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TEL AVIV PANTONE 425U Gris PANTONE 653C Bleu Bleu PANTONE 653 C
ART MODERNE ET CONTEMPORAIN TRIPLEX PARIS - NEW YORK TEL AVIV Bleu PANTONE 653 C Gris PANTONE 425 U Bleu PANTONE 653 C Gris PANTONE 425 U ART MODERNE et CONTEMPORAIN Ecole de Paris Tableaux, dessins et sculptures Le Mardi 19 Juin 2012 à 19h. 5, Avenue d’Eylau 75116 Paris Expositions privées: Lundi 18 juin de 10 h. à 18h. Mardi 19 juin de 10h. à 15h. 5, Avenue d’ Eylau 75116 Paris Expert pour les tableaux: Cécile RITZENTHALER Tel: +33 (0) 6 85 07 00 36 [email protected] Assistée d’Alix PIGNON-HERIARD Tel: +33 (0) 1 47 27 76 72 Fax: 33 (0) 1 47 27 70 89 [email protected] EXPERTISES SUR RDV ESTIMATIONS CONDITIONS REPORTS ORDRES D’ACHAt RESERVATION DE PLACES Catalogue en ligne sur notre site www.millon-associes.com בס’’ד MODERN AND CONTEMPORARY FINE ART NEW YORK : Tuesday, June 19, 2012 1 pm TEL AV IV : Tuesday, 19 June 2012 20:00 PARIS : Mardi, 19 Juin 2012 19h AUCTION MATSART USA 444 W. 55th St. New York, NY 10019 PREVIEW IN NEW YORK 444 W. 55th St. New York, NY. 10019 tel. +1-347-705-9820 Thursday June 14 6-8 pm opening reception Friday June 15 11 am – 5 pm Saturday June 16 closed Sunday June 17 11 am – 5 pm Monday June 18 11 am – 5 pm Other times by appointment: 1 347 705 9820 PREVIEW AND SALES ROOM IN TEL AVIV 15 Frishman St., Tel Aviv +972-2-6251049 Thursday June 14 6-10 pm opening reception Friday June 15 11 am – 3 pm Saturday June 16 closed Sunday June 17 11 am – 6 pm Monday June 18 11 am – 6 pm tuesday June 19 (auction day) 11 am – 2 pm Bleu PREVIEW ANDPANTONE 653 C SALES ROOM IN PARIS Gris 5, avenuePANTONE d’Eylau, 425 U 75016 Paris Monday 18 June 10 am – 6 pm tuesday 19 June 10 am – 3 pm live Auction 123 will be held simultaneously bid worldwide and selected items will be exhibited www.artonline.com at each of three locations as noted in the catalog. -
ÉCOLE DE PARIS Aukcja 14 Maja 2019 Warszawa
ÉCOLE DE PARIS Aukcja 14 maja 2019 Warszawa ÉCOLE DE PARIS 14 MAJA 2019 (WTOREK) GODZ. 19 WYSTAWA OBIEKTÓW 29 KWIETNIA – 14 MAJA 2019 R. PONIEDZIAŁEK – PIĄTEK W GODZINACH OD 11 DO 19 SOBOTA W GODZINACH OD 11 DO 16 MIEJSCE AUKCJI I WYSTAWY DOM AUKCYJNY DESA UNICUM UL. PIĘKNA 1A, WARSZAWA KOORDYNATORZY AUKCJI Tomasz Dziewicki, [email protected], 22 163 66 46, 735 208 999 Aleksandra Łukaszewska, [email protected], 22 163 67 05, 664 981 465 ZLECENIA LICYTACJI [email protected], tel. 22 163 67 00 INDEKS Aberdam Alfred 46-47 Marevna Marie Vorobieff 61-62 Band Max 48 Menkes Zygmunt Józef 40-42 Blond Maurice 69 Merkel Jerzy 39 Bogusławskaja-Puni Ksenia 28 Mędrzycki Maurycy 3-4 Eibisch Eugeniusz 44-45 Mondzain Szymon 37-38 Eleszkiewicz Stanisław 59-60 Muter Mela 19 - 21 Epstein Henryk 29-33 Ortiz de Zarate Manuel 49 Gottlieb Leopold 13-15 Pankiewicz Józef 35-36 Grunsweigh Natan 50 Peske Jean (Jan Mirosław Peszke) 58 Halicka Alicja 26-27 Pressmane Joseph 70 Hassenberg Irena (Reno) 52 Schreter Zygmunt 53-54 Hayden Henryk 22-25 Sterling Marc 71-72 Kanelba Rajmund 1-2 Terechkovitch Constantin 63 Kisling Mojżesz 5-8 Terlikowski Włodzimierz 74-77 Kramsztyk Roman 43 Weinbaum Abraham 56-57 Krémegne Pinchus 55 Weingart Joachim 64 Lambert-Rucki Jean 34 Weissberg Leon Landau Zygmunt 73 51 Łempicka Tamara 9 Zak Eugeniusz 10-12 Makowski Tadeusz 16-18 Zucker Jakub 65-68 OKŁADKA FRONT poz. 5 Mojżesz Kisling, Khera - Kiki de Montmartre, 1932 r. • II OKŁADKA - STRONA 1 poz. 36 Józef Pankiewicz, Pejzaż z Saint-Tropez, 1922 r. -
A Resource Guide to Literature, Poetry, Art, Music & Videos by Holocaust
Bearing Witness BEARING WITNESS A Resource Guide to Literature, Poetry, Art, Music, and Videos by Holocaust Victims and Survivors PHILIP ROSEN and NINA APFELBAUM Greenwood Press Westport, Connecticut ● London Library of Congress Cataloging-in-Publication Data Rosen, Philip. Bearing witness : a resource guide to literature, poetry, art, music, and videos by Holocaust victims and survivors / Philip Rosen and Nina Apfelbaum. p. cm. Includes bibliographical references (p.) and index. ISBN 0–313–31076–9 (alk. paper) 1. Holocaust, Jewish (1939–1945)—Personal narratives—Bio-bibliography. 2. Holocaust, Jewish (1939–1945), in literature—Bio-bibliography. 3. Holocaust, Jewish (1939–1945), in art—Catalogs. 4. Holocaust, Jewish (1939–1945)—Songs and music—Bibliography—Catalogs. 5. Holocaust,Jewish (1939–1945)—Video catalogs. I. Apfelbaum, Nina. II. Title. Z6374.H6 R67 2002 [D804.3] 016.94053’18—dc21 00–069153 British Library Cataloguing in Publication Data is available. Copyright ᭧ 2002 by Philip Rosen and Nina Apfelbaum All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–069153 ISBN: 0–313–31076–9 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 Contents Preface vii Historical Background of the Holocaust xi 1 Memoirs, Diaries, and Fiction of the Holocaust 1 2 Poetry of the Holocaust 105 3 Art of the Holocaust 121 4 Music of the Holocaust 165 5 Videos of the Holocaust Experience 183 Index 197 Preface The writers, artists, and musicians whose works are profiled in this re- source guide were selected on the basis of a number of criteria. -
Des Schicksals Fügung in Die Eignen Hände Nehmen Künstlerinnen, Schriftstellerinnen Und Musikerinnen Vom 17
Des Schicksals Fügung in die eignen Hände nehmen Künstlerinnen, Schriftstellerinnen und Musikerinnen vom 17. – 21. Jahrhundert Des Schicksals Fügung in die eignen Hände nehmen Künstlerinnen, Schriftstellerinnen und Musikerinnen vom 17. – 21. Jahrhundert Zum Titelbild: MILLY STEGER Mit ihrer Grenzüberschreitung in die Männerdomänen der Bildhaue- rei mit Hammer und Meißel, der Großplastik und der öffentlich finanzierten „Kunst am Bau“ hat die Bildhauerin Milly Steger wesentliche Meilensteine in der Professionalisierungsgeschichte von Künstlerinnen gesetzt. Um 1912 wurde sie zur offiziellen ‚Stadtbild- hauerin‘ von Hagen berufen, ab 1917 wirkte sie in Berlin. Im Jahr 1932 nennt Knaurs Konversationslexikon die Künstlerin exemplarisch für die Bildhauerei des 20. Jahrhunderts. Der Filmemacher Hans Cürlis widmete Milly Steger in seinem Film „Schaffende Hände – die Bildhauer“, den er 1927 drehte, eine aus- führliche Sequenz, welche die Bildhauerin beim Modellieren einer Figur zeigt. Die drei Standbilder auf dem Titel sind der gleichnami- gen Publikation zum Film entnommen. Redaktion: Ulrike Schultz Gestaltung: Markus Gutierrez, Gesche Joost, VINGS; Reinhard Rollbusch, ZFE Herausgeber: Der Rektor und Ulrike Schultz / Gleichstellungsstelle ISBN 3-934093-06-X © 2005 FernUniversität in Hagen CIP-Titelaufnahme der Deutschen Bibliothek Inhaltsverzeichnis 5 Inhaltsverzeichnis Seite Vorwort von Ulrike Schultz 7 Birgit Schulte: „Ach so, Sie malen wie Ihr Mann malt“. 13 Drei Künstlerinnen und ihre berühmten Männer Birgit Schulte: Die Grenzen des Frauseins aufheben. 43 Die Bildhauerin Milly Steger 1881 – 1948 Birgit Schulte: Künstlerin im Schatten. Gabriele Münters Werk 67 und Persönlichkeit (1877 – 1962) Doris Maurer: Annette von Droste-Hülshoff – Ein Leben 95 zwischen Auflehnung und Gehorsam Doris Maurer: Frauen und Salonkultur. Literarische Salons 125 vom 17. –20. Jahrhundert Elvira Willems: Auch Sie in Arkadien. -
THENEWYORKER.Pdf
A 1940 self-portrait of Salomon (1917-1943), whose autobiographical work “Life? or Theatre?” is an early example of the graphic novel. Courtesy the Jewish Historical Museum © Charlotte Salomon Foundation n February, 1943, eight months before she was murdered in Auschwitz, the I German painter Charlotte Salomon killed her grandfather. Salomon’s grandparents, like many Jews, had !ed Germany in the mid-nineteen-thirties, with a stash of “morphine, opium, and Veronal” to use “when their money ran out.” But Salomon’s crime that morning was not a mercy killing to save the old man from the Nazis; this was entirely personal. It was Herr Doktor Lüdwig Grünwald, not “Herr Hitler,” who, Salomon wrote, “symbolized for me the people I had to resist.” And resist she did. She documented the event in real time, in a thirty-"ve-page letter, most of which has only recently come to light. “I knew where the poison was,” Salomon wrote. “It is acting as I write. Perhaps he is already dead now. Forgive me.” Salomon also describes how she drew a portrait of her grandfather as he expired in front of her, from the “Veronal omelette” she had cooked for him. The ink drawing of a distinguished, wizened man—his head slumped inside the collar of his bathrobe, his eyes closed, his mouth a thin slit nesting inside his voluminous beard—survives. Salomon’s letter is addressed, repeatedly, to her “beloved” Alfred Wolfsohn, for whom she created her work. He never received the missive. Nineteen pages of Salomon’s “confession,” as she called it, were concealed by her family for more than sixty years, the murder excised. -
Nazi-Confiscated Art Issues
Nazi-Confiscated Art Issues Dr. Jonathan Petropoulos PROFESSOR, DEPARTMENT OF HISTORY, LOYOLA COLLEGE, MD UNITED STATES Art Looting during the Third Reich: An Overview with Recommendations for Further Research Plenary Session on Nazi-Confiscated Art Issues It is an honor to be here to speak to you today. In many respects it is the highpoint of the over fifteen years I have spent working on this issue of artworks looted by the Nazis. This is a vast topic, too much for any one book, or even any one person to cover. Put simply, the Nazis plundered so many objects over such a large geographical area that it requires a collaborative effort to reconstruct this history. The project of determining what was plundered and what subsequently happened to these objects must be a team effort. And in fact, this is the way the work has proceeded. Many scholars have added pieces to the puzzle, and we are just now starting to assemble a complete picture. In my work I have focused on the Nazi plundering agencies1; Lynn Nicholas and Michael Kurtz have worked on the restitution process2; Hector Feliciano concentrated on specific collections in Western Europe which were 1 Jonathan Petropoulos, Art as Politics in the Third Reich (Chapel Hill: The University of North Carolina Press). Also, The Faustian Bargain: The Art World in Nazi Germany (New York/Oxford: Oxford University Press, forthcoming, 1999). 2 Lynn Nicholas, The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War (New York: Alfred Knopf, 1994); and Michael Kurtz, Nazi Contraband: American Policy on the Return of European Cultural Treasures (New York: Garland, 1985). -
Drawings by Jules Pascin
CATALOGUE OF AN EXHIBITION OF DRAWINGS BY JULES PASCIN WITH AN INTRODUCTORY NOTE BY MARTIN BIRNBAUM BERLIN PHOTOGRAPHIC COMPANY 305 MADISON AVENUE NEW YORK CITY JULES PASCIN From an original etching bv Emil <>rlik CATALOGUE OF AN EXHIBITION OF DRAWINGS BY JULES PASCIN WITH AN INTRODUCTORY NOTE BY MARTIN BIRNBAUM JANUARY 30th-FEBRUARY 20th 1915 BERLIN PHOTOGRAPHIC COMPANY 305 MADISON AVENUE NEW YORK CITY JULES PASCIN ONLY the wise Americans in Paris find their way to the Café du Dòme, and accordingly it is not surprising to find that Jules Pascin, the most distinguished artist in the group of young men that until recently met there, is not known to our dilettants. Moreover he is an artist's artist, a*man who works to please himself and who produces the kind of art that the bourgeoisie the world over is anxious to smash with cheap cudgels. It was there fore an embarrassing relief for him to find that when he came suddenly upon us,— charmingly simple and unheralded,—the con tents of his portfolio moved one of our cleverest critics to exclaim,—with a profound enthusiasm not at all characteristic of him,— that as far as modern art is concerned, nothing of greater importance may happen throughout the winter, than an exhibition of this artist's work. Pascin himself is extremely modest about his achievements, and we rather regret that he has not brought along some of his more 3 pretentious oil paintings which were among the memorable things at the annual exhibi tions of the Berlin Secession. Essentially, however, his is an intimate art which can be appreciated better in a private study than in a public gallery, and he is very fairly repre sented by the present collection of his works. -
Lazzaro Federico 2014 These.Pdf (6.854Mb)
Université de Montréal École(s) de Paris Enquête sur les compositeurs étrangers à Paris dans l’entre-deux-guerres par FEDERICO LAZZARO Faculté de musique Thèse présentée à la Faculté de musique en vue de l’obtention du grade de Docteur en Musique (option Musicologie) Novembre 2014 © Federico Lazzaro, 2014 Résumé « École de Paris » est une expression souvent utilisée pour désigner un groupe de compositeurs étrangers ayant résidé à Paris dans l’entre-deux-guerres. Toutefois, « École de Paris » dénomme des réalités différentes selon les sources. Dans un sens élargi, le terme comprend tous les compositeurs de toute époque ayant vécu au moins une partie de leur vie à Paris. Dans son sens le plus strict, il désigne le prétendu regroupement de quatre à six compositeurs arrivés à Paris dans les années 1920 et comprenant notamment Conrad Beck, Tibor Harsányi, Bohuslav Martinů, Marcel Mihalovici, Alexandre Tansman et Alexandre Tchérepnine. Dans le but de revisiter l’histoire de l’utilisation de cette expression, nous avons reconstitué le discours complexe et contradictoire à propos de la question « qu’est-ce que l’École de Paris? ». Notre « enquête », qui s’est déroulée à travers des documents historiques de l’entre-deux-guerres ainsi que des textes historiographiques et de vulgarisation parus jusqu’à nos jours, nous a mené à la conclusion que l’École de Paris est un phénomène discursif que chaque acteur a pu manipuler à sa guise, car aucun fait ne justifie une utilisation univoque de cette expression dans le milieu musical parisien des années 1920-1930. L’étude de la programmation musicale nous a permis notamment de démontrer qu’aucun évènement regroupant les compositeurs considérés comme des « membres » de l’École de Paris n’a jamais eu lieu entre 1920 et 1940. -
Genocide, Memory and History
AFTERMATH GENOCIDE, MEMORY AND HISTORY EDITED BY KAREN AUERBACH AFTERMATH AFTERMATH GENOCIDE, MEMORY AND HISTORY EDITED BY KAREN AUERBACH Aftermath: Genocide, Memory and History © Copyright 2015 Copyright of the individual chapters is held by the chapter’s author/s. Copyright of this edited collection is held by Karen Auerbach. All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria, 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/agmh-9781922235633.html Design: Les Thomas ISBN: 978-1-922235-63-3 (paperback) ISBN: 978-1-922235-64-0 (PDF) ISBN: 978-1-876924-84-3 (epub) National Library of Australia Cataloguing-in-Publication entry: Title: Aftermath : genocide, memory and history / editor Karen Auerbach ISBN 9781922235633 (paperback) Series: History Subjects: Genocide. Genocide--Political aspects. Collective memory--Political aspects. Memorialization--Political aspects. Other Creators/Contributors: Auerbach, Karen, editor. Dewey Number: 304.663 CONTENTS Introduction ............................................... -
Sekelskifteskonst Från Polen Polish Fin De Siècle
Sekelskifteskonst Polish från Polen Fin de Siècle Art Utställningskatalogen ges ut i samband med utställningen Młoda Polska. Sekelskifteskonst från Polen på Göteborgs konstmuseum 27 oktober 2018 –17 mars 2019. The exhibition catalogue is published in connection to the exhibition Młoda Polska: Innehåll Contents Polish Fin de Siècle Art at Gothenburg Museum of Art 27 October –17 March 2019. Curatorer / Curators Fil.dr/Ph.D. Kristoff er Arvidsson, forskningsledare/Head of Research Eva Nygårds, intendent/Curator Johan Sjöström, utställningsintendent/ Tack till / Thanks to 5 Förord 7 Foreword Exhibition Curator Dr Piotr Rypson, direktör för Nationalmuseet i Warszawa/Director of Anna Hyltze Anna Hyltze the National Museum in Warsaw; Dr Agnieszka Morawińska, tidigare Katalogredaktörer / Catalogue editors direktör för Nationalmuseet i Warszawa/former Director of the National Kristoff er Arvidsson, Eva Nygårds, Museum in Warsaw; Tomasz Zborowski, chef för låneavdelningen, Johan Sjöström 11 1. Inledning 23 1. Introduction Nationalmuseet i Warszawa/Head of Loan Department, National Kristoff er Arvidsson, Eva Nygårds, Kristoff er Arvidsson, Eva Nygårds, Koncept / Concept Museum in Warsawa; Iwona Danielewicz, intendent, Nationalmuseet Johan Sjöström i Warszawa/Curator, the National Museum in Warsaw; Agnieszka Johan Sjöström Johan Sjöström Bagińska, intendent, Nationalmuseet i Warszawa/Curator, the National Koordinator / Coordinator Museum in Warsaw; Agnieszka Gizińska, utställningskoordinator, Tanja Axelryd, utställningskoordinator/ Nationalmuseet i Warszawa/Exhibition coordinator, the National 33 Katalog: Porträtt 33 Catalogue: Portraiture Exhibition coordinator Museum in Warsaw; Dr Andrzej Betlej, direktör för Nationalmuseet i Kraków/Director of the National Museum in Kraków; Dr Andrzej Författare / Authors Szczerski, lektor vid konsthistoriska institutet vid Jagellonska Kristoff er Arvidsson, Anna Hyltze, Agnieszka 83 93 universitetet i Kraków/Assistant Professor at the Institute of Art History, 2. -
Under the July Monarchy (1830-1848)
REPRESENTATIONS OF “LE TRAVAIL” UNDER THE JULY MONARCHY (1830-1848) by Rebecca Terese Powers A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July, 2015 Representations of le travail under the July Monarchy ABSTRACT This project traces the definition of a social reality of labor under the July Monarchy. More specifically, it investigates how the ubiquitous but elusive term travail – understood as manual, non-agricultural work – operates at different levels of discourse in the 1830s and 1840s. To underline this specific cultural context, I employ the French travail rather than the English “work” or “labor.” French workers expected improved social conditions after their contribution to the 1830 Revolution, but were promptly denied this by the new Constitutional Monarchy. Their frustration came to a head in 1848, when they again revolted, demanding the right to work – le droit au travail. This moment is often considered the dawn of the French labor movement, but I contend that it is in the years leading up to 1848 that travail undergoes its most dramatic definition and consecration as a modern value. In order to better understand how the term took on such significance, I examine a variety of cultural documents, both literary and what we would today consider paraliterary. The corpus includes novels by Honoré de Balzac and George Sand; moralist inquiries by René Villermé and Honoré-Antoine Frégier; Jules Michelet’s historiography of the French people; and writings by the workers themselves, whose first-hand accounts of physical labor were becoming increasingly influential. -
Dissident Artists' Associations of Germany 1892-1912
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1984 Dissident Artists' Associations of Germany 1892-1912 Mary Jo Eberspacher Eastern Illinois University This research is a product of the graduate program in History at Eastern Illinois University. Find out more about the program. Recommended Citation Eberspacher, Mary Jo, "Dissident Artists' Associations of Germany 1892-1912" (1984). Masters Theses. 2826. https://thekeep.eiu.edu/theses/2826 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced