Crystal:Cubism
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period. -
Copyright Statement
COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Charles Ginner, A.R.A
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Charles Ginner, A.R.A. (Cannes 1878 – 1952 London) St. Just in Cornwall – A landscape with cottages Signed ‘C. GINNER’ (lower left) Pen and ink and watercolour on paper 9 ¾ x 11 ¾ in. (25 x 30 cm.) Provenance Gifted by the Artist to Mrs. Frank Rutter. The Fine Art Society, 1985. Henry Wyndham Fine Art Ltd, London. Private Collection. Exhibited London, St George's Gallery, Charles Ginner and Randolph Schwabe, March 1926 (details untraced). London, The Fine Art Society, Charles Ginner, 7th - 25th October 1985, cat. no.13, illustrated. Literature Charles Ginner, List of Paintings, Drawings, etc. of Charles Ginner, Book II, 1919-1924, p. 135. Primarily a townscape and landscape painter, Charles Ginner grew up in France where his father, a doctor, practised, but settled in London in 1910. He was heavily influenced by Vincent van Gogh, Paul Gauguin and Paul Cézanne. In 1909, Ginner visited Buenos Aires, Argentina, where he held his first one-person show, which helped to introduce post-Impressionism to South America. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com He was a friend of Harold Gilman and Spencer Gore and through them was drawn into Walter Sickert’s circle, becoming a founder member of the Camden Town Group in 1911 and the London Group in 1913. -
Modernist Magazines Conference
Modernist Magazines Conference July 12-14th 2007, De Montfort University, Leicester, UK Keynote Speaker: Michael North (UCLA) 'The Modernist Atlantic' is the first of two international conferences organised by the Modernist Magazines Project, directed by Peter Brooker (University of Sussex) and Andrew Thacker (De Montfort University), and funded by the AHRC. Although the study of modernism has been revolutionised over the last decade it is only recently been recognised that periodical publications made a distinctive contribution to the modernist movement. This conference addressed the role of magazines in the construction of modernism, focussing upon magazines in Britain, Ireland and North America. Papers were about the following themes: • studies of individual magazines; • studies of individual writers and artists in magazines; • archives; • serialisation; • the short story in magazines; • metropolitan and regional cultures; • coteries and salons; • advertising; • visual culture; • gender and publishing; • race/nationalism/identities; • technologies, typists, typefaces; • circulation, censorship and readership; • patronage; editors; • manifestoes and movements; • the avant-garde; • tradition and the new; • 'little' and 'large' magazines; • popular and mainstream; • transnationalism and geomodernisms; • small presses and printers. Programme • Thursday 12 July ◦ 12.00-2.00 Registration and Lunch ◦ 2.00-2.30 Conference Introduction - Peter Brooker and Andrew Thacker ◦ 2.30 Panel 1: The New Age ▪ Henry Mead, Max Stirner, T. E. Hulme and A. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and Their Contemporaries
COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries Broadway Arts Festival 2012 COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries CLARE A. P. WILLSDON Myles Birket Foster Ring a Ring a Roses COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries at the premises of Haynes Fine Art Broadway Arts Festival Picton House 9th -17th June 2012 High Street Broadway Worcestershire WR12 7DT 9 - 17th June 2012 Exhibition opened by Sir Roy Strong BroadwayArtsFestival2012 BroadwayArtsFestival2012 Catalogue published by the Broadway Arts Festival Trust All rights reserved. No part of this catalogue may (Registered Charity Number 1137844), be reproduced, stored in any retrieval system, or 10 The Green, Broadway, WR12 7AA, United Kingdom, transmitted, in any form or by any means, without the for the exhibition: prior permission of the Broadway Arts Festival Trust and Dr. Clare A.P. Willsdon ‘Country Gardens: John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries’, 9th-17th June 2012 ISBN: 978-0-9572725-0-7 Academic Curator and Adviser: Clare A.P. Willsdon, British Library Cataloguing in Publication Data: CONTENTS PhD (Cantab), MA (Cantab), FRHistS, FRSA, FHEA, A catalogue record for the book is available from the Reader in History of Art, University of Glasgow British Library. Country Gardens: John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries ......................................................1 © Broadway Arts Festival Trust 2012 Front cover: Alfred Parsons RA, Orange Lilies, c.1911, © Text Clare A.P. Willsdon 2012 oil on canvas, 92 x 66cm, ©Royal Academy of Arts, Notes ............................................................................................................... 20 London; photographer: J. -
Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905. -
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. -
Grischka Petri the English Edition of Julius Meier-Graefe's
Originalveröffentlichung in: Visual Culture in Britain 6 (2005), Nr. 2, S. 171-188 (Titel des Sonderheftes: Visual culture and taste in late-Victorian and Edwardian Britain) Grischka Petri The English Edition of Julius Meier-Graefe’s Entwicklungsgeschichte der modernen Kunst All discussion upon England, to be honest, must proceed from the postulate that England has something that other nations have not.1 Julius Meier-Graefe (1867–1935) published Entwicklungsgeschichte der modernen Kunst in 1904.2 He had had difficulties in finding a publisher. The Insel-Verlag, after thinking the manuscript over for a long time, declined to enter an agreement. In the end Julius Hoffmann in Stuttgart took over the enterprise (see Figure 1). The Entwicklungsgeschichte became a success, and triggered a line of other studies on modern artists by Meier-Graefe which often went into several editions: Corot und Courbet (1905), Der junge Menzel (‘The Young Menzel’, 1906), William Hogarth and Impressionisten (both 1907), and Die großen Engländer (‘The Great Englishmen’, 1908; see Figure 2).3 In 1905 Meier-Graefe had already been to meet Florence Simmonds who, with George William Chrystal, was to translate what was eventually published by William Heinemann in two volumes in 1908 as Modern Art: Being a Contribution to a New System of Æsthetics (see Figure 3).4 Meier-Graefe would also have liked to publish a French edition, but this never materialized.5 The work had a certain but not well documented impact in England. P. G. Konody’s review remarked that Meier-Graefe’s -
Linking Local Resources to World History
Linking Local Resources to World History Made possible by a Georgia Humanities Council grant to the Georgia Regents University Humanities Program in partnership with the Morris Museum of Art Lesson 5: Modern Art: Cubism in Europe & America Images Included_________________________________________________________ 1. Title: Les Demoiselles d’Avignon Artist: Pablo Picasso (1881– 1973) Date: 1907 Medium: Oil on canvas Location: Museum of Modern Art, New York 2. Title: untitled (African mask) Artist: unknown, Woyo peoples, Democratic Republic of the Congo Date: c. early 20th century Medium: Wood and pigment Size: 24.5 X 13.5 X 6 inches Location: Los Angeles County Museum of Art 3. Title: untitled (African mask) Artist: Unknown, Fang Tribe, Gabon Date: c. early 20th century Medium: Wood and pigment Size: 24 inches tall Location: Private collection 4. Title: Abstraction Artist: Paul Ninas (1903–1964 Date: 1885 Medium: Oil on canvas Size: 47.5 x 61 inches Location: Morris Museum of Art 5. Title: Houses at l’Estaque Artist: Georges Braque (1882–1963) Date: 1908 Medium: Oil on Canvas Size: 28.75 x 23.75 inches Location: Museum of Fine Arts Berne Title: Two Characters Artist: Pablo Picasso (1881– 1973) Date: 1934 Medium: Oil on canvas Location: Museum of Modern Art in Rovereto Historical Background____________________________________________________ Experts debate start and end dates for “modern art,” but they all agree modernism deserves attention as a distinct era in which something identifiably new and important was under way. Most art historians peg modernism to Europe in the mid- to late- nineteenth century, with particularly important developments in France, so we’ll look at that time in Paris and then see how modernist influences affect artworks here in the American South. -
THE ARTISTIC COLLABORATION of PABLO PICASSO and JULIO GONZÁLEZ a Thesis Presented to the Faculty of the College
IRON DIALOGUE: THE ARTISTIC COLLABORATION OF PABLO PICASSO AND JULIO GONZÁLEZ A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Jason Trimmer June 2005 © 2005 Jason Trimmer All Rights Reserved This thesis entitled IRON DIALOGUE: THE ARTISTIC COLLABORATION OF PABLO PICASSO AND JULIO GONZÁLEZ by Jason Trimmer has been approved for the School of Art and the College of Fine Arts by Joseph Lamb Associate Professor of Art History Raymond Tymas-Jones Dean of the College of Fine Arts TRIMMER, JASON A. M.F.A. June 2005. Art History Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio González (69 pp.) Thesis Advisor: Joseph Lamb This paper analyzes the sculptural collaboration between Pablo Picasso and Julio González. It will examine each of the works born of the collaborative project at length, and discuss the major stylistic and thematic precursors to these works, both within each artist’s oeuvre and art history in general. During the collaboration, each artist’s unique sensibilities, skills, and styles merged to create just under a dozen works that have since resonated throughout the fields of art and art history. Also discussed will be the fact that these sculptures were created during the interwar period in Europe, which was a time of industrial, societal, and political upheaval. Each of these broad paradigm shifts is reflected within the works, and these works can, in fact, help to further our understanding of this tumultuous time period. While a good amount of important scholarship on the Picasso-González collaboration exists, much of it is spread across a number of years and a number of sources.