been organized in seven chapters: In chapter one is to define the mecanicismo, how its relation with many scientific and philosophical theories arose and. In two chapter speech of Léger like example in comparison with Duchamp and Boccioni. In the third chapter one is to show the mecanicismo in the work of Léger. Chapter 4 is dedicated to the new visual languages, X-rayses and the photography, taking to Duchamp like example. In chapter five it will be spoken of the mechanist conception in the work of Boccioni. In chapter six we found the concepts of the futurist movement with a scheme detailed of the same one.
Load more

Recommended publications
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • Saliency-Based Artistic Abstraction with Deep Learning and Regression Trees
    Journal of Imaging Science and Technology R 61(6): 060402-1–060402-9, 2017. c Society for Imaging Science and Technology 2017 Saliency-Based Artistic Abstraction With Deep Learning and Regression Trees Hanieh Shakeri, Michael Nixon, and Steve DiPaola Simon Fraser University, 250—13450 102nd Avenue, Surrey, BC V3T 0A3 E-mail: [email protected] to three or four large masses, and secondly the smaller details Abstract. Abstraction in art often reflects human perception—areas within each mass are painted while keeping the large mass in of an artwork that hold the observer’s gaze longest will generally be 4 more detailed, while peripheral areas are abstracted, just as they mind. are mentally abstracted by humans’ physiological visual process. With the advent of the Artificial Intelligence subfield The authors’ artistic abstraction tool, Salience Stylize, uses Deep of Deep Learning Neural Networks (Deep Learning) and Learning to predict the areas in an image that the observer’s gaze the ability to predict human perception to some extent, this will be drawn to, which informs the system about which areas to keep the most detail in and which to abstract most. The planar process can be automated, modeling the process of abstract abstraction is done by a Random Forest Regressor, splitting the art creation. This article discusses a novel artistic abstraction image into large planes and adding more detailed planes as it tool that uses a Deep Learning visual salience prediction progresses, just as an artist starts with tonally limited masses and system, which is trained on human eye-tracking maps of iterates to add fine details, then completed with our stroke engine.
    [Show full text]
  • Download the Conference Program
    A NOTE FROM THE HOST COMMITTEE For four days in November, Pasadena will serve as MSA’s base of operations. (We understand there’s some minor affair planned for the city on New Year’s Day, but we’re sure it pales in comparison.) Welcome to the joys of Southern California in the fall! None of this would have been possible without the generous help of our local collaborators in and around this lovely city, including the staffs at the Westin Pasadena and the Huntington Library, Art Collections, and Botanical Gardens. Our efforts have been guided along the way by the MSA Board. We’re particularly indebted to Treasurer Gayle Rogers, Program Committee Chair Lisi Schoenbach, and MSA President Stephen Ross. The seasoned advice from last year’s organizer, Carrie Preston, helped keep it all in perspective and Alex Christie, web-master extraordinaire, agreed once again to manage the medium for the MSA message (gratis). MSA 18 would never have happened without the help of our fearless assistant, April Anderson, the one who kept us on track so that fun could be had by all. So, here’s to the fun, however you define it, and to making MSA 18 a “conference to remember.” Kevin Dettmar & Eric Bulson, Yr Obt. Servants 1 A Message from the MSA President For this year’s conference we have taken special efforts to introduce streams within the program that are aimed at more fully integrating interdisciplinary approaches, and in line with the conference theme. “Dream Factories” focuses on topics such as surrealism, psychoanalysis, fashion, architecture, cinema and design; “California and the Cultures of Modernism” considers linguistic, cultural, and racial diversity.
    [Show full text]
  • Valentine Penrose and Alice Rahon Paaien by Georgiana MM
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Modern Languages Publications Archive Through An Hour-giass Lightly: Valentine Penrose and Alice Rahon Paaien by Georgiana M M Colvüe Unik - Pourquoi Breton ûouvet-ii colossal de demander l’avis de la femme? Breton -Parce que ce n’est pas de mise. Unik - Le contraire peut n’être pas de mise. Breton - Je m’en fous. La Révolution Surrèalìsíe (1928)’ Clandestine de rêves je deviens cette inconnue qui passe ei ne sait plus appartenir je dérobe la mémoire je démasque j’outrepasse je suis d’une dernière colère Héhe Marcotte (1 988)’ What of the woman poet? What doesfdid she want? Why is she so hard to ñnd, so rarely mentioned by the critics, ancient or modem? After reminding us that: ‘Platon n’accorde pas droit de cité au pokte,” Blaise Cendrars, in a 1914 poem about the poet’s position in life, leaves ‘woman’llafemme’ suspended in mid-text, traversed by a long reference to the Nietzschean dauce: La femme, la danse que Nietzsche a voulu nous apprendre à danser La femme Mais l’ironie? Today Cendrars’ daughg image evokes the uncertah, neglected position of the woman poet. Sara Miiis appropriately titied a recent article on Gertrude Stein ‘No Poetry for Ladies“ a phrase taken fiom James Joyce (but, irony?) applied to ‘this poeiry for (and by) ladies and perhaps unfit for ladies’ (Mills, p.87). In Alicia Ostnker’s words, in tum borrowed from Hélène Cixous and Claudine Hermann, ‘Women miters have always tried to steal the language.” There is no lack of poetry by women, at any period, in any culture, as the various anthologies of women poets which grew out of the women’s movements of the 1970s have shown.
    [Show full text]
  • Primitivism in Russian Futurist Book Design 1910–14
    Primitivism in Russian Futurist Book Design 1910–14 In the introduction to his book “Primitivism” in 20th ponents in 1913), Russian artists such as Mikhail Jared Ash Century Art, William Rubin notes the relative paucity of Larionov, Natalia Goncharova, Kazimir Malevich, and scholarly works devoted to “primitivism—the interest of Olga Rozanova espoused the fundamental aesthetic prin- modern artists in tribal art and culture, as revealed in ciples and theories, set the priorities, and developed the their thought and work.”1 While considerable attention courage to abandon naturalism in art in favor of free cre- has been paid to primitivism in early-twentieth-century ation, pure expression, and, ultimately, abstraction. French and German art in the time since Rubin’s 1984 The present work focuses on the illustrated publication, Western awareness of a parallel trend in book as the ideal framework in which to examine primi- Russia remains relatively limited to scholars and special- tivism in Russia. Through this medium, artists and writ- ists. Yet, the primary characteristics that Russian artists’ ers of the emerging avant-garde achieved one of the recognized and revered in primitive art forms played as most original responses to, and modern adaptations of, profound a role in shaping the path of modern art and primitivism, and realized the primary goals and aesthetic literature in Russia as they did in the artistic expressions credos set forth in their statements and group mani- of Western Europe. “Primitive” and “primitivism,” as festos. These artists drew on a wide range of primitive they are used in this text, are defined as art or an art art forms from their own country: Old Russian illumin- style that reveals a primacy and purity of expression.
    [Show full text]
  • Latin Derivatives Dictionary
    Dedication: 3/15/05 I dedicate this collection to my friends Orville and Evelyn Brynelson and my parents George and Marion Greenwald. I especially thank James Steckel, Barbara Zbikowski, Gustavo Betancourt, and Joshua Ellis, colleagues and computer experts extraordinaire, for their invaluable assistance. Kathy Hart, MUHS librarian, was most helpful in suggesting sources. I further thank Gaylan DuBose, Ed Long, Hugh Himwich, Susan Schearer, Gardy Warren, and Kaye Warren for their encouragement and advice. My former students and now Classics professors Daniel Curley and Anthony Hollingsworth also deserve mention for their advice, assistance, and friendship. My student Michael Kocorowski encouraged and provoked me into beginning this dictionary. Certamen players Michael Fleisch, James Ruel, Jeff Tudor, and Ryan Thom were inspirations. Sue Smith provided advice. James Radtke, James Beaudoin, Richard Hallberg, Sylvester Kreilein, and James Wilkinson assisted with words from modern foreign languages. Without the advice of these and many others this dictionary could not have been compiled. Lastly I thank all my colleagues and students at Marquette University High School who have made my teaching career a joy. Basic sources: American College Dictionary (ACD) American Heritage Dictionary of the English Language (AHD) Oxford Dictionary of English Etymology (ODEE) Oxford English Dictionary (OCD) Webster’s International Dictionary (eds. 2, 3) (W2, W3) Liddell and Scott (LS) Lewis and Short (LS) Oxford Latin Dictionary (OLD) Schaffer: Greek Derivative Dictionary, Latin Derivative Dictionary In addition many other sources were consulted; numerous etymology texts and readers were helpful. Zeno’s Word Frequency guide assisted in determining the relative importance of words. However, all judgments (and errors) are finally mine.
    [Show full text]
  • 1 UFF Disciplina: Seminário História Poder E Ideias Políticas XIX Denise
    1 UFF Disciplina: Seminário História Poder e Ideias Políticas XIX Denise Rollemberg 2º semestre de 2016 Turma: N1 Horário: 18:00 às 20:00 (3as e 5as) Título: A República de Weimar: Alemanha, 1919-1933 Início: 30/8/2016 (Pasta da xérox da família: 176) dropbox: Programa : A disciplina pretende introduzir o aluno de graduação na história da Alemanha no período entre as duas Guerras Mundiais, através do estudo da República de Weimar, do seu nascimento (1919) até a ascensão do nacional-socialismo ao poder (1933). Nascida da derrota do império na Grande Guerra, a República esteve marcadapor movimentos sociais, políticos, artísticos e culturais inovadores e, não raramente, revolucionários. Entre a tradição monárquica autoritária, a perspectiva de construção da República democrática e o surgimento do ideário nazista, as tensões moldaram esses anos. A disciplina procura ainda explorar a história de Weimar por meio das Artes que a notabilizaram (artes plásticas, cinema, teatro, música etc.). UNIDADES: 1) 1ª Fase - 1918-1924: Pós-Guerra, crises e vanguardas O fim da Grande Guerra e o nascimento da República (1918). A Revolução alemã. O “Ditado de Versalhes” . A Constituição de Weimar. A crise do pós-guerra. O Expressionismo: artes plásticas, literatura, teatro, dança, música, cinema, arquitetura. A Bauhaus (Weimar, Dessau, Berlim,1919-33). Textos Filmes: O Gabinete do DrCaligari, de Robert Wiene, 1920. Nosferatu, de F. Murnau, 1922. 2) A 2ª Fase 1924-1929: Anos de Estabilidade A estabilidade econômica. A eleição do marechal Hindenburg (1925). O movimento de jovens. 1 2 Os «dourados anos 20». Berlim: o paradigma da metrópole. Nova Objetividade (1924-1932): artes plásticas, literatura.
    [Show full text]
  • „Lef“ and the Left Front of the Arts
    Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................
    [Show full text]
  • VENTE DU 02/03/2014 À 14H FAX 03 87 36 93 02 43, Rue Dupont Des Loges 57000 METZ [email protected]
    MARTIN – BAILLY & ASSOCIES TEL 03 87 36 68 53 hoteldesventesdemetz.fr VENTE DU 02/03/2014 à 14H FAX 03 87 36 93 02 43, rue Dupont des Loges 57000 METZ [email protected] N° Description Estimations 1 Gantner. Paysage. Lithographie. signé en bas à droite et n°100/100. 50 x 33 cm à vue. 30 / 50 2 Georges Laporte. Maisons en Bretagne. Lithographie. signé en bas à droite et marquée E.A. 50 / 80 49 x 64 cm à vue. 3 Camille Hilaire 1916-2004. Paysage. Lithographie. SBD. N°103/175. 51 x 66 cm à vue. 100 / 200 4 Camille Hilaire 1916-2004. Nature morte au bouquet. Lithographie. SBD. N° 68/200. 71 x 71 150 / 250 cm à vue. 5 Camille Hilaire. Femme à la fenêtre. Lithographie Numérotée 106/300 et signée. 44 x 59 cm 50 / 100 à vue. Joint: Pierre Pages. Vue de Paris. Lithographie. 6 Jacques Callot. Le siège. Gravure. 8.5 x 19.2 cm (accidents). Joint une estampe représentant 50 / 100 une vue de Metz. 7 Szafran. Le funambule. Lithographie. signée en bas à droite et marquée E.A. 76 x 56 cm. 400 / 500 8 Jean POUGNY (1894-1956). Dix linogravures originales 1914-1920. "L'ATELIER" poème de 300 / 500 Jacques Prévert, Paris. Exemplaire hors commerce numéroté 10 sur 30 (manque une estampe). Haut. 148, larg. 114 cm. 9 André Masson. Errance dans le jardin d'Eros. Lithographie. signé en bas à droite et datée 150 / 200 1964. 21 x 27 cm. 10 Camille HILAIRE (1916-2004). Les deux amies sur la plage.
    [Show full text]
  • Checklist of the Judith Rothschild Foundation Gift
    Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St.
    [Show full text]
  • Universidade Do Estado Do Rio De Janeiro Centro De Educação E Humanidades Instituto De Letras
    Universidade do Estado do Rio de Janeiro Centro de Educação e Humanidades Instituto de Letras Anne Caroline de Morais Santos O périplo da formação de Berardo Viola e de Franz Biberkopf: um estudo do Bildungsroman em Fontamara, de Ignazio Silone, e em Berlin Alexanderplatz, de Alfred Döblin Rio de Janeiro 2012 Anne Caroline de Morais Santos O périplo da formação de Berardo Viola e de Franz Biberkopf: um estudo do Bildungsroman em Fontamara, de Ignazio Silone, e em Berlin Alexanderplatz, de Alfred Döblin Dissertação apresentada, como requisito parcial para a obtenção do título de Mestre, ao Programa de Pós-Graduação em Letras, da Universidade do Estado do Rio de Janeiro. Área de concentração: Teoria da Literatura e Literatura Comparada. Orientadora: Profª. Dra. Delia Cambeiro Praça Coorientadora: Profª. Dra. Magali Moura Rio de Janeiro 2012 CATALOGAÇÃO NA FONTE UERJ/REDE SIRIUS/CEHB S237 Santos, Anne Caroline de Morais. O périplo da formação de Berardo Viola e de Franz Biberkopf: um estudo do Bildungsroman em Fontamara, de Ignazio Silone, e em Berlin Alexanderplatz, de Alfred Döblin / Anne Caroline de Morais Santos. – 2012. 106 f. Orientadora: Delia Cambeiro Praça. Coorientadora: Magali dos Santos Moura. Dissertação (mestrado) – Universidade do Estado do Rio de Janeiro, Instituto de Letras. 1. Literatura comparada – Teses. 2. Bildungsroman - Teses. 3. Döblin, Alfred, 1878-1957. Berlin Alexanderplatz - Teses. 4. Silone, Ignazio, 1900-1978. Fontamara - Teses. 5. Goethe, Johann Wolfgang Von, 1749-1832. Wilhelm Meisters lehrjahre – Teses. I.Praça, Delia Cambeiro. II. Moura, Magali dos Santos. II. Universidade do Estado do Rio de Janeiro. Instituto de Letras. III. Título. CDU 82.091 Autorizo, apenas para fins acadêmicos e científicos, a reprodução total ou parcial desta dissertação desde que citada a fonte.
    [Show full text]
  • Liste De Discussion Mélusine 2 001
    LISTE DE DISCUSSION MÉLUSINE 2 001 Bienvenue à Mélusine Liste de diffusion sur le Surréalisme Protocole de communication Mélusine est un outil de communication et d’échanges électroniques proposé et régi par le Centre de recherches sur le Surréalisme, Université Sorbonne Nouvelle-Paris III, directeur Henri Béhar. Le Centre de recherches sur le Surréalisme se déclare propriétaire du nom et du concept de la liste Mélusine mais ne se reconnaît aucun droit de propriété sur le contenu des messages de ses membres. L’ensemble des échanges diffusés sur la liste Mélusine sera ultérieurement archivé sur le site du Centre de recherche sur le Surréalisme. http://www.cavi.univ- paris3.fr/Rech_sur/listdiff. html La liste de diffusion Mélusine propose à tous ceux qui souhaitent en devenir membres d’échanger toute information ou question touchant à l’actualité ou à l’histoire du surréalisme. Cette liste sera modérée afin qu’elle ne s’écarte pas trop de l’objet qu’elle se donne (modératrice : Carole Aurouet). L’inscription à Mélusine est gratuite, comme à toutes les listes de diffusion, et n’oblige en aucun cas les membres à intervenir. Chacun intervient à son gré et selon ses besoins, soit pour poser une question, soit pour répondre à la question d’un autre membre. L’inscription à Mélusine n’implique aucun engagement sauf celui d’en respecter l’objet et de rester courtois en toute circonstance. Les adresses des membres ne seront ni vendues ni échangées dans quelque cadre que ce soit. Les membres de la liste Mélusine sont tenus de communiquer en français dans la mesure du possible mais sans exclusive à l’égard de l’anglais ou de toute autre langue dans laquelle les membres pourront souhaiter s’exprimer avec l’ensemble du groupe.
    [Show full text]