DOCSLIB.ORG

Simposio Reflexiones Sobre El Gusto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Simposio Reflexiones Sobre El Gusto Ernesto Arce, Alberto Castán, Concha Lomba, Juan Carlos Lozano (Eds.) Simposio Reflexiones sobre el gusto COLECCIÓN ACTASa Vestigium es un grupo de investigación consolidado de la Universidad de Zaragoza S actualmente dirigido por Concepción Lomba Serrano, en calidad de investigadora ACTA principal, e integrado por Ernesto Arce Oliva, N Paula Blanco Domínguez, Gonzalo M. Borrás Gualis, Teresa Cardesa García, Alberto Castán Chocarro, Joaquín Escuder Viruete, Juan Francisco Esteban Lorente, Cristina Giménez Navarro, Pedro Hernando COLECCIÓ Sebastián, Juan Carlos Lozano López, Regina Luis Rúa, Victoria Martínez Aured, Pilar Poblador Muga, Isabel Yeste Navarro y, como miembros colaboradores, Mª Belén Bueno Petisme, Laura Clavería García, Ma Elena Manrique Ara y Delia Sagaste Abadía. Reconocido como grupo de investigación por el Gobierno de Aragón en el año 2004, Vestigium ha desarrollado una actividad investigadora orientada al estudio histórico del arte aragonés, aunque distribuida en dos etapas bien diferenciadas. La primera se dedicó al análisis de la Gestión del Patrimonio Cultural, mientras que la segunda, iniciada en 2008, tiene por objeto la consideración del Arte aragonés en su dimensión nacional e internacional. Fruto, entre otros, de esta última etapa ha sido la celebración en 2010 del Simposio Reflexiones sobre el gusto al que corresponden estas actas, en el que se recurrió al concepto de gusto que define una época como instrumento teórico y analítico útil para interpretar no solo las costumbres o las modas, sino también el arte de la misma. Tanto que Vestigium está preparando una segunda reunión científica sobre el tema que se celebrará en los primeros meses de 2013. Diseño de cubierta: A. Bretón. Motivo de cubierta: David Teniers, El mono pintor (detalle), ca. 1660, Museo Nacional del Prado. La versión original y completa de esta obra debe consultarse en: https://ifc.dpz.es/publicaciones/ebooks/id/3268 Esta obra está sujeta a la licencia CC BY-NC-ND 4.0 Internacional de Creative Commons que determina lo siguiente: • BY (Reconocimiento): Debe reconocer adecuadamente la autoría, proporcionar un enlace a la licencia e indicar si se han realizado cambios. Puede hacerlo de cualquier manera razonable, pero no de una manera que sugiera que tiene el apoyo del licenciador o lo recibe por el uso que hace. • NC (No comercial): La explotación de la obra queda limitada a usos no comerciales. • ND (Sin obras derivadas): La autorización para explotar la obra no incluye la transformación para crear una obra derivada. Para ver una copia de esta licencia, visite https://creativecommons.org/licenses/by- nc-nd/4.0/deed.es. Simposio Reflexiones sobre el gusto Zaragoza, 4-6 de noviembre de 2010 COLECCIÓN ACTAS ARTE Simposio Reflexiones sobre el gusto Edición Ernesto Arce, Alberto Castán, Concha Lomba, Juan Carlos Lozano INSTITUCIÓN «FERNANDO EL CATÓLICO» (C.S.I.C.) Excma. Diputación de Zaragoza ZARAGOZA, 2012 Publicación número 3.197 de la Institución «Fernando el Católico» Organismo autónomo de la Excma. Diputación de Zaragoza *>â>Ê`iÊ Ã«>>]ÊÓÊUÊxääÇ£Ê<>À>}â>Ê­ ë>>® /iðÊQÎ{RÊÇÈÊÓnÊnnÊÇnÉÇÊUÊ>ÝÊQÎ{RÊÇÈÊÓnÊnnÊÈ [email protected] © De los textos, los autores. © De la presente edición, Institución «Fernando el Católico». © De las imágenes: © Erich Heckel, André Derain, Francis Picabia, Ferrán García Sevilla, Eduardo Arroyo, Luis Gordillo, Carl Andre, Hans Bellmer, René Magritte, Vassily Kandinsky, Jean Fautrier, Jean Dubuffet, Nicolas de Staël, Serge Poliakoff, Bram Van Velde, Karel Appel, Corneille, Pierre Alechinsky, Lucien Simon, Orlan, Santiago Pelegrín, Thomas Ruff, Bruce Nauman, Guiseppe Penone, René Lalique, VEGAP, Zaragoza, 2012. © Salvador Dalí, Fundació Gala-Salvador Dalí, VEGAP, Zaragoza, 2012. © Succession Marcel Duchamp / Vegap et ADAGP, Zaragoza, 2012. © Zentrum Paul Klee, VEGAP, Zaragoza, 2012. © Robert Motherwell: Dedalus Foundation, Inc. / VEGAP, Zaragoza, 2012. © Adolph and Esther Gottlieb Foundation / VEGAP, Zaragoza, 2012. © The Pollock-Krasner Foundation / VEGAP, Zaragoza, 2012. © Damien Hirst and Science Ltd. All rights reserved, DACS / VEGAP, Zaragoza, 2012. © Judd Foundation. Licensed by VAGA, NY/VEGAP, Zaragoza, 2012. © Sucesión Pablo Picasso, VEGAP, Madrid, 2012. ISBN: 978-84-9911-210-7 DEPÓSITO LEGAL: Z 2284-2012 IMPRESIÓN: Huella Digital, S. L. Zaragoza. IMPRESO EN ESPAÑA-UNIÓN EUROPEA. Presentación «Manera de sentirse o ejecutarse la obra artística o literaria en país o tiempo determinado». Así define el término gusto aplicado al terreno artístico la Real Academia de la Lengua Española, que adjudica al vocablo algunas otras acep- ciones como «manera de apreciar las cosas cada persona» o «afición o inclina- ción por algo». El concepto gusto, sin embargo, resulta mucho más poliédrico de lo que proclama el Diccionario, pues está íntimamente asociado a otras categorías y fenómenos que, en su conjunción, han contribuido a configurarlo en el tiempo y en el espacio. Se trata de un concepto de significado complejo, abstracto, cambiante y sutil en sí mismo, pero que atañe también a cuestiones concretas, visibles y mensurables vinculadas a la «Institución Arte», como son los modelos y las influencias, la recepción de las novedades, la crítica, el coleccionismo y el mercado, la moda, el patrocinio y el mecenazgo, etc. Aspectos que en ocasio- nes son causa y en otras consecuencia de los cambios en el gusto, que unas veces actúan como catalizadores que aceleran tales cambios y otras como las- tres o rémoras que los dificultan. Se entiende por ello que la única manera científicamente válida de abordar su estudio es hacerlo desde una perspectiva diacrónica y transversal, abierta e inter- disciplinar. Y de esta premisa partió el grupo de investigación Vestigium cuando decidió convocar una reunión científica dedicada a analizar el gusto artístico que, con el título genérico de Reflexiones sobre el gusto, abordase todas estas cuestio- nes y atendiese a su evolución desde el Barroco hasta la actualidad. El Simposio fue organizado con el auspicio de la Fundación «Goya en Aragón» y la Institución «Fernando el Católico», entidades a las que deseo expresar mi más sincero agradecimiento en nombre de Vestigium, grupo de investigación integra- do desde su nacimiento en 2004 por historiadores del arte de la Universidad de Zaragoza que, desde especilidades distintas, comparten su interés por el análisis teórico y su correspondiente aplicación práctica, conscientes de la importancia que la Historia del Arte ha alcanzado en la actualidad. Las sesiones se celebraron entre los días 4 y 6 de noviembre de 2010 en el Paraninfo de la Universidad de Zaragoza y quedaron estructuradas en tres sec- [ 7 ] PRESENTACIÓN ciones: Desde el Barroco hasta Goya, El siglo XIX y El siglo de las grandes trans- formaciones, encabezadas por sus correspondientes ponencias y precedidas por una conferencia inaugural –«Sobre gustos se ha escrito mucho»– impartida por el profesor Valeriano Bozal. Sin él y sin el trabajo de todos los ponentes que, de buen grado, aceptaron semejante reto, el Simposio no hubiera alcanzado la altura científica que logró, ni la buena acogida que obtuvo por parte de nume- rosos colegas de distintas Universidades que presentaron sugerentes propuestas en forma de comunicaciones que, además, debieron pasar la criba de un rigu- roso comité integrado por los profesores Ernesto Arce, Gonzalo M. Borrás, Valeriano Bozal, Jaime Brihuega, Cristina Giménez, Juan Carlos Lozano y Concha Lomba, a quienes desde aquí quiero expresar mi reconocimiento y gra- titud por su dedicación. Gratitud que hago extensiva a la Institución «Fernando el Católico», al Gobierno de Aragón, al Fondo Social Europeo y a quienes, integrantes del gru- po Vestigium, han hecho posible que viera la luz el resultado de aquellos días de trabajo: las Actas que aquí se presentan. Confío en que estas páginas contri- buyan a desvelar, en algunos casos, y a clarificar, en otros, ciertos aspectos del complejo entramado que conforma el gusto; ese, al menos, ha sido nuestro propósito. Concepción LOMBA SERRANO Investigadora principal del grupo Vestigium Catedrática de Historia del Arte Universidad de Zaragoza [ 8 ] Ponencias SOBRE GUSTOS SE HA ESCRITO MUCHO VALERIANO BOZAL Universidad Complutense de Madrid Tres asuntos van a ocuparme, aunque no en la misma medida. Las diferentes categorías del gusto es el primero; la incidencia sobre el gusto del desa rrollo de la industria cultural y el arte de vanguardia (provisionalmente utilizaré esta denominación), el segundo; el tercero se refiere al papel que desempeña la sensibilidad en el ámbito de la historiografía artística tradicional (después se verá qué quiere decir «tradicional»). 1. Decimos bello, sublime, pintoresco, grotesco, cómico, patético a propósito de multitud de objetos, obras, situaciones e incluso personas. Estos términos corres- ponden a las diferentes categorías del gusto y se formularon con precisión, y en sus acepciones actuales, en el siglo XVIII. Antes, la categoría estética por excelen- cia, única y verdadera, era la belleza, y cualquier otra predicación se hacía siem- pre en relación a ella. A comienzos del siglo XVIII, en 1712, J. Addison publicó una serie de artículos en el periódico The Spectator sobre los placeres de la ima- ginación, en los que analizaba el placer que suscitaban los objetos diversos y variados, los excesivos y monstruosos, además de los tradicionalmente considera- dos bellos. Addison establecía una pauta en un doble sentido: en primer lugar, consideraba placenteros objetos que desde el punto de vista de
Load more

Recommended publications
  • 18ª Bienal De São Paulo
    CATÁLOGO GERAL 18~ BIENAL INTERNACIONAL DE SÃO PAULO 4 de Outubro a 15 de .... 0::;;"'-<:;;, de 1985 G GERAL Fundação Bienal de São Paulo Pavilhão Engenheiro Armando Arruda Pereira Parque Ibirapuera . São Paulo· Brasil Patrocínio Oficial Governo Federal Presidente José Sarney Ministério da Cultura Aluísio Pimenta, Ministro Ministério das Relações Exteriores Olavo Egydio Setubal, Ministro Governo do Estado de São Paulo Governador André Franco Montara Secretaria de Estado da Cultura Jorge da Cunha Lima, Secretário Prefeitura do Municipio de São Paulo Prefeito Mário Covas Secretaria Municipal da Cultura Gianfrancesco Guarnieri, Secretário • 2 • Fundação Bienal de São Paulo Presidente Perpétuo Diretoria Executiva Francisco Matarazzo Sobrinho (1898/1977) Roberto Muylaert - Presidente Conselho de Honra Mário Pimenta Camargo 1- 10 Vice-Presidente Oscar P. Landmann - Presidente Pedro D'Alessio - 2.0 Vice-Presidente Luiz Femando Rodrigues Alves Henrique Pereira Gomes Luiz Diederichsen Villares João Augusto Pereira de Queiroz João Marino Stella Teixeira de Barros Conselho de Administração Thomaz Jorge Farkas José E. Mindlin - Presidente Comissão de Arte e Cultura Ermelino Matarazzo - Vice-Presidente Sábato Antonio Magaldi - Presidente Aldo Calvo João Marino - Representante da Benedito José Soares de Mello Pati Diretoria Executiva Ema Gordon Klabin Erich Humberg Casimiro Xavier de Mendonça Francisco Luiz de Almeida Salles Fábio Luiz Pereira de Magalhães Hasso Weiszflog Glauco Pinto de Moraes João Fernando de Almeida Prado Representante da Secretaria Municipal Justo Pinheiro da Fonseca de Cultura e .Associação Profissional Oscar P. Landmann de Artista Piásticos de S.P. Oswaldo Arthur Bratke Oswaldo Silva Luiz Diederichsen Villares Roberto Pinto de Souza Renina Katz Sábato Antonio Magaldi Representante da Associação Sebastião Almeida Prado Sampaio Profissional de Artistas Plásticos de S.P.
    [Show full text]
  • Else Alfelt, Lotti Van Der Gaag, and Defining Cobra
    WAS THE MATTER SETTLED? ELSE ALFELT, LOTTI VAN DER GAAG, AND DEFINING COBRA Kari Boroff A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2020 Committee: Katerina Ruedi Ray, Advisor Mille Guldbeck Andrew Hershberger © 2020 Kari Boroff All Rights Reserved iii ABSTRACT Katerina Ruedi Ray, Advisor The CoBrA art movement (1948-1951) stands prominently among the few European avant-garde groups formed in the aftermath of World War II. Emphasizing international collaboration, rejecting the past, and embracing spontaneity and intuition, CoBrA artists created artworks expressing fundamental human creativity. Although the group was dominated by men, a small number of women were associated with CoBrA, two of whom continue to be the subject of debate within CoBrA scholarship to this day: the Danish painter Else Alfelt (1910-1974) and the Dutch sculptor Lotti van der Gaag (1923-1999), known as “Lotti.” In contributing to this debate, I address the work and CoBrA membership status of Alfelt and Lotti by comparing their artworks to CoBrA’s two main manifestoes, texts that together provide the clearest definition of the group’s overall ideas and theories. Alfelt, while recognized as a full CoBrA member, created structured, geometric paintings, influenced by German Expressionism and traditional Japanese art; I thus argue that her work does not fit the group’s formal aesthetic or philosophy. Conversely Lotti, who was never asked to join CoBrA, and was rejected from exhibiting with the group, produced sculptures with rough, intuitive, and childlike forms that clearly do fit CoBrA’s ideas as presented in its two manifestoes.
    [Show full text]
  • Alsdorf Reviews the Liberation of Painting by Patricia Leighten
    Alsdorf reviews The Liberation of Painting by Patricia Leighten http://www.19thc-artworldwide.org/spring14/alsdorf-reviews-the... Patricia Leighten, The Liberation of Painting: Modernism and Anarchism in Avant-Guerre Paris Chicago: University of Chicago Press, 2013. 248 pp.; 99 b&w illustrations, 32 color illustrations; bibliography; index. $50.00 (cloth); $7.00-40.00 (e-book) ISBN #9780226471389 Modernism’s relation to politics is uncontested. The debate that endures surrounds the nature of the relationship (direct, indirect, or inverse?) and the artist’s role in shaping it, as a deliberate political actor or a medium of social- historical forces. Patricia Leighten’s new book, The Liberation of Painting: Modernism and Anarchism in Avant-Guerre Paris, is an absorbing and scholarly study that shows all of these possibilities in play, sometimes in the case of one artist’s oeuvre. Leighten zealously argues for a more politicized, historicized account of modernist painting by focusing on a group of artists with documented ties to the anarchist movement. Pitched as a corrective to the “resolutely apolitical formalist art criticism” that still serves as the foundation of histories of abstraction in both the academy and the museum, Leighten’s book demands that we attend more closely to the political passions of key modernists on a case-by-case basis, not only (or even especially) as manifest in painting, but also as conveyed in the less hallowed production of satirical prints, as well as in these artists’ personal relationships, statements, and writings (2). The result is a rich and multifaceted argument for a “politics of form” as a driving force behind the pre-war production of Kees Van Dongen, Maurice de Vlaminck, Pablo Picasso, Juan Gris, and František Kupka.
    [Show full text]
  • 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected]
    Kees van Dongen (Dutch/French, 1877-1968) Cavaliers dans les bois c.1906 oil on canvas 41 x 33 cm (16⅛ x 13 in.) signed 'van Dongen’ (lower left) Provenance: Madame Boris Kniaseff Knoedler & Co, New York (acquired from the above on 30 July 1953) (stock no. A 5405) J.H. Griffin (acquired from the above on 4 November 1953) Sale: Galerie Charpentier Paris, 9 December 1959, no. 27 (illustrated pl. X, titled Les Cavaliers au Bois de Boulogne) Private collection, France Private collection, France (bequeathed by the above) Thence by descent Notes: This work will be included in the forthcoming Van Dongen Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Following his successful debut with Galerie Vollard in 1904 and participation at the Salon d’Automne the year after, it was only natural that van Dongen’s career continued to progress rapidly throughout 1906. Already acquainted with Andre Derain and Maurice de Vlaminck, van Dongen also held a studio with neighbour, Pablo Picasso (fig. 1 - a cavalier by van Dongen hangs to the left of Picasso) at Le Bateau-Lavoir, a popular rendez-vous for creatives in the heart of Montmartre. It was during this period that van Dongen delved further into Fauvism from Pointillism and developed a personal style which differentiated him from his peers. The present work demonstrates van Dongen’s signature use of bright Fauve colours with earthy undertones. Although the blurred edges release the subjects from the restrains of realism, the route to total abstraction is diverted by the use of a few, block colours to help distinguish one subject from another.
    [Show full text]
  • Catalogo N. 255
    CATALOGO N. 255 LIBRI ILLUSTRATI DA ARTISTI MODERNI ITALIANI E STRANIERI ARte - edizioni di lusso - libri sull’incisione CATALOGHI MOSTRE - LIBRI DI VARIO GENERE CON 79 ILLUSTRAZIONI LIBRERIA ANTIQUARIA PRANDI S.N.C. DI DINO E PAOLO PRANDI REGGIO EMILIA 2017 1 Contemporaneamente a questo catalogo libri abbiamo diffuso il nostro sessantaquatresimo catalogo annuale dedicato alla grafica: CATALOGO N. 256 INCISIONI ORIGINALI ITALIANE E STRANIERE dell’800 e moderne ACQUERELLI E DISEGNI con uno scritto inedito di Marco Fiori Con tavole fuori testo comprendenti numerose riproduzioni a colori e in nero Il catalogo, in considerazione del suo altissimo costo è inviato gratuitamente ai nostri abituali Clienti acquirenti di opere di grafica. A tutti gli altri che ne faranno richiesta verrà inviato dietro versamento anticipato di € 16,00 sul nostro c/c postale n.160424 (o a mezzo francobolli, assegno bancario o postale), oppure in contrassegno postale a € 20,00 (€ 16,00 più spese postali). Il costo del Catalogo è rimborsabile in caso d’acquisto. 2 Indice per argomenti EDIZIONI FORMIGGINI (i numeri si riferiscono alle schede delle opere) Balzac Honoré De 31 Bini Carlo 66 Eroda 356, 357 Petronio Arbitro 636 EDIZIONI MARDERSTEIG ANASTATICHE Epitteto 354 Brofferrio Angelo 91 Eraclito 355 Manzoni Alessandro 511 Garzo Dall’Incisa Ser 395 ó Mucci Velso 575 Machiavelli Nicol 499 Mardersteig Giovanni 518 Smith John Captain 732 Petrarca Francesco - Fabre Jean-Henri 635 Zonca Vittorio 819 EDIZIONI ORIGINALI AUTOGRAFATI Bartolini Luigi 36, 37, 38, 40, 41, 42
    [Show full text]
  • Twentieth Century Masters
    TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works.
    [Show full text]
  • Het Elektrisch Bestaan. Schrijvers En Tijdschriften Tussen 1949 En 1951
    Het elektrisch bestaan. Schrijvers en tijdschriften tussen 1949 en 1951 Piet Calis bron Piet Calis, Het elektrisch bestaan. Meulenhoff, Amsterdam 2001 Zie voor verantwoording: http://www.dbnl.org/tekst/cali002elek01_01/colofon.htm © 2007 dbnl / Piet Calis 6 VOOR MARJAN het licht willen zien, de zon willen vangen, iets afweten van het electrisch bestaan. HANS ANDREUS Piet Calis, Het elektrisch bestaan. Schrijvers en tijdschriften tussen 1949 en 1951 7 Woord vooraf In 1960 bracht ik enkele weken door op Ibiza in het plaatsje San Antonio Abad, waar zich toen nog vrijwel geen hotel en nauwelijks een toerist ophield. Het was die zomer voor het eerst in mijn leven dat ik palmen zag. Ik was er buitengewoon gelukkig. Ik zie me nog bij aankomst op een terrasje zitten, wachtend op enkele vrienden die me af zouden halen en genietend van een glas wijn en enkele donkere olijven. Daar in San Antonio Abad schreef ik elke ochtend in de tuin van die vrienden over de poëzie van Hans Andreus, die me met zijn liefde voor de zuidelijke zon natuurlijk extra wist te inspireren. Ik wist toen nog niet dat Andreus zelf me in dat plaatsje voor geweest was: in de zomer van 1952 hadden hij en zijn Franse geliefde Odile Liénard er in een pension gelogeerd. Het was ook verder een heerlijke vakantie. 's Middags - na van Andreus' verzen genoten te hebben - ging ik zwemmen in de baai en 's avonds trad er in het plaatselijke café een oude man met een gitaar op. Deze die zich met één kunstbeen voortbewoog, schroefde alvorens op te treden altijd dat been los en ging dan op een houten tafel zitten waar hij steevast begon met het schitterende lied ‘Si vas a Calatayud’.
    [Show full text]
  • Visualizza L'elenco In
    1855-1955 : centenario dell'Istituto tecnico F. e G. Fontana ex Scuola reale elisabettina, Rovereto. - [S.l. : s.n.], 1956 (Rovereto (TN) : Manfrini). - 147, [10] p. : ill. ; 30 cm. Numero unico. - Altro titolo: Centenario dell'Istituto tecnico F. e G. Fontana ex Scuola reale elisabettina. 1882 1982 : centenario della nascita di Gino Marinuzzi : catalogo della mostra : Museo teatrale alla Scala, 6 marzo-3 aprile 1982. - [S.l. : s.n.], [1982?] (Paderno Dugnano (MI) : Seregni). - 47 p. : ill. ; 23 cm. Um 1900 Art Nouveau und Jugendstil : Kunst und Kunstgewerbe aus Europa und America zur Zeit der Stilwende : 28. Juni bis 28. September 1952 : Kunstgewerbemuseum Zürich. - Zürich : Kunstgewerbemuseum, [1952?]. - 48 p., 24 p. di tav. ; 21 cm. 1922-1943 : vent'anni di moda italiana : proposta per un museo della moda a Milano : Milano, Museo Poldi Pezzoli, 5 dicembre 1980-25 marzo 1981 / a cura di Grazietta Butazzi. - Firenze : Centro DI, 1980. - 143 p. : ill. ; 32 cm. Catalogo della mostra. ISBN 8870380203 1935 : Histoire-guide de l'art italien a l'exposition du Petit Palais / introduction par Raymond Escholier. - Paris : L'amour de l'art, 1935. - 1 fasc. : ill. ; 32 cm. - (L'amour de l'art). Dati dalla cop. - N. monografico di: L'amour de l'art. Paris. A. 16, n. 5 (maggio 1935). 1946/1976 : i trent'anni dell'Accademia teatrale Francesco Campogalliani della città di Mantova. - [S.l. : s.n.], 1977 (Mantova : Publi-Paolini). - 2 v. (48, 31 p.) : ill. ; 29 cm. Scritti di vari. - In cartella. - Tit. del v. 2: Miscellanea teatrale mantovana. - Altro titolo: I trent'anni dell'Accademia teatrale Francesco Campogalliani della città di Mantova.
    [Show full text]
  • Press Release Basel, July 6, 2020 Seven Fauvist Works Newly
    Press Release Basel, July 6, 2020 Seven Fauvist works newly deposited on permanent loan at the Kunstmuseum Basel The Kunstmuseum Basel is pleased to announce that seven outstanding works of art, mainly by artists associated with the Fauve movement, are to be shown on permanent loan. The works will enhance an aspect of the museum’s collection of French Modernism that until now has been of lesser prominence than its first-rate holdings of Cubist art. From 4 July 2020, six of the paintings by André Derain, Georges Braque, Maurice de Vlaminck, and others, go on display on the second floor of the Hauptbau as part of the reinstallation of classic modernist art. In addition, a key painting by Gabriele Münter has also been acquired from the lenders’ collection. The following paintings are to be shown in Basel for the first time: André Derain, Pêcheurs à Collioure (Fishermen at Collioure), 1905 Maurice de Vlaminck, Bords de la Seine à Carrières-sur-Seine (Soleil de Printemps – Bord de Seine), 1906 Georges Braque, Port de L'Estaque (Port of L'Estaque), 1906 Raoul Dufy, Les Passantes (The Passers-by), c.1906-07 Kees van Dongen, Portrait de Dolly (Portrait of Dolly), c.1910 Albert Marquet, Bord de la Seine à Paris en hiver, vu de l'atelier du peintre, c.1924 Gabriele Münter, Murnauer Strasse (Street in Murnau), 1908 These paintings are from a private collection of Fauvist works. Fauvism is a style of painting developed by Henri Matisse and André Derain during 1905 in the seaside town of Collioure in the south of France.
    [Show full text]
  • Date: March 7, 2012 EI Presenter: Helene-Carole Brown Fauvism In
    Date: March 7, 2012 EI Presenter: Helene-Carole Brown Fauvism In the latter part of the Nineteenth Century, Henri Emile Benoit Matisse (1869-1954) who was practicing law, developed appendicitis. While at home recuperating from the attack, his mother bought Henri a set of paints, some canvasses, and some brushes. Matisse had always drawn well, and his mother thought art would be a good form of rest and relaxation for the recovering lawyer. By the time Henri had finished his convalescence, he had decided that he no longer wished to practice law, but instead wished to be an artist. Matisse enrolled at the Ecole des Beaux Arts in Paris and began painting in very traditional style. Not long after, he met an avant garde and somewhat controversial teacher named Russell. Russell liked and collected the works of the Impressionists and Expressionists. This was not the accepted view of the other instructors at the Ecole des Beaux Arts. Russell invited Henri to visit his country house and see his collection. At first Matisse was overwhelmed by the new art forms. Soon, however, Matisse developed great admiration for the new forms and especially liked Cezanne and Van Gogh. Russell gave Henri a drawing by Van Gogh, which Matisse treasured for the rest of his life. Matisse also met Pissarro, whose work he admired, and formed a group with some other new- style artists: Maurice de Vlaminck, Andre Derain, Raoul Dufy, Georges Rouault, and briefly, Georges Braque. Several were influenced by African, Tahitian and South American masks, and all were said to be “drunk with color”.
    [Show full text]
  • The Blue House Artist: Maurice De Vlaminck, French 1876-1958
    The Blue House Artist: Maurice de Vlaminck, French 1876-1958 Creation Place: Europe, France Style: 20th century Accession Number: 61.36.17 Date: 1906 FAUVISM Fauvism is the movement with which Maurice de Vlaminck (pronounced Vlah* mink ) will always be most closely associated. It is defined as the style of les Fauves (French for “the wild beasts”), a short-lived and loose group of early modern artists whose work emphasized strong color over the representational or realistic color values of the preceding Impressionists. It started about 1900 lasting until 1908 or so. There were several artists joining the movement, but the three leaders were Vlaminck, Henri Matisse, and Andre Derain. These artists were characterized by wild brush work and the use of pure colors. The subject matter was highly simplified and abstract. It can be considered as an extreme development of van Gogh’s Post-Impressionism combined with the pointillism of Seurat and other Neo-Impressionist painters. ARTIST Vlaminck was a colorful character. He was born (1876) in Paris to a family of musicians. Because his father and mother played the piano and the violin, music came naturally to him. He was in fact quite talented but music never lit the fire of passion in Vlaminck that painting did. He did not attend top-notch schools but was intellectually curious. He grew to be a tall, strong and fearless, red-headed man prone to wearing loud colors. He married for the first time in his teens and worked to support his family as a wrestler, billiards shooter, mechanic, laborer and professional cyclist.
    [Show full text]
  • Fauvism Was the First Twentieth Century Movement in Modern Art
    QUICK VIEW: Synopsis Fauvism was the first twentieth century movement in modern art. Inspired by the examples of van Gogh, Gauguin, and Neo-Impressionists such as Seurat and Signac, it grew out of a loosely allied group of French painters with shared interests. Henri Matisse was eventually recognized as the leader of Les Fauves, or The Wild Beasts as they were called in French, and like the group, he emphasized the use of intense color as a vehicle for describing light and space, but also for communicating emotion. The style proved to be an important precursor to Expressionism, and an inspiration for other, painterly modes of abstraction. Key Points • Fauvism never developed into a coherent movement in the manner of Impressionism or Surrealism, but instead grew from the work of several acquaintances who shared common enthusiasms. Many, such as Matisse, Marquet, and Rouault, had been pupils of the Symbolist Gustave Moreau, and admired his stress on personal expression. • The Fauves generally rejected the fantastic imagery of the Post-Impressionists, and returned to the more traditional subjects once favored by the Impressionists, such as landscapes, cityscapes, and scenes of bourgeois leisure. • Rather than extend the quasi-scientific investigations of artists such as Seurat and Signac, Fauves such as Matisse and Derain were inspired by them to employ pattern and contrasting colors for the purposes of expression. • The Fauves became renowned for using pure and unmixed colors which they intensified further by applying thick daubs and smears. • Although the Fauves were not well-versed in academic color theory, they sought out © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org unique and unnatural color combinations in their paintings with the purpose of evoking a variety of emotional responses; in that sense, color was used arbitrarily and was subject to the painter's own emotional response to the canvas.
    [Show full text]