DOCSLIB.ORG

Print Layout 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Print Layout 1 Walking Tour Tour Walking Philadelphia Museum of Museum Philadelphia Art . 2004 , ) 22 1952 , 53 – on view at the , 1952 , th Street 1976 ) 1960 , cast 26 1945 , cast through August August through 1944 , cast , by Arnold Newman , by 70 19130 54 – 27 – 1944 begun 1967 1953 , c. 0604-1351 Philadelphia Museum of Museum Philadelphia Art Photographs by Graydon Wood Graydon by Photographs Philadelphia, PA PA Philadelphia, www.philamuseum.org 2004 (Gift of R. Sturgis Ingersoll, Ingersoll, of R. Sturgis (Gift © The Spirit ofThe Spirit Enterprise, Jacques Lipchitz and Philadelphia, Lipchitz Jacques Government of the People, Government Portrait of Jacques Lipchitz of Jacques Portrait and donated to the Fairmount Park Commission) Park and donated to the Fairmount Philadelphia Museum of Museum Philadelphia Art Prometheus Strangling the Vulture, the Strangling Prometheus Benjamin Franklin Parkway at Parkway Franklin Benjamin The exhibition is made possible by grants from grants from The exhibition is made possible by Cover: Cover: by Jacques Lipchitz (Purchased with the Lisa Norris Elkins Fund, Fund, Elkins with the Lisa Norris Lipchitz (Purchased Jacques by by Jacques Lipchitz (Commissioned with private and public funds by the and public funds by Lipchitz (Commissioned with private Jacques by Fairmount Park Art Association and donated to the City of Park Fairmount Philadelphia) by Jacques Lipchitz (Commissioned by the Fairmount Park Art Association Park the Fairmount Lipchitz (Commissioned by Jacques by This walking tour guide was produced in conjunction with This walking tour guide was produced the exhibition Philadelphia Museum of Art from June of Art June from Museum Philadelphia The Pew Charitable Trusts and The Horace W. Goldsmith Foundation; Foundation; Goldsmith W. The Horace and Trusts Charitable The Pew it is also supported by a generous contribution from Mari and Peter Shaw. and Peter Mari contribution from it is also supported a generous by P t e t S t t n S n S S K h el ly Dr s y t 1 W d h l h r R 6 v t a a t i 3 2 d t 4 er n 5 Fairmount Ave g w i 2 2 o a 2 e To the Zoo & rk A lace St s v Wal A D e v Fairmount r e Mount Vernon St Park Houses Dr Green St um t t e t t t t Philadelphia S t s t t t S t t t t t t t t t t t u S S s S S S S t S S S S e S S S S S S d S M S d S t h W h d h h Museum h a h r t h h h h t h h t h n h h r t t t d h t t t t t t t t t t o A t 1 s 0 3 2 3 4 n 2 r 5 7 6 6 8 5 7 2 8 9 9 0 1 1 1 t of Art 1 2 1 B 1 1 s 1 1 1 2 a 2 E 2 Spring Garden St Eakins Rodin Oval Museum Hamilton St 95 76 Be nj am Callowhill St in F ra nk lin Vine St P 676 676 kw y Vine St Winter St Logan Square N 676 Prometheus Government Race St and ending at Convention 3 22 1 Enterprise Vulture The Spirit of Strangling the of the People Cherry St Center 30th Suburban is approximately 2 miles. Street Station Station Arch St (Amtrak) t 3 S JFK Blvd Market East Station d r The Spirit of Enterprise 3 City Hall g 2 Market St n i d t Suggested walking tour route n S Ludlow St a h L t 0 Chestnut St ’s Lipchitz Walking Tour Total distance of suggested walking tour route, beginning at Government of the People, PHLASH, Philadelphia’s visitor shuttle, provides direct service between Penn’s Landing and the Museum every 10 to 15 minutes from 10:00 a.m. to 6:00 p.m. For more information, visit www.gophila.com/phlash. 3 n n Sansom St e P . in and 1967 , and in Jacques 1964 , Lipchitz 1909 1941 , when renowned 1922 ers of sculptor ). Works from all periods from Works ). The Spirit of Enterprise The Spirit 1973 – Government of the People Government 1891 ( A Jewish immigrant from Lithuania, immigrant from A Jewish and With its rich tradition of public art, With has long been a landmark Philadelphia destination for admir Lipchitz American collector Dr. Albert C. Barnes Albert C. Barnes American collector Dr. studio and commissioned visited his Paris carvings relief seven for the him to create building in Merion, Foundation Barnes After arriving in the United Pennsylvania. in as a war refugee States visited Philadelphia frequently. He was He frequently. visited Philadelphia Academy the Pennsylvania by twice honored Arts, selected a critically of the Fine exhibition at the acclaimed retrospective of Art in Museum Philadelphia of the artist’s long and prolific career have an have career long and prolific of the artist’s inside and outside the important presence of Art, opposite City Museum Philadelphia and along the banks of the Schuylkill Hall, in the city, lived Although he never River. affection for its people, Lipchitz had a great its art, and its architecture. in to Paris Lipchitz moved sculptor soon emerged as the leading Cubist ties to The artist’s of his generation. began in Philadelphia received two major commissions for public received monuments — 1950 Lipchitz remains an artist of tremendous Lipchitz remains rede- work popular appeal, whose powerful fined the possibilities of modern sculpture. The Spirit of Enterprise was Lipchitz’s first Prometheus Strangling the Vulture is based Government of the People follows an intri- major public commission in the United States. on the Greek myth of Prometheus, which cate, three-tiered structure: a family group of In 1950 Philadelphia’s Fairmount Park Art became the dominant theme in Lipchitz’s work father, mother, and child entwine at the base, Association asked the artist to create a large in the years leading up to World War II. As pun- while a man and a woman turn in a spiral bronze sculpture on the theme of “constructive ishment for stealing fire from the gods and giving motion at the center of the composition as they enterprise,” which would embody “the vigor, the it to humans, Zeus condemned Prometheus to hold aloft a cloudlike formation of reclining power of harnessed nature, or the strength of be chained to a rocky cliff, where a giant vulture nudes at the top. The work’s title suggests the The Spirit of Enterprise men harnessing nature and making it conform to plucked at his liver, which regenerated nightly. themes of civic pride and good government, Ellen Phillips Samuel Memorial Sculpture Garden their uses and desires. The physical power of Eventually freed by Hercules, Prometheus was but the sculpture also embodies Lipchitz’s view Kelly Drive north of Boathouse Row men, their imaginative dreams, the surge of their hailed by the ancient Greeks as the father of of humanity’s struggle to make a better world material expansion, the skill of craftsmanship, the arts and sciences. For Lipchitz, Prometheus through mutual support and dedication. the power of labor.” represented the ideal of heroic spiritual suffering Government of the People was Lipchitz’s The theme of American enterprise inspired and the eventual triumph of good over evil. last—and most controversial—public commis- Lipchitz to propose a triumphant explorer of the Lipchitz made his first large-scale version of sion in the United States. In 1972, Philadelphia New World, who peers into the distance with Prometheus Strangling the Vulture for the 1937 Mayor Frank L. Rizzo abandoned funding one hand shading his forehead as if surveying World’s Fair in Paris. That work was destroyed for the work, saying that it looked “like some the land of opportunity ahead. In his left hand, by right-wing sympathizers, who correctly plasterer dropped a load of plaster.” R. Sturgis he carries a caduceus, the winged staff with assumed that Lipchitz had invoked the Greek Ingersoll, Lipchitz’s great friend and former entwined serpents that is the symbol of Mercury, myth as a political allegory in which Prometheus president of the Philadelphia Museum of Art, Prometheus Strangling the Vulture the Roman god of commerce and transportation. represented the forces of democracy defeating immediately came to the artist’s defense, Philadelphia Museum of Art (East Entrance) A great eagle, perched on a stump, guides him in the vulture of Nazi Germany. Undaunted by calling Rizzo’s remarks “sickening.” Lipchitz Benjamin Franklin Parkway at 26th Street his quest, a reference to the westward journeys of this violent opposition, Lipchitz went on to was extremely surprised and disappointed by the pioneer settlers as they crossed the plains and exhibit a plaster Prometheus at the Pennsylvania the controversy. Fortunately, the Fairmount mountains in search of a new life. The Spirit of Academy of the Fine Arts in Philadelphia in Park Art Association stepped in to ensure the Enterprise has a resolutely optimistic message. A 1952. When a fire gutted the artist’s New York sculpture would be installed for the nation’s symbol of unchained motivation and unfettered studio that same year, the Philadelphia Museum Bicentennial in 1976. In the end, Mayor Rizzo ideals, the sculpture stands in stark contrast to of Art moved swiftly to help Lipchitz by pur- changed his mind about the work, admitting, Lipchitz’s earlier portrayal of Prometheus locked chasing the plaster for $25,000 after the “The statue by Mr.
Load more

Recommended publications
  • Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection
    Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection Paul Cézanne Mont Sainte-Victoire, c. 1904–06 (La Montagne Sainte-Victoire) oil on canvas Collection of the Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum TEACHER’S STUDY GUIDE WINTER 2015 Contents Program Information and Goals .................................................................................................................. 3 Background to the Exhibition Cézanne and the Modern ........................................................................... 4 Preparing Your Students: Nudes in Art ....................................................................................................... 5 Artists’ Background ...................................................................................................................................... 6 Modern European Art Movements .............................................................................................................. 8 Pre- and Post-Visit Activities 1. About the Artists ....................................................................................................................... 9 Artist Information Sheet ........................................................................................................ 10 Modern European Art Movements Fact Sheet .................................................................... 12 Student Worksheet ...............................................................................................................
    [Show full text]
  • COLOR in the CONSTRUCTED RELIEF a Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment Of
    COLOR IN THE CONSTRUCTED RELIEF A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of Art College of Arts and Science University of Saskatchewan Saskatoon, Saskatchewan by David Stewart Geary Saskatoon, Saskatchewan 0 1985 D.S.Geary The author has agreed that the Library, University of Saskatchewan, may make this thesis freely available for inspection. Moreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who super- vised the thesis work recorded herein or, in their absence, by the Head of the Department or the Dean of the College in which the thesis work was done. It is understood that due recognition will be given to the University of Saskatchewan in any use of the material in this thesis. Copying or publi- cation or any other use of the thesis for financial gain, without the approval of the University of Saskatchewan and the author's written permission, is prohibited. Requests for permission to copy or to make any other use of material in this thesis in whole or in part should be addressed to: Head of the Department of Art University of Saskatchewan Saskatoon, Canada. ACKNOWLEDGEMENTS I wish to express my appreciation and thanks to Professor Eli Bornstein for his invaluable help and support in the form of advice, assistance and example during the course of my graduate studies and before. Also I wish to thank the College of Graduate Studies and Research who provided me with much needed financial assistance in the form of scholarships.
    [Show full text]
  • Musee Des Annees 30
    MUSEE DES ANNEES 30 Inauguré en décembre 1998 au sein de l’Espace Landowski, le musée des Années 30 présente un panorama de l’art figuratif de l’entre-deux-guerres. Ses collections s’organisent autour de peintures, sculptures, d’objets d’art décoratifs et de maquettes d’architecture. MODALITES DES VISITES TACTILES Les visites tactiles s’organisent autour des œuvres originales. Sont exclues les œuvres en plâtre et céramique ainsi que les meubles et les maquettes d’architecture. Merci d’ôter les bijoux pour effectuer la visite. Le musée se répartit en 4 niveaux. Un ascenseur et un escalier permettent la circulation dans ces différents niveaux. Les toilettes sont situées au sous-sol. REZ-DE-CHAUSSÉE La sculpture monumentale Une place de choix est dédiée aux sculpteurs – 32 ateliers à Boulogne-Billancourt entre 1920 et 1940 – qui ont participé aux grandes expositions et aux grands décors de l’entre- deux-guerres : Paul Landowski, Alfred Janniot, Robert Wlérick, Joseph Bernard, Charles Despiau, Jan et Joël Martel... Raymond SUBES et Jean MAYODON, Grilles d’intérieur, vers 1942, fer forgé et céramique émaillée Auteur d’une œuvre abondante, Raymond Subes sait s’adapter au style en vogue ce qui lui permet de rester d’actualité des années 20 à 1960. Un grand nombre de commandes prestigieuses viennent récompenser son talent (grilles du Musée des Colonies, nombreuses ferronneries pour les paquebots, de quarante-deux épées d’académiciens...). Ici, les grilles ajourées en fer forgé noir, composées d'entrelacs, lignes courbes élégantes ; reçoivent en leurs centres un médaillon en forme d'amande, œuvres du céramiste Jean Mayodon.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • The Prometheus Challenge1 Arnold Cusmariu
    The Prometheus Challenge1 Arnold Cusmariu Abstract: Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the history of art. Keywords: Brâncuşi, Dali, Degas, Horace, Lipchitz, Manet, Picasso. Tout ce qui est beau et noble est le résultat de la raison et du calcul. Charles Baudelaire The Prometheus Legend Prometheus was the Greek Titan who gave mankind fire he stole from Mount Olympus in defiance of Zeus, king of the Olympian gods. For this transgression, Prometheus was made to endure horrific punishment. He was chained to a mountain where a vulture would peck at his liver day after day. Because Prometheus was a demigod, the liver would heal overnight but the vulture would return the next day. This gruesome cycle continued for many years until Hercules killed the vulture and freed Prometheus.2 Brâncuşi Poses a Conundrum In the winter of 1985, about a year after I began making sculpture, I visited the Hirshhorn Museum in Washington, DC and saw Constantin Brâncuşi’s masterpiece Prometheus (1911). 3 A simple and beautifully understated composition, it seemed to show Prometheus sleeping, perhaps trying to get 1 Owing to actual, possible or potential copyright restrictions, only links in footnotes are provided to internet sites where images of artworks under discussion are available; apologies for the inconvenience.
    [Show full text]
  • French Sculpture Census / Répertoire De Sculpture Française
    FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE LIPCHITZ, Ossip/Jacques Druskieniki, Lithuania 1891 - Capri, Italy 1973 Marin à la guitare Sailor with Guitar 1914 bronze statuette 5 1 31 x 11 ?8 x 8 ?2 in. Acc. No.: 1949-78-1 Credit Line: Gift of Mrs. Morris Wenger in memory of her husband, 1949 Photo credit: Philadelphia Museum of Art © Artist : Philadelphia, Pennsylvania, Philadelphia Museum of Art www.philamuseum.org Provenance 1949, Gift of Mrs. Morris Wenger in memory of her husband Bibliography Museum's website, 15 March 2015 Comment Museum's website, 15 March 2015: The earliest work by Lipchitz in the Museum's collection, Sailor with Guitar marks an important transition in the artist's career, in which the vestiges of his academic training gave way to the influence of Cubist painters like Pablo Picasso and Diego Rivera. This "proto-cubist" work still retains a degree of realism, however, since it was based on Lipchitz's direct observation of a young Spanish sailor attempting to charm a pretty girl by dancing and playing his guitar. Ann Temkin, from Philadelphia Museum of Art: Gifts in Honor of the 125th Anniversary (2002), p. 141: Philadelphia is an important destination for admirers of Jacques Lipchitz's sculpture. Work from all periods of the artist's long and prolific career has an important presence inside and outside the Museum, in the center of the city, and along the Schuylkill River, as well as at The Barnes Foundation in Merion, just beyond the city limits. Throughout his life, Lipchitz enjoyed a special connection with area collectors, including Dr.
    [Show full text]
  • Synthetic Cubism at War: New Necessities, New Challenges
    RIHA Journal 0250 | 02 September 2020 Synthetic Cubism at War: New Necessities, New Challenges. Concerning the Consequences of the Great War in the Elaboration of a Synthetic-Cubist Syntax Belén Atencia Conde-Pumpido Abstract When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism. Contents Cubism and war. The beginning of the end or infinite renewal? At a crossroads: tradition, figuration, synthesis and abstraction The Beaulieu group, the purification of shape and the crystallization of Cubism in 1918 and 1919 Epilogue Cubism and war. The beginning of the end or infinite renewal? [1] The exhibition "Cubism and War: the Crystal in the Flame", held in the Picasso Museum in Barcelona in 2016,1 highlighted the renewed production undertaken in Paris during the war years by a small circle of artists who succeeded in taking Synthetic Cubism to its ultimate consequences. 1 Cubism and War: the Crystal in the Flame, ed.
    [Show full text]
  • UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
    Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky.
    [Show full text]
  • NGA | 2017 Annual Report
    N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
    [Show full text]
  • WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the Moderns: Gaudier and the Birth of Modern Sculpture
    'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the moderns: Gaudier and the birth of modern sculpture 20 January - 18 March 2007 Information for teachers • What is the exhibition about? 2 • Key themes 3 • Who was Gaudier? 4 • Gaudier quotes 5 • Points of discussion 6 • Activity sheets 7-11 • Brief biography of the artists 12-18 1 'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 What is the exhibition about? "WE the moderns: Gaudier-Brzeska and the birth of modern sculpture", explores the work of the French sculptor in relation to the wider continental context against which it matured. In 1911, aged 19, Gaudier moved to London. There he was to spend the rest of his remarkably concentrated career, which was tragically cut short by his death in the trenches four years later. These circumstances have granted the sculptor a rather ambiguous position in the history of art, with the emphasis generally falling on his bohemian lifestyle and tragic fate rather than on his artistic achievements, and then on his British context. The exhibition offers a fresh insight into Gaudier's art by mapping its development through a selection of works (ranging from sculptures and preparatory sketches to paintings, drawings from life, posters and archival material) aimed at highlighting not only the influences that shaped it but also striking affinities with contemporary and later work which reveal the artist's modernity. At the core of the exhibition is a strong representation of Gaudier's own work, which is shown alongside that of his contemporaries to explore themes such as primitivism, artists' engagement with the philosophy of Bergson, the rendition of movement and dynamism in sculpture, the investigation into a new use of space through relief and construction by planes, and direct carving.
    [Show full text]
  • Jacques Lipchitz a Life in Sculpture John K
    Document généré le 29 sept. 2021 02:14 Espace Sculpture Jacques Lipchitz A life in sculpture John K. Grande Volume 6, numéro 3, printemps 1990 URI : https://id.erudit.org/iderudit/9788ac Aller au sommaire du numéro Éditeur(s) Le Centre de diffusion 3D ISSN 0821-9222 (imprimé) 1923-2551 (numérique) Découvrir la revue Citer ce compte rendu Grande, J. K. (1990). Compte rendu de [Jacques Lipchitz: A life in sculpture]. Espace Sculpture, 6(3), 43–44. Tous droits réservés © Le Centre de diffusion 3D, 1990 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ public intégré à son environnement. Mais aussi ce concept est apparu de façon définitive pour des raisons d'unicité de structure, dont l'essentiel se compose de trois parties, soit deux verticales et une horizontale, elles-mêmes génératrices de multiples JACQUES LIPCHITZ; interprétations symboliques. Portes de villes murées, de territoires délimités dans le temps et l'espace, où des hommes se sont protégés contre l'inconnu. Puis A LIFE IN SCULPTURE portes isolées dans la Cité après la destruction de ses murs d'enceinte.
    [Show full text]
  • Musée Des Années 30 Dossier Pédagogique
    Musée des Années 30 Dossier pédagogique Musée des Années 30 –Espace Landowski – 28 avenue André Morizet – 92100 Boulogne-Billancourt www.boulognebillancourt.com DOSSIER PEDAGOGIQUE Ce dossier, destiné aux enseignants du primaire et du secondaire, est conçu comme un outil didactique. Il propose des repères et des explications qui permettent de construire une visite dans le musée. Il est possible de le télécharger sur le site de la ville : www.boulognebillancourt.com Dans la rubrique brochures du site, vous trouverez le parcours architectural et le programme annuel du musée des Années 30. Objectifs - Proposer aux enseignants, quelque soit leur niveau et leur discipline, un outil clair et pratique pour aborder le musée avec les élèves - Permettre de faire le lien entre les collections et l’histoire de la ville de Boulogne- Billancourt - Favoriser la découverte de l’architecture, du mobilier et de l’art des années 30 - Proposer un choix d’œuvres majeures qui permettent d’aborder les artistes importants, les principaux courants artistiques, les faits historiques Contenu - Présentation générale de l’histoire et du patrimoine de la ville de Boulogne- Billancourt - Textes introductifs aux différentes sections du musée - Fiches d’œuvres - Mots-clés* - Tableau synoptique de l’entre-deux-guerres Certaines œuvres peuvent être momentanément absentes, prêtées à d’autres institutions pour des expositions temporaires. SOMMAIRE Informations pratiques - Venir au musée des Années 30 - Jours et horaires d’ouverture - Tarifs - Consignes pour une visite libre
    [Show full text]