Cézanne Portraits
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Karl Wolf-Into the Woods-Fauvism Landscape Leaaon Plan
Legends Legacies & connectionsFROM THE PERMANENT COLLECTION KarlWolf Into The Woods: Fauvist Landscapes THE KELLY Kelly Fitzpatrick Memorial Gallery P. O. Box 641, Wetumpka, AL 36092 | 408 S. Main St., Wetumpka, AL 36092 | Web: thekelly.org | Email: [email protected] Karl Wolf, 1904-1984 The Dixie Art Colony, 1940, Watercolor on Paper, 20” x 14.” Gift of Elizabeth "Bebe" Wolfe, 2015 Acquisition Karl Wolfe was born in Brookhaven, Mississippi in the year 1904. He was the oldest son of Wiley Wilson Wolfe and Elizabeth Heuck. He was still a boy when his family moved to Columbia Mississippi. Karl graduated from the Columbia High School and went to Soule Business College in New Orleans where he studied bookkeeping. He later was accepted to the Chicago Art Institute, graduating in 1928. In his last year of study he won the William R French Traveling Scholarship, and spent the next year traveling and studying in Europe. Karl met his future wife, Mildred Nungester, at the Dixie Art Colony, near Montgomery, Alabama in the 1930’s. Karl and Mildred were friends and colleagues for many years before they married in 1944. In 1942 Karl was drafted into the Army Air Corps and spent the War years at Lowry Field in Colorado, assigned to work as a photographer. After the war Karl and Mildred returned to Jackson, Mississippi, where Karl had begun to establish a clientele before the war. They homesteaded on land Karl had bought before the war, built and shared a studio there and raised a family. Karl became an accomplished and widely respected portrait painter. -
AN ANALYTICAL STUDY of P. A. RENOIRS' PAINTINGS Iwasttr of Fint Girt
AN ANALYTICAL STUDY OF P. A. RENOIRS' PAINTINGS DISSERTATION SU8(N4ITTED IN PARTIAL FULFILMENT OF THE REQUIfJIMENTS FOR THE AWARD OF THE DEGREE OF iWasttr of fint girt (M. F. A.) SABIRA SULTANA '^tj^^^ Under the supervision of 0\AeM'TCVXIIK. Prof. ASifl^ M. RIZVI Dr. (Mrs) SIRTAJ RlZVl S'foervisor Co-Supei visor DEPARTMENT OF FINE ART ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 Z>J 'Z^ i^^ DS28S5 dedicated to- (H^ 'Parnate ALIGARH MUSLIM UNIVERSITY CHAIRMAN DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.), INDIA Dated TO WHOM IT MAY CONCERN This is to certify that Sabera Sultana of Master of Fine Art (M.F.A.) has completed her dissertation entitled "AN ANALYTICAL STUDY OF P.A. RENOIR'S PAINTINGS" under the supervision of Prof. Ashfaq M. Rizvi and co-supervision of Dr. (Mrs.) Sirtaj Rizvi. To the best of my knowledge and belief the work is based on the investigations made, data collected and analysed by her and it has- not been submitted in any other university or Institution for any degree. Mrs. SEEMA JAVED Chairperson m4^ &(Mi/H>e& of Ins^tifHUion/, ^^ui'lc/aace' cm^ eri<>ouruae/riefity: A^ teacAer^ and Me^^ertHs^^r^ o^tAcsy (/Mser{xUlafi/ ^rof. £^fH]^ariimyrio/ar^ tAo las/y UCM^ accuiemto &e^£lan&. ^Co Aasy a€€n/ kuid e/KHc^ tO' ^^M^^ me/ c/arin^ tA& ^r€^b<ir<itlan/ of tAosy c/c&&erla6iafi/ and Aasy cAecAe<l (Ao contents' aMd^yormM/atlan&^ arf^U/ed at in/ t/ie/surn^. 0A. Sirta^ ^tlzai/ ^o-Su^benn&o^ of tAcs/ dissertation/ Au&^^UM</e^m^o If^fi^^ oft/us dissertation/, ^anv l>eAo/den/ to tAem/ IhotA^Jrom tAe/ dee^ o^nu^ l^eut^. -
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects. -
Site/Non-Site Explores the Relationship Between the Two Genres Which the Master of Aix-En- Provence Cultivated with the Same Passion: Landscapes and Still Lifes
site / non-site CÉZANNE site / non-site Guillermo Solana Museo Thyssen-Bornemisza, Madrid February 4 – May 18, 2014 Fundación Colección Acknowledgements Thyssen-Bornemisza Board of Trustees President The Museo Thyssen-Bornemisza Hervé Irien José Ignacio Wert Ortega wishes to thank the following people Philipp Kaiser who have contributed decisively with Samuel Keller Vice-President their collaboration to making this Brian Kennedy Baroness Carmen Thyssen-Bornemisza exhibition a reality: Udo Kittelmann Board Members María Alonso Perrine Le Blan HRH the Infanta Doña Pilar de Irina Antonova Ellen Lee Borbón Richard Armstrong Arnold L. Lehman José María Lassalle Ruiz László Baán Christophe Leribault Fernando Benzo Sáinz Mr. and Mrs. Barron U. Kidd Marina Loshak Marta Fernández Currás Graham W. J. Beal Glenn D. Lowry HIRH Archduchess Francesca von Christoph Becker Akiko Mabuchi Habsburg-Lothringen Jean-Yves Marin Miguel Klingenberg Richard Benefield Fred Bidwell Marc Mayer Miguel Satrústegui Gil-Delgado Mary G. Morton Isidre Fainé Casas Daniel Birnbaum Nathalie Bondil Pia Müller-Tamm Rodrigo de Rato y Figaredo Isabella Nilsson María de Corral López-Dóriga Michael Brand Thomas P. Campbell Nils Ohlsen Artistic Director Michael Clarke Eriko Osaka Guillermo Solana Caroline Collier Nicholas Penny Marcus Dekiert Ann Philbin Managing Director Lionel Pissarro Evelio Acevedo Philipp Demandt Jean Edmonson Christine Poullain Secretary Bernard Fibicher Earl A. Powell III Carmen Castañón Jiménez Gerhard Finckh HSH Prince Albert II of Monaco Giancarlo Forestieri William Robinson Honorary Director Marsha Rojas Tomàs Llorens David Franklin Matthias Frehner Alejandra Rossetti Peter Frei Katy Rothkopf Isabel García-Comas Klaus Albrecht Schröder María García Yelo Dieter Schwarz Léonard Gianadda Sir Nicholas Serota Karin van Gilst Esperanza Sobrino Belén Giráldez Nancy Spector Claudine Godts Maija Tanninen-Mattila Ann Goldstein Baroness Thyssen-Bornemisza Michael Govan Charles L. -
Circulation and Permanence of French Naturalist Literature in Brazil
Circulation and Permanence of French Naturalist Literature in Brazil Pedro Paulo GARCIA FERREIRA CATHARINA Federal University of Rio de Janeiro RÉSUMÉ Cet article se propose de retracer la présence de la littérature naturaliste française au Brésil à partir de la seconde moitié du XIXe siècle jusqu’en 1914, en mettant en relief son importance et sa diversité dans le champ littéraire brésilien ainsi que sa permanence à travers l’association avec d’autres formes d’art, notamment le théâtre et le cinéma. À l’appui, il présente des données qui témoignent de la circulation dans le pays des œuvres des principaux écrivains naturalistes français le long de cette période et de l’existence d’un public varié de lecteurs. Enfin, il montre comment ces écrivains naturalistes devenus des célébrités ont pu exercer leur emprise au- delà de la sphère littéraire proprement dite, surtout sur la mode et les coutumes The reader, who on 10 January 1884 thumbed through a copy of the newspaper Gazeta de notícias from Rio de Janeiro, could find on page two an announcement about a curious fashion item – the literary bracelet. The object that was “to cause an uproar among wealthy women” comprised twelve gold coins inserted into two chains containing, on the back, the name of the owner’s favourite authors. The decorative item was a “kind of confession” of the wearer’s literary preferences: […] For example, the ladies who favour naturalist literature will carry the names of Zola, Goncourt, Maupassant, Eça de Queirós, Aluísio Azevedo, etc. The ladies who are more inclined to the romantic school will adopt on their bracelets the names of Rousseau, Byron, Musset, Garret, Macedo, etc. -
Realism in Paris: a Partnership Between Guy De Maupassant and Baron Georges Haussmann Julie M. Patterson a SENIOR THESIS For
Realism in Paris: A Partnership Between Guy de Maupassant and Baron Georges Haussmann by Julie M. Patterson A SENIOR THESIS for the UNIVERSITY HONORS COLLEGE Submitted to the University Honors College at Texas Tech University in partial fulfillment of the requirement for the degree designation of HIGHEST HONORS December 2001 Approved by: L2. - /~>- o I Dr."we~dell M·. KycocV ' Date Associate Dean, Graduate School 9 ;, ~~~ ~I Dr. Gary ~ell Date Dean, Uni rsity Honors College The author approves the photocopying of this document for educational purposes. %0^ P Teddle of Contents Acknowledgements 2 Notes on Text 3 Section I I. Introduction 5 II. Baron Georges Haussmann And His Public Works Progreuns For Paris 7 A. ^^Les Reseaiix" 10 B. Haussmann, Realism, and Nineteenth-Century Paris...l3 Section II. Discussion of Short Stories I. Guy de Maupassant 17 II. Haussmannization and Maupassant's Female Characters...21 III. Cemeteries and Parisians 29 IV. Women's Roles and Haussmannization. 36 V. Tradi t ion v. Haus smanni z at ion 41 Conclusion 52 Bibliography 54 Acknowledgements I would like to extend my deepest appreciation to several individuals who have helped me with this project. Dr. Wendell Aycock acted as my mentor professor for this project. He helped me formulate many of my ideas, potential research avenues, and acted as my main editor. He introduced me to Guy de Maupassant and lent me anything I needed out of his own resource materials for this project. Dr. Jill Patterson acted as my reviewing professor and did wonders with the editing process. I would also like to thank the Texas Tech Honors College for giving me the opportunity to undergo this kind of project at the undergraduate level. -
Claude Monet : Seasons and Moments by William C
Claude Monet : seasons and moments By William C. Seitz Author Museum of Modern Art (New York, N.Y.) Date 1960 Publisher The Museum of Modern Art in collaboration with the Los Angeles County Museum: Distributed by Doubleday & Co. Exhibition URL www.moma.org/calendar/exhibitions/2842 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Museum of Modern Art, New York Seasons and Moments 64 pages, 50 illustrations (9 in color) $ 3.50 ''Mliili ^ 1* " CLAUDE MONET: Seasons and Moments LIBRARY by William C. Seitz Museumof MotfwnArt ARCHIVE Claude Monet was the purest and most characteristic master of Impressionism. The fundamental principle of his art was a new, wholly perceptual observation of the most fleeting aspects of nature — of moving clouds and water, sun and shadow, rain and snow, mist and fog, dawn and sunset. Over a period of almost seventy years, from the late 1850s to his death in 1926, Monet must have pro duced close to 3,000 paintings, the vast majority of which were landscapes, seascapes, and river scenes. As his involvement with nature became more com plete, he turned from general representations of season and light to paint more specific, momentary, and transitory effects of weather and atmosphere. Late in the seventies he began to repeat his subjects at different seasons of the year or moments of the day, and in the nineties this became a regular procedure that resulted in his well-known "series " — Haystacks, Poplars, Cathedrals, Views of the Thames, Water ERRATA Lilies, etc. -
Status Hierarchies in American Portrait Painting
Status Hierarchies in American Portrait Painting Nancy Wisely Stephen F. Austin State University In the tradition of Howard Becker (1982) and Everett Hughes (1958), I study the occupation of portrait painting by treating art production as simply one type of work. In contrast to art historians’ focus on great art and uniquely talented creators, sociologists study portrait painters of all makes and models—good, bad, and indifferent. Interest in the entire range of portraitists leads to an examination of the status organization of the occupation. In this analysis, I use a symbolic interactionist theoretical framework to examine how individual choices and social factors interact to produce status rankings of individual portraitists and portrait painters as a whole within hierarchies of artists and art forms. Three dimensions are relevant: individual artist goals and motivations; the interaction between actors and the norms that regulate portrait painting; and a pervasive cultural system of social values, beliefs, and symbols. Methods I conducted in-depth interviews with two dozen portrait painters who work in a variety of artistic styles in the mid-west, the south, and the northeastern United States. I also observed six different portrait painters as they worked. In the process, I became a participant observer as a portrait sitter and a portrait painter. I have complemented these core activities with ongoing documentary research and conversations with portraitists, portrait sitters, and art experts, including the director of the National Portrait Gallery. The Status of Portraiture Among Painting Genres The lowdown on the life of a portrait painter is this: There is money to be made—people want portraits of immediate family members, and universities, corporations, and associations seek likenesses of their leaders—but there is little fame to be gained in this line of work (Grant 1990: 26). -
CABANEL ALEXANDRE (Francia) Nato Montpellier, 28 Settembre 1823
CABANEL ALEXANDRE (Francia) Nato Montpellier, 28 settembre 1823. Morto a Parigi, 23 gennaio 1889. Allievo di François-Édouard Picot all'École des Beaux-Arts, ottenne il secondo Prix de Rome nel 1845, passando così cinque anni a Villa Medici a Roma. Ottenne grande fama con la Nascita di Venere, acquistata da Napoleone III nel 1863. Lo stesso anno fu nominato professore all'École des Beaux-Arts e membro dell'Académie des Beaux-Arts. Membro di giuria per 17 volte dal 1868 al 1888 del Salon, ne ricevette la medaglia d'onore nel 1865, 1867 e 1878. Fu pittore di storia, di genere e ritrattista: conteso dai collezionisti d'Europa e d'America, richiesto come ritrattista, fu nemico del Naturalismo e dell'Impressionismo, e fu attaccato da Émile Zola e da tutti coloro che difendevano la necessità di un'arte meno soave e più realista. Il collega Edouard Manet lo disprezzava. La tela Nascita di Venere gli valse grande notorietà e numerose committenze. Durante l’Ottocento al tema del nudo sdraiato si dedicarono pittori affermati come Renoir e Courbet, Ingres e Gauguin e Van Gogh. Molto ricercato come ritrattista, ebbe moltissimi allievi, fra cui alcuni raggiunsero la notorietà. FILATELIA BENIN Anno 2003, CENTRO AFRICANA REP. Anno 2014 (BF 752), GUINEA BISSAU Anno 2013 (5216), MALI Anno 2011, SPAGNA Anno 2013 Busta Postale. SAO TOME’ 2000 SPAGNA BUSTE POSTALI CABOT FRANCISCO SANS (Spagna) Nato il 9 aprile 1828 a Girona. Morto il 5 Maggio 1881 a Madrid.- Pittore catalano diresse il Museo del Prado dal 1873 al 1881 Figlio di un navigatore della Royal Navy spagnola, frequentò la Escola de la Llotja (1850-1855), dove, all’inizio, seguì corsi di oreficeria (per volon- tà della sua famiglia), ma li interruppe per dedicarsi alla pittura. -
14-SMX48 Copeland
)ORZDQG$UUHVW +XH\&RSHODQG Small Axe, Volume 19, Number 3, November 2015 (No. 48), pp. 205-224 (Article) 3XEOLVKHGE\'XNH8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/smx/summary/v019/19.3.copeland.html Access provided by Northwestern University Library (25 Mar 2016 15:17 GMT) Flow and Arrest Huey Copeland We start with a story. In 2002, while researching the dissertation from which my first book, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, would emerge, I had the opportunity to pose for the artist Lorna Simpson. Her practice had already become a locus of my thinking about aesthetics, slavery, and the aporias of representation, so I eagerly agreed to serve as her model. With characteristic economy, Simpson made good use of the photographs resulting from our session, eventually deploying them in a range of artworks that together comprise her 2002–03 exhibition Cameos and Appearances. Yet how- ever reproduced, framed, or occluded, those initial Polaroid images are also documents of an encounter in which the “art historian” became the “subject” of “his artist’s” “objective” gaze, leaving each of the quoted words estranged from itself and underlining an entanglement in the artistic procedures that I set out to describe.1 Estranged and entangled: these terms begin to articulate not only the queer experience of belatedly gazing at myself through Simpson’s lens but also that of reading the critical engage- ments with Bound to Appear commissioned by Small Axe and penned by two black literary scholars, Stephen Best and Hortense Spillers, whose work has long mattered to my own. -
Paul César HELLEU (Vannes 1859 - Paris 1927)
Paul César HELLEU (Vannes 1859 - Paris 1927) A Young Woman Seated at a Table Watercolour, heightened with gouache. Signed Helleu at the lower left. Inscribed [??] / M. Renard 190 Bd Pereire in pencil on the verso. 369 x 480 mm. (14 1/2 x 18 7/8 in.) The pencil inscription on the verso of the present sheet may refer to Marie Renard, a professional model who posed several times for Helleu, as well as for Edouard Manet and Berthe Morisot. Helleu met Marie Renard in 1879, and she seems to have posed often for the artist in the early part of his career, throughout the 1880s. A painted portrait of Marie Renard by Helleu, dated 1884 and depicting her writing at a desk, is in a private collection, while another painting of her, dated 1886, is in the Musée des Beaux-Arts in Rouen. Stylistically comparable to the present sheet is a watercolour study - drawn in 1886 and depicting his wife Alice, during their honeymoon, seated at a desk and seen from behind - in the collection of the Musée Bonnat-Helleu in Bayonne. Literature: To be included in the forthcoming Helleu catalogue raisonné, under the number AQ-6362. Artist description: Admitted into the École des Beaux-Arts in 1876, at the age of sixteen, Paul-César Helleu studied there with Jean-Léon Gerome, whom he accompanied to London in 1885. He developed a strong attachment to England, and was to return to London frequently throughout his career. In Paris, his circle of intimate friends included his fellow artists Giovanni Boldini, Alfred Stevens, James Whistler, Edgar Degas, Claude Monet and, in particular, John Singer Sargent, with whom he briefly shared a studio and who bought a pastel from Helleu. -
Fine Arts Museums of San Francisco Executive Committee Tuesday
Fine Arts Museums of San Francisco Executive Committee Tuesday, December 9, 2014 I. Calling of the Meeting to Order – Diane B. Wilsey, President A meeting of the Executive Committee of the Board of Trustees of the Fine Arts Museums of San Francisco was held on Tuesday, December 9, 2014 in the Board Room of the Legion of Honor, Lincoln Park, San Francisco. A quorum was present. The meeting was called to order at 3:42 p.m. by Diane B. Wilsey, President. II. Calling of the Roll Present: Diane B. Wilsey, President Carol N. Bonnie David H. S. Chung Belva Davis, Vice President Lauren Hall Kathryn Lasater Holland Lynch Sarah Ogilvie Carl Pascarella Louise H. Renne David Spencer Jeana Toney Lisa Zanze Excused: Cynthia Fry Gunn Trevor D. Traina Other Trustee in Attendance: George Hecksher, Vice President for Collections III. Report of the President A. Consideration and Possible Action to Approve the Minutes of the October 16, 2014 Meeting of the Board of Trustees There being no discussion among Trustees or comments from the public, the minutes of the October 16, 2014 meeting of the Board of Trustees, having been delivered in advance to all Trustees, were unanimously approved. Executive Committee Fine Arts Museums of San Francisco Board of Trustees December 9, 2014 B. Consideration and Possible Action to Approve the Report of the Acquisitions Committee President Wilsey called on George Hecksher, Vice President for Collections and Chair of the Acquisitions Committee to report on recent activities of the Acquisitions Committee. Mr. Hecksher noted that an opportunity arose between committee meetings to purchase a work of art, and the committee voted unanimously via e-mail ballot to approve the purchase.