The Exhibition Programme Palais Lumière, Evian (Quai Charles-Albert Besson) Open Every Day 10 A.M.-7 P.M
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Percy Savage Interviewed by Linda Sandino: Full Transcript of the Interview
IN PARTNERSHIP WITH AN ORAL HISTORY OF BRITISH FASHION Percy Savage Interviewed by Linda Sandino C1046/09 IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. THE NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Ref. No.: C1046/09 Playback No.: F15198-99; F15388-90; F15531-35; F15591-92 Collection title: An Oral History of British Fashion Interviewee’s surname: Savage Title: Mr Interviewee’s forenames: Percy Sex: Occupation: Date of birth: 12.10.1926 Mother’s occupation: Father’s occupation: Date(s) of recording: 04.06.2004; 11.06.2004; 02.07.2004; 09.07.2004; 16.07.2004 Location of interview: Name of interviewer: Linda Sandino Type of recorder: Marantz Total no. of tapes: 12 Type of tape: C60 Mono or stereo: stereo Speed: Noise reduction: Original or copy: original Additional material: Copyright/Clearance: Interview is open. Copyright of BL Interviewer’s comments: Percy Savage Page 1 C1046/09 Tape 1 Side A (part 1) Tape 1 Side A [part 1] .....to plug it in? No we don’t. Not unless something goes wrong. [inaudible] see well enough, because I can put the [inaudible] light on, if you like? Yes, no, lovely, lovely, thank you. -
Art on the Page
Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it. -
Surrealist Masculinities
UC-Lyford.qxd 3/21/07 12:44 PM Page 15 CHAPTER ONE Anxiety and Perversion in Postwar Paris ans Bellmer’s photographs of distorted and deformed dolls from the early 1930s seem to be quintessential examples of surrealist misogyny (see Fig. 4). Their violently erotic Hreorganization of female body parts into awkward wholes typifies the way in which surrealist artists and writers manipulated and objectified femininity in their work. Bellmer’s manipulation and reconstruction of the female form also encourage comparison with the mutilation and reconstruction that prevailed across Europe during World War I. By viewing the dolls in this context, we might see their distorted forms as a displacement of male anxiety onto the bodies of women. Thus, Bellmer’s work—and the work of other male surrealists who de- picted fragmented female bodies—might reflect not only misogyny but also the disavowal of emasculation through symbolic transference. The fabrication of these dolls also expresses a link to consumer society. The dolls look as if they could be surrealist mannequins made by the prosthetic industry; their deformed yet interlocking parts reflect a chilling combination of mass-market eroticism and wartime bodily trauma. These connections between misogyny and emasculation anxiety, between eroticism and the horror of war trauma, and between consump- tion and desire are not specific to Bellmer’s idiosyncratic visual rhetoric, however. The practice of joining contradictory approaches and blurring boundaries between objects, identities, and media was more prevalent among the male surrealists than is usually acknowledged. If we open our eyes to consider these contrasts as part of a broader surrealist agenda, we can see how the surrealists aimed to destabilize their viewers’ assumptions about the boundaries 15 Copyrighted Material UC-Lyford.qxd 3/21/07 12:44 PM Page 16 FIGURE 4 Hans Bellmer, Poupée, 1935. -
Art - Histoire De L'art - Architecture - Archeologie
Librairie Le Moulin Segalat ART - HISTOIRE DE L'ART - ARCHITECTURE - ARCHEOLOGIE Thèmes, mots- Référence : Auteur : Titre : Editeur : Description : Prix Vente : clés : In-4°. 709pp. Relié. Reliure demi-toile beige. Plats marbrés. Dos lisse. Pièce de titre. Titre doré. Ouvrage contenant 31 planches ht et 244 DR0067 MÜNTZ, Eugène Raphaël. Sa vie, son œuvre et son temps. Paris, Hachette, 1886 reproductions de tableaux ou fac-similés de dessins. Nombreuses rousseurs sur les tranches mais texte et illustrations très frais. Etat 75,00 Ancien, Art moyen Histoires instructives. Les fausses perles et le plomb de chasse. Suivi de la dentelle, In-18°. 141pp. Reliure Cartonnage de l'éditeur papier gaufré rouge et blanc, fer "rococo" doré, vignette chromolithographiée insérée sur le Ancien, Art de HB018 Chavannes de la Giraudiere, H Tours, Alfred Mame, 1878 25,00 La soie plat. Frontispice. Coiffe supérieure et pieds usés. Nombreuses rousseurs. Etat d'usage. vivre 25901 ALECHINSKY A la ligne. Weber, Paris, 1973; Petit in-4°, broché, couverture illustrée. 40,00 Art Paris, Editions Cercle d'Art, In-4°. 123pp. Relié. Cartonnage d'éditeur or. Jaquette illustrée. Très légère déchirure au pied. Texte traduit par François Hirsch. Collection 60115 AMIRANACHVILI, Chalva Les émaux de Géorgie. 35,00 Art 1962 ''Les merveilles de l'art en orient''. Excellent état. 50146 ANDERES, Bernhard Grèce Zurich, Silva, 1966 20,00 Art sl, PACIFIC Coast Publishing, 50138 ANONYME Cairns and the tropical north Volume 3 20,00 Art 1994 35061 BALLY, Theodor Catalogue d'exposition, Galerie Lienhard Zürich, Galerie Lienhard, 1960 Catalogue de l'exposition Bally Zürich 1960 20,00 Art 50185 BARRET, André Voir la Grèce Paris, Hachette, 1971 30,00 Art Paris, Les Editions de In-folio. -
Suzanne Preston Blier Picasso’S Demoiselles
Picasso ’s Demoiselles The Untold Origins of a Modern Masterpiece Suzanne PreSton Blier Picasso’s Demoiselles Blier_6pp.indd 1 9/23/19 1:41 PM The UnTold origins of a Modern MasTerpiece Picasso’s Demoiselles sU zanne p res T on Blie r Blier_6pp.indd 2 9/23/19 1:41 PM Picasso’s Demoiselles Duke University Press Durham and London 2019 Blier_6pp.indd 3 9/23/19 1:41 PM © 2019 Suzanne Preston Blier All rights reserved Printed in the United States of America on acid- free paper ∞ Cover designed by Drew Sisk. Text designed by Mindy Basinger Hill. Typeset in Garamond Premier Pro and The Sans byBW&A Books Library of Congress Cataloging- in- Publication Data Names: Blier, Suzanne Preston, author. Title: Picasso’s Demoiselles, the untold origins of a modern masterpiece / Suzanne Preston Blier. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018047262 (print) LCCN 2019005715 (ebook) ISBN 9781478002048 (ebook) ISBN 9781478000051 (hardcover : alk. paper) ISBN 9781478000198 (pbk. : alk. paper) Subjects: LCSH: Picasso, Pablo, 1881–1973. Demoiselles d’Avignon. | Picasso, Pablo, 1881–1973—Criticism and interpretation. | Women in art. | Prostitution in art. | Cubism—France. Classification: LCC ND553.P5 (ebook) | LCC ND553.P5 A635 2019 (print) | DDC 759.4—dc23 LC record available at https://lccn.loc.gov/2018047262 Cover art: (top to bottom): Pablo Picasso, Les Demoiselles d’Avignon, detail, March 26, 1907. Museum of Modern Art, New York (Online Picasso Project) opp.07:001 | Anonymous artist, Adouma mask (Gabon), detail, before 1820. Musée du quai Branly, Paris. Photograph by S. P. -
LEE MILLER, PICASSO in PRIVATE from 1St June to 16Th September 2007
LEE MILLER, PICASSO IN PRIVATE From 1st June to 16th September 2007 PRESS CONFERENCE 31st May 2007, at 11.00 a.m. INAUGURATION 31st May 2007, at 19.30 p.m. Press contact: Manel Baena Phone: + 34 93 256 30 21 Fax: + 34 93 315 01 02 [email protected] CONTENTS 1. PRESENTATION 2. KEY ASPECTS OF THE EXHIBITION 3. EXHIBITION TOUR 4. EXHIBITION AREAS 5. «The Boy that bit Picasso» Antony Penrose, son of Lee Miller and Roland Penrose, director of Lee Miller Archives and The Penrose Collection 6. TEXT OF THE EXHIBITION CURATOR Katherine Slusher, «The Muse, the Minotaur and the Art Lover. Lee Miller, Picasso and Penrose» 1. PRESENTATION Lee Miller, (USA 1907 - UK 1977) was a woman of many facets: a commercial photographer, news reporter, war correspondent, beautiful model and a Surrealist artist. During her Paris years she collaborated with Man Ray. Miller was also a photographer who took over a thousand photographs of Picasso in the course of their thirty-six year friendship. Miller and Picasso might well have met in Paris in 1929, where she lived with Man Ray or in 1930 when she had the lead role in Jean Cocteau’s movie, Le sang d’un poète. As chance would have it, it wasn’t until August 1937 that the audacious American photographer and Pablo Picasso finally met. Their enduring friendship began when Miller came to Mougins on the French Riviera with her lover Roland Penrose. During her stay in Mougins, Picasso painted six portraits of Miller dressed as an Arlésienne. Five of those paintings are on display in this exhibition. -
Albert Skira Et Ses Livres D'art
Albert Skira et ses livres d’art (1948-1973) Corisande Evesque To cite this version: Corisande Evesque. Albert Skira et ses livres d’art (1948-1973). Histoire. 2015. dumas-01256888 HAL Id: dumas-01256888 https://dumas.ccsd.cnrs.fr/dumas-01256888 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 Couverture : Albert Skira au milieu de ses reproductions, le 6 février 1954 BGE, Centre d’iconographie genevoise Fonds du photographe Paul Boissonnas !2 UNIVERSITÉ PARIS I – PANTHÉON SORBONNE UFR 09 - HISTOIRE DES SOCIÉTÉS OCCIDENTALES CONTEMPORAINES CENTRE D’HISTOIRE SOCIALE DU XXe SIECLE ALBERT SKIRA ET SES LIVRES D’ART (1948-1973) Corisande EVESQUE Mémoire de Master 2 recherche sous la direction de Mme Julie Verlaine 2015 !3 REMERCIEMENTS Tout d’abord, tous mes remerciements vont à Julie Verlaine qui m’a orientée et suivie tout au long de mes recherches, ainsi qu’à Pascal Ory et à Jean-Yves Mollier qui ont répondu à mes questionnements. -
Dada and Surrealist Journals in the Mary Reynolds Collection
Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States. -
A Thesis Submitted to the College of the Arts of Kent State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts
FROM ANCIENT GREECE TO SURREALISM: THE CHANGING FACES OF THE MINOTAUR A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brenton Pahl December, 2017 Thesis written by Brenton Pahl B.A., Cleveland State University, 2009 M.A., Kent State University, 2017 Approved by —————————————————— Marie Gasper-Hulvat, Ph.D., Advisor —————————————————— Marie Bukowski, M.F.A., Director, School of Art —————————————————— John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES ………………………………………………………………………………….……iv ACKNOWLEDGMENTS ………………………………………………………………………………..vii I. INTRODUCTION Mythology in Surrealism ………………………………………………………………………….1 The Minotaur Myth ………………………………………………………………………………..4 The Minotaur in Art History …………………………………………………..…………………..6 II. CHAPTER 1 Masson’s Entry into Surrealism ……………………..…………………………………..…….…10 The Splintering of Surrealism …………..…………………….…………………………….……13 La Corrida …………………………………………………………………………………….….15 III. CHAPTER 2 The Beginnings of Minotaure ……………………………………………………………………19 The Remaining Editions of Minotaure …………………………………………………………..23 IV. CHAPTER 3 Picasso’s Minotaur ……………………………………………………………..………….……..33 Minotauromachy …………………………………………………………………………………39 V. CHAPTER 4 Masson and the Minotaur …………………..…………………………………………………….42 Acephalé ………………………………………………………………………………………….43 The Return to the Minotaur ………………………………………………………………………46 Masson’s Second Surrealist Period …………………..………………………………………….48 VI. CONCLUSION -
Picasso: Girl Before a Mirror
PICASSO GIRL BEFORE A MIRROR ANNE UMLAND THE MUSEUM OF MODERN ART, NEW YORK At some point on Wednesday, March 14, 1932, Pablo Picasso stepped back from his easel and took a long, hard look at the painting we know as Girl before a Mirror. Deciding there was nothing more he wanted to change or to add, he recorded the day, month, and year of completion on the back of the canvas and signed it on the front, in white paint, up in the picture’s top-left corner.1 Riotous in color and chockablock with pattern, this image of a young woman and her mirror reflection was finished toward the end of a grand series of can- vases the artist had begun in December 1931, three months before.2 Its jewel tones and compartmentalized composition, with discrete areas of luminous color bounded by lines, have prompted many viewers to compare its visual effect to that of stained glass or cloisonné enamel. To draw close to the painting and scrutinize its surface, however, is to discover that, unlike colored glass, Girl before a Mirror is densely opaque, rife with clotted passages and made up of multiple complex layers, evidence of its having been worked and reworked. The subject of this painting, too, is complex and filled with contradictory symbols. The art historian Robert Rosenblum memorably described the girl’s face, at left, a smoothly painted, delicately blushing pink-lavender profile com- bined with a heavily built-up, garishly colored yellow-and-red frontal view, as “a marvel of compression” containing within itself allusions to youth and old age, sun and moon, light and shadow, and “merging . -
Read a Free Sample
LEAH DICKERMAN WITH CONTRIBUTIONS BY MATTHEW AFFRON YVE-ALAIN BOIS MASHA CHLENOVA ESTER COEN CHRISTOPH COX HUBERT DAMISCH RACHAEL Z. DELUE HAL FOSTER MARK FRANKO MATTHEW GALE PETER GALISON MARIA GOUGH JODI HAUPTMAN GORDON HUGHES DAVID JOSELIT ANTON KAES DAVID LANG SUSAN LAXTON GLENN D. LOWRY PHILIPPE-ALAIN MICHAUD JAROSLAW SUCHAN LANKA TATTERSALL MICHAEL R. TAYLOR 2 The Museum of Modern Art, New York 40 46 50 64 72 74 CONTENTS Pablo PICASSO: COLORS AND GAMES: VASILY KANDINSKY, MR. KUPKA AMONG ON THE MOVE ABSTRACTION THE CADAQUÉS MUSIC AND ABSTRACTION, WITHOUT WORDS VERTICALS HUBERT DAMIsCH CHEZ DELAUNAY EXPERIMENT 1909 TO 1912 LeAH DICKERMAN LANKA TatTersall GOrDON HUGHES YVe-ALAIN BOIs DAVID LANG 7 82 94 100 110 116 124 FOREWORD CONTRASTS OF COLORS, LÉOPOLD SURVAGE’S WITH COLOR FRANCIS PICABIA: FERNAND LÉGER: GIACOMO BALLA: GLeNN D. LOWrY CONTRASTS OF WORDS PAPER CINEMA rACHaEL Z. DeLUe ABSTRACTION METALLIC SENSATIONS THE MOST LUMINOUS MATTHeW AFFrON JODI HAUPTMAN AND SINCERITY MATTHeW AFFrON ABSTRACTION MICHAeL r. TAYLOr ESTER COeN 9 134 144 154 172 182 188 ACKNOWLEDGMENTS PAROLE IN LIBERTÀ MUSIC, NOISE, VORTICISM: PLANETARY PAINTING STRIPPED BARE DECORATION AND AGAINST JODI HAUPTMAN AND ABSTRACTION ABSTRACTION DAVID JOSELIT ABSTRACTION THE CIRCLE CHrIsTOPH COX MATTHeW GALe IN BLOOMSBURY rACHAeL Z. DeLUe MATTHeW AFFrON 12 200 206 226 238 254 262 370 INVENTING ABSTRACTION EARLY RUSSIAN 0.10 PIET MONDRIAN: 3 DE STIJL MODELS THE SPATIAL OBJECT THE LANGUAGE OF INDEX LeAH DICKERMAN ABSTRACTION, MAsHA CHLeNOVA TOWARD THE YVe-ALAIN BOIs MArIA -
Press Release Dalí. All of the Poetic Suggestions and All of the Plastic
Dalí. All of the poetic suggestions and all of the plastic possibilities DATES: April 27 – September 2, 2013 PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Sabatini Building. 3rd floor. ORGANIZED BY: Museo Reina Sofía and Centre Pompidou, Paris, in collaboration with the Salvador Dalí Museum Saint Petersburg (Florida). With the special collaboration of the Fundació Gala-Salvador Dalí, Figueres. CHIEF CURATOR: Jean-Hubert Martin CURATORS: Montse Aguer (exhibition at the Museo Reina Sofía, Madrid), Jean-Michel Bouhours and Thierry Dufrêne COORDINATOR: Aurora Rabanal The Museo Reina Sofía presents a major exhibition dedicated to Salvador Dalí, one of the most comprehensive shows yet held on the artist from Ampurdán. Gathered together on this unique occasion are more than 200 works from leading institutions, private collections, and the three principal repositories of Salvador Dalí’s work, the Fundació Gala-Salvador Dalí (Figueres), the Salvador Dalí Museum of St. Petersburg (Florida), and the Museo Reina Sofía (Madrid), which in this way are joining forces to show the public the best of their collections. The exhibition, a great success with the public when shown recently at the Centre Pompidou in Paris, aims to revalue Dalí as a thinker, writer and creator of a peculiar vision of the world. One exceptional feature is the presence of loans from leading institutions like the MoMA (New York), which is making available the significant work The Persistence of Memory (1931); the Philadelphia Museum of Art, which is lending Soft Construction with Boiled Beans (Premonition of Civil War) (1936); the Tate Modern, whose contribution is Metamorphosis of Narcissus (1937); and the Musées Royaux des Beaux-Arts, Belgium, the lender of The Temptation of St Anthony (1946).