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INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete, copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in "sectioning" the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Microfilms International 300 N. ZEEB ROAD, ANN ARBOR. Ml 48106 18 BEDFORD ROW. LONDON WC1 R 4EJ, ENGLAND 8100180 KIM, YOUNGNA THE EARLY WORKS OF GEORGES BRAQUE, RAOUL DUFY AND OTHON FRIESZ: THE LE HAVRE GROUP OF FAUVIST PAINTERS The Ohio State University PH.D. 1980 University Microfilms International 300 N.Zeeb Road, Ann Arbor, MI 48106 Copyright 1980 by Kim, Youngna All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark v"' . 1. Glossy photographs 2. Colored illustrations 3. Photographs with dark background v^ "4. Illustrations are poor copy ^ 5. Drint shows through as there is text on both sides of page 6. Indistinct, broken or small print on several pages 7. Tightly bound copy with print lost in spine 8. Computer printout pages with indistinct print 9. Page(s) _n^____ lacking when material received, and not available from school or author 10. Page(s) seem to be missing in numbering only as text follows 11. Poor carbon copy 12. Not original copy, several pages with blurred type 13. Appendix pages are poor copy 14. Original copy with light type 15. Curling and wrinkled pages 16. Other University MicroTiims International 300 N Z=== RD. ANN APSOR Ml .18106'313! 761-4700 THE EARLY WORKS OF GEORGES BRAQUE, RAOUL DUFY AND OTHON FRIESZ: THE LE HAVRE GROUP OF FAUVIST PAINTERS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Youngna Kim, B.A., M.A. * * A * * The Ohio State University 1980 Reading Committee: Approved by Dr. Mathew Herban,III Dr. Francis Richardson Adviser Dr. Howard Crane Dept. of History of Art ACKNOWLEDGMENTS There are many people I am thankful to for having helped me, in one way or another, to complete this disser­ tation. But most of all, I am grateful to two professors who have guided me throughout my schooling at the Ohio State University. Dr. Frank Richardson, whose support and encouragement have been precious to me, read the manuscript thoroughly and gave me many valuable suggestions in a most gracious manner. I am enormously indebted to Dr. Mathew Herban, III, for his immeasurable care, personally as well as professionally. Many of the important ideas of this dissertation were brought forward with his encouragement and it was my great fortune for having him as an adviser. My final gratitude goes to my parents in Korea whose love and belief in me have been the basic confidence which enabled me to finish this dissertation. ii • VITA April 7, 1951 Born - Pusan, Korea 1973 B.A., Muhlenberg College Allentown, Pennsylvania 1973-1976 Teaching Associate, Department of History of Art, The Ohio State University, Columbus, Ohio 1976 M.A., The Ohio State University, Columbus, Ohio 1976-1979 Research Associate, College of the Arts, The Ohio State University, Columbus, Ohio 1980 Teaching Associate, Department of History of Art, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: History of Art Studies in Modern European Art. Professor Mathew Herban III Studies in Seventeenth Century Art. Professor Francis Richardson Studies in Italian Renaissance Art. Professor Francis Richardson iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ii VITA iii LIST OF ILLUSTRATIONS vi INTRODUCTION 1 PART ONE: THE EARLY FORMATIVE YEARS IN NORMANDY . 9 Chapter I. Traditions of Norman Landscape Painting ... 10 II. Early Biography of Dufy and Friesz 32 III. Their Meeting with Braque and the Student Years in Le Havre 51 PART TWO: ARTISTIC STUDIES IN PARIS: 1900-1906 . , 64 IV. Dufy and Friesz Settle in Paris; 1900-1904 . 65 V. The Salon d'Automne of 1905 with Its Initial Influence on Dufy and Friesz. Braque's Development during 1900-1905 95 PART THREE: THE FAUVIST YEARS OF THE LE HAVRE GROUP 118 VI. From the Salon des Independants of 1906 to Salon d'Automne of 1906 Highlighting the Antwerp Experience 119 VII. From the Salon d'Automne of 1906 to the Salon des Independants of 1907 and the Culmination of the Fauvist Style 149 PART FOUR: THE BEGINNING OF CEZANNISM AND CUBISM . 168 VIII. Cezanne's Influence on Braque, Dufy and Friesz, and the Formation of Cubistic Vocabulary 169 IX. Early Cubism and the Emergence of Personal Experience 217 iv Page POSTSCRIPT 23.2 BIBLIOGRAPHY 236 ILLUSTRATIONS 253 v LIST OF ILLUSTRATIONS Francia, Transports Returning from Spain, Feb., 1809, Beating into St. Helen's Roads (nd)~ British Museum, London. Bonington, Coast Scene, Normandy (1823-24). Source: The Hon. Andrew Shirley, Bonington (London, 1940), pi. 35. Bonington, Shipping: Choppy Sea (1827). Source: The Hon. Andrew Shirley, Bonington (London, 1940), pi. 76. Constable, Haywain (1824). National Gallery, London. Corot, Honfleur, le Vieux Bassin (1822-25). Source: Alfred Robaut, L'oeuvre de Corot, catalogue raisonne et illustre "(Paris, 1905), no. 35. Huet, The Jetty at Honfleur in Rough Weather (1826). Source: London, Heim Gallery, Paintings by Paul Huet and Some Contemporary French Sculpture (1969), pi. 22. Isabey, Village in Normandy (1861). Private Collection. Jongkind, Frigates, Port of Harfleur (1849-1853). Ster­ ling and Francine Clark Art Institute, Williams- town, Mass. Jongkind, Dutch Fishing Boats (1870). The Metropolitan Museum of Art, New York; Mr. § Mrs. Isaac D. Fletcher Collection. Boudin, Scene de Plage au Soleil Couchant (1869), Pri­ vate Collection, Switzerland. Boudin, Falaise et Barque jaunes a Etretat (1895). Musee des Beaux-Arts, Le Havre. Corot, Toutain Farm at Honfleur (1845). Bridgestone Museum of Art, Tokyo. Corot, The Beach, Etretat (1872). The St. Louis Art Museui.;, St. Louis, Mo. vi Courbet, Les Falaises d'Etretat apres I'Orage (1870). Mus£e du Louvre, Paris. Lebourg, Entrance to the Port of Honfleur, Low Tide (18827! Wildenstein § Co., New York. Lepine, Bateau sur le Fleuve. clair de lune (nd). Musee des Beaux-Arts, Rouen. Dubourg, The Jetty at Honfleur (1865). Musee Eugene Boudin, Honfleur. Cals, Portrait of Monsieur Martin (1878). Musee Eugene Boudin, Honfleur. Lhullier, Portrait of the Artist's Wife (nd). Musee des Beaux-Arts, Le Havre. Degas, Head of a Young Woman (1868-70). Musge du Louvre, Paris. Friesz, Study of a Nude (1897). Source: Maximilien Gauthier, Othon Friesz (Paris, 1949), pi. 2. Dufy, Self-Portrait (1898). Centre National d'Art et de Culture Georges Pompidou, Musee National d'Art Moderne, Paris. Lhullier, Self-Portrait (nd). Musee des Beaux-Arts, Le Havre. Friesz, Portrait of Lhullier (1896). Mus6e des Beaux- Arts, Le Havre. Dufy, Gaston Dufy at the Piano (1897). Mme. Van Leer Coll., Bruxelles. Renoir, Lady at the Piano (1875). The Art Institute of Chicago, Chicago, 111. Tissot, Lady at the Piano (1881). The Museum of Art, Rhode Island School of Design, Providence, R.I. Toulouse-Lautrec, Mademoiselle Dihau at the Piano (1890). Musee d'Albi, Albi. Van Gogh, Miss Gachet at the Piano (1890). Kunst- museum, Basel. Munch, Maiden at the Piano (1886). Source: Munchen, Haus der Kunst, Edvard Munch (Oct. 6-Dec. 16,1973). vii Friesz, Woman at the Piano (1897?). Photograph, courtesy of Schweitzer Gallery, New York. Friesz, Maison a la Falaise (1895). Source: Gauthier, pi. 14. Dufy, Landscape in Normandy (1895). Source: Maurice Laf faille, Catalogue Raisonne" de I'Oeuvre de Dufy, vol. 1 (Geneva, 1972), pi. 18. Braque, Study of a Man (1899-1900). Source: J. Warnod, Washboat Days (New York, 1972), 133. Braque, Grandmother of the Artist (c. 1900). M. Claude Laurens Coll., Paris. Braque, Grandmother of a Friend (c. 1900). Private Coll. Rembrandt, An Old Woman in an Armchair (1654). The Hermitage Museum, Leningrad. Friesz, Portrait of the Artist's Mother (1897). Source: Gauthier, pi. 1. Friesz, Portrait of the Artist's Mother (1898). Musee Eugene Boudin, Honfleur. Couchaux, The Seamstress (nd). Source: Paris, Galerie Marie Jane Garoche, L'Ecole de Rouen (1976).
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  • The Discomfort of Evening

    The Discomfort of Evening

    MARIEKE LUCAS RIJNEVELD The Discomfort of Evening Translated by Michele Hutchison Restlessness gives wings to the imagination. MAURICE GILLIAMS It is written, ‘I am making all things new!’ But the chords are a clothesline of grief, Razor-sharp gusts snap the faith Of he who would flee this cruel start. Ice rain beats blossom to a glassy pulp, A cur shakes his pelt bone-dry in the violence. from THE COLLECTED POEMS OF JAN WOLKERS (2008) Contents Title Page Epigraph PART I 1 2 3 4 PART II 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 PART III 1 2 3 4 5 6 7 8 9 10 11 12 13 About the Author Copyright PART I 1 I was ten and stopped taking off my coat. That morning, Mum had covered us one by one in udder ointment to protect us from the cold. It came out of a yellow Bogena tin and was normally used to prevent dairy cows’ teats from getting cracks, calluses and cauliflower-like lumps. The tin’s lid was so greasy you could only screw it off with a tea-towel. It smelled of stewed udder, the thick slices I’d sometimes find cooking in a pan of stock on our stove, sprinkled with salt and pepper. They filled me with horror, just like the reeking ointment on my skin. Mum pressed her fat fingers into our faces like the round cheeses she patted to check whether the rind was ripening. Our pale cheeks shone in the light of the kitchen bulb, which was encrusted with fly shit.
  • Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA

    Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA

    Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA The Synthesis of the Integrative and Form-Building Possibilities of Expressive Means of Music, Painting and Poetry Lyalya Taitoleuovna KALIAKBAROVA, Erbol Tungyshevich USENBAEV, Aigul Shodanovna KOSANOVA, Altуnaу Mukhambetovna JUMAGALIУEVA, Svetlana Sattarovna JANSEITOVA Kazakh National Conservatory after Kurmangazy, Almaty, Kazakhstan Abstract. An integrated view on the formation of different types of art requires a special approach to the single syncretic phenomenon with a common system of expressive means and a number of socio-cultural grounds. This article is dedicated to the peculiarities of the interaction of adjacent arts: music, poetry, painting, and the logic of the phenomenon of synthesis in the works of composers, painters, poets, associated with their synesthetic perception. There has always been an organic connection between these types of art, requiring the study of art, bearing systemic character with different aspects and different form- building properties. Their unity is based on the nature of visual, spatial, temporal art that do not exist separately. Each of them covers «the rhythm and motif of the other» with characteristic common techniques of organization, unique expressive means. We consider the commonality of the language of the pieces of art through figurative perception of the surrounding world, through the ability of music to conjure up visual (pictorial, poetic, musical) images, through the development of musical, figurative and associative thinking, capable of conveying specific states of mind, picturesque beauty of nature. Keywords: harmony of sound and color, spectrum of color vision, pictorial composition, musical form, color associations, synthesis of arts.