Art, Crafts and Design As Themes on Swiss Stamps Richard Donithorn
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Wfrs Triennial Report 2015-2018
WFRS TRIENNIAL REPORT 2018 1 WFRS TRIENNIAL REPORT ON ROSES 2018 Published for the World Federation of Rose Societies COMPILED AND EDITED BY Sheenagh Harris WORLD FEDERATION OF ROSE SOCIETIES Founded 1968 www.worldrose.org The World Federation of Rose Societies is registered in Great Britain as a company limited by guarantee and as a charity under the number 1063582. The objectives of the Society, as stated in the constitution, are: To encourage and facilitate the interchange of information about and knowledge of the rose between national rose societies. To co-ordinate the holding of international conventions and exhibitions. To encourage, and where appropriate, sponsor research into problems concerning the rose. To establish common standards for judging new rose seedlings. To assist in coordinating the registration of new rose names. To establish a uniform system of rose classification. To grant international honours and/or awards. To encourage and advance international cooperation in all other matters concerning the rose. 2 CONTENT Foreword 4 Member Country Reports 86 Preface 6 Argentina 86 Editorial 7 Australia 89 President’s Report 8 Austria 92 Immediate Past President’s Report 11 Belgium 93 WFRS Office Holders 2015-2018 12 Bermuda 96 WFRS Standing Committees 14 Canada 98 WFRS Member Country Societies 15 Chile 99 The Breeders’ Club 17 China 101 Friends of the Federation 19 Czech Republic 103 WFRS Vice Presidential Reports Denmark 104 Africa 20 Finland 107 Australasia – Australia 21 France 109 Australasia - New Zealand 22 Germany 111 Central Asia 23 Great Britain 118 Europe (N) 25 Greece 121 Europe (SE) 27 Hungary 122 Europe (S) 29 Iceland 123 Far East 31 India 125 North America - USA 34 Israel 128 North America – Can. -
Max Buri Zum 100
Am Brienzersee, 1903, 61 x 81 cm MAX BURI ZUM 100. TODESTAG IN DER FONDATION SANER STUDEN 27.09. – 06.12.2015 Fr 17.00 – 19.00 Uhr Sa / So 10.00 – 17.00 Uhr Gruppen nach Vereinbarung Gönnerin der Ausstellung: GVB Kulturstiftung Nr. Ausgestellte Werke von Max Buri in der Fondation Saner Studen, vom 27.09. bis 06.12.2015 1. Iseltwald mit Brienzersee, o. D. Öl / Lwd, 81 x 100 cm Stiftung für Kunst, Kultur und Geschichte, Winterthur 2. Stillleben: Grosses Blumenstück mit Äpfeln, o. D. Öl / Lwd, 35.5 x 48.5 cm Stiftung für Kunst, Kultur und Geschichte, Winterthur 3. Mädchen mit blauem Kleid, 1895 Öl / Lwd, 130.5 x 90.5 cm Privatbesitz 4. Stiefmütterchen, um 1899 Öl / Lwd, 30 x 41 cm Fondation Saner, Studen 5. Häuser im Emmental, um 1900 Öl / Lwd, 33 x 47 cm Privatbesitz Schweiz 6. Brienzersee mit Iseltwald, um 1901 Öl / Lwd, 104 x 117 cm Privatbesitz 7. Am Brienzersee, 1903 Öl / Lwd, 62 x 82 cm Fondation Saner, Studen 8. Dorfpartie, 1905 Öl / Lwd, 38 x 54 cm Einwohnergemeinde Brienz 9. Z Figur des rechten Zylinderträgers aus dem Bild „Nach dem Begräbnis“, 1905 Pinselzeichnung in Tusche, 20.5 x 13.8 cm Privatbesitz Schweiz 10. Brienzer Bauer nach dem Begräbnis, 1906 (Kaspar Michel) Öl / Lwd, 80 x 60 cm Fondation Saner, Studen 11. Portrait Frieda Buri, 1906 Öl / Lwd, 42 x 42 cm Privatbesitz 12. Mädchen aus dem Haslital, um 1906 Öl / Lwd, 61 x 49 cm Kunstmuseum Solothurn – Dübi-Müller-Stiftung 13. Brienzersee-Landschaft (Studie), um 1907 Öl / Lwd, 32 x 54 cm Fondation Saner, Studen 14. -
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
Aegerten – Brügg – Studen 2015
nachgefertigt werden. Schliesslich wollte ich ja ein typisches Berner Patrizierhaus erschaffen. Lange war ich auf der Suche - zig Adventsfenstern in Brügg eröffnet. - nach Puppen, die ich selber bekleiden Es handelte sich um das Puppenhaus konnte. In Stuttgart wurde ich schliess von Eveline Helbling–van der Heijden, Roue si scho grächt verteilt u zur Zfride lich fündig. Ich liess mich nur von Be- das mit 208 Lämpchen in vollem Glanze heit vo fascht aune abgäh worde. Äs het schreibungen und Bildern der Mode um strahlte. Ein wahres Kunstwerk, welches ou nüt gnützt, wenn Eutere vorgsproche 3 / 2015 1900 inspirieren. Ich merkte schnell, echer, deune spöter – oder git’s vilicht - in mehrjähriger minutiöser und profes- Dorfnachrichtensi für zchlöne, dass doch ihre Suun oder - dass bei solch kleinen Figuren der Stoff Lüt, wo das nid mache? Was isch das sioneller Arbeit geschaffen wurde. Das - ihri Tochter e bestimmti Pärson dörf oder nicht neu sein durfte, denn er verlieh dem für nes Erläbnis gsi, we me aus Chnü schmucke Puppenhaus stiess bei der Be- nen: löten, installieren von Licht, tape- äbe nid söti spile. Güebt het me zerscht Kleid erst nach mehreren Waschgängen - deri mit de Eutere i ds Du Pont het völkerung auf ein reges Interesse. Dorf zieren und Boden verlegen. Je länger ich im Schuehus. E wytere Höhepunkt isch den natürlichen Fall. Im Brügger Bro chönne goh a nes Theater, Vereinssoi- nachrichten sprach mit der Künstlerin; daran arbeitete, desto mehr Ideen kamen ds Apasse vo de Theaterkostüm gsi. Jetz ckenhaus wurde ich zum Beispiel auch Am Samstag, 1. Dezember, 2007 wur ree, a ne Chüngeliusschtelig oder, we selbst, wenn nun die Zeit der langen und und jedes Detail musste wahrheitsgetreu hei d Soudate vom Näpi no gfürchiger fündig. -
Alberto Giacometti
ALBERTO GIACOMETTI ..................................................................................................................................................................................................................... Genius manifest in art Texts by Beat Stutzer, Franco Monteforte, Casimiro Di Crescenzo, Christian Dettwiler Genius manifest in art ..................................................................................................................................................................................................................... Alberto Giacometti, 1901–1966 by Beat Stutzer* Page I: Alberto Giacometti in the courtyard to his atelier in Paris, ca. 1958. This portrait is featured on Switzerland’s 100-franc banknote. On this page: Alberto Giacometti in his atelier in Paris, ca. 1952. Left: Alberto Giacometti’s Self-portrait , ca. 1923. Oil on canvas, on wood: 55 x 32 cm. Kunsthaus Zürich, Alberto Giacometti Foundation. Alberto Giacometti ..................................................................................................................................................................................................................... Virtually every book or article on Alberto bathed in sunlight. Its bare landscape and Giacometti includes some element of tough climate had a great influence on the biography. Some publications illuminate rural population here. The people of Bergell Giacometti’s life through the use of a spe - were used to hardship and deprivation, as cial literary treatment, -
Perspective, 2 | 2006 Art Nouveau Et Symbolisme En Suisse : État De La Recherche Sur La Peinture, 1
Perspective Actualité en histoire de l’art 2 | 2006 La Suisse/Période moderne Art nouveau et Symbolisme en Suisse : état de la recherche sur la peinture, 1890-1914 Laurent Langer, Art Nouveau and Symbolism in Swiss painting : an overview of current research Laurent Langer, Jugendstil und Symbolismus in der Schweizer Malerei. Der aktuelle Forschungsstand. Laurent Langer, La pittura « Art nouveau » e simbolista in Svizzera : stato della ricerca Laurent Langer, La pintura « Arte nuevo » y la pintura simbolista en Suiza. Estado de la investigación Laurent Langer Édition électronique URL : http://journals.openedition.org/perspective/363 DOI : 10.4000/perspective.363 ISSN : 2269-7721 Éditeur Institut national d'histoire de l'art Édition imprimée Date de publication : 30 juillet 2006 Pagination : 227-246 ISSN : 1777-7852 Référence électronique Laurent Langer, « Art nouveau et Symbolisme en Suisse : état de la recherche sur la peinture, 1890-1914 », Perspective [En ligne], 2 | 2006, mis en ligne le 31 mars 2018, consulté le 01 octobre 2020. URL : http://journals.openedition.org/perspective/363 ; DOI : https://doi.org/10.4000/ perspective.363 Ce document a été généré automatiquement le 1 octobre 2020. Art nouveau et Symbolisme en Suisse : état de la recherche sur la peinture, 1... 1 Art nouveau et Symbolisme en Suisse : état de la recherche sur la peinture, 1890-1914 Laurent Langer, Art Nouveau and Symbolism in Swiss painting : an overview of current research Laurent Langer, Jugendstil und Symbolismus in der Schweizer Malerei. Der aktuelle Forschungsstand. Laurent Langer, La pittura « Art nouveau » e simbolista in Svizzera : stato della ricerca Laurent Langer, La pintura « Arte nuevo » y la pintura simbolista en Suiza. -
Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List
ARS LIBRI ELECTRONIC LIST 117: MODERN ART Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763 Electronic List 117: Modern Art 1 Roma. Mario Diacono. JEAN MICHEL BASQUIAT: Il campo vicino l’altra strada. 23 ottobre - 20 novembre 1982. (4)pp. (single sheet of tan wove card stock, imprinted in red letterpress). Lrg. 8vo. Self-wraps. The very first catalogue, and the first monograph, published on the work of Jean-Michel Basquiat, with a densely written text by Mario Diacono. The exhibition was devoted to the display of a single major painting, “Il campo vicino l’altra strada” (“The Field Next to the Other Road”). Mario Diacono notes that this painting has been at times incorrectly dated 1981, and mentioned as painted and exhibited that year in Modena at the Galleria Emilio Mazzoli, in the show titled SAMO. The work was indeed painted in Modena, but in 1982, for another exhibition that Basquiat had in fact planned at the Galleria Mazzoli which never actually took place. By an agreement between Basquiat's primary dealer at the time, Annina Nosei, and the Galleria Diacono, the work was then exhibited in Rome, in October 1982. Its price was set at 7 million lire, or about $5,000. In May 2015, the painting was sold at Christie’s for $37,125,000. Roma, 1982. $3,000.00 Brooklyn Museum: Basquiat. Edited by Marc Mayer (Brooklyn, 2005), p. 216 (“Monographs and One- and Two-Person Exhibition Catalogues”) ARS LIBRI 2 ELECTRONIC LIST 117: MODERN ART 2 (BIENERT COLLECTION) GROHMANN, WILL. -
La Famiglia Giacometti
La famiglia Giacometti Autor(en): Lietha, Walter Objekttyp: Article Zeitschrift: Quaderni grigionitaliani Band (Jahr): 75 (2006) Heft 2 PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-57296 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch WALTER LIETHA Traduzione a cura di Nicola Zala La famiglia Giacometti Sulla storia della famiglia bregagliotta Giacometti si contano sinora studi e pubblicazioni riguardanti solo la cerchia parentale del famoso artista. Anche queste, seppur allargate, descrizioni non hanno la pretesa di essere una ricerca familiäre esaustiva. Dovrebbero perö aumentare l'interesse e la conoscenza nei confronti di questa importante famiglia. -
Elmyrdehory, Artist and Faker
Elmyr de Hory, Artist and Faker Hillstrom Museum of Art Elmyr de Hory, creating a drawing with figures in the style of Modigliani, Picasso, and Matisse, photographed by Pierre Boulat for a February 6, 1970 Life Magazine article, at de Hory’s villa La Falaise, Ibiza Elmyr de Hory, Artist and Faker February 15 through April 18, 2010 Opening Reception February 15, 7 to 9 p.m. Public Lectures Jonathan Lopez, Sunday, February 28, 2010, 3:30 p.m. Mark Forgy, Sunday, March 21, 2010, 3:30 p.m. Lectures are free and open to the public, and will be presented in Wallenberg Auditorium, Nobel Hall of Science on the Gustavus Adolphus College campus. Elmyr de Hory, Artist and Faker is supported by a generous grant from the Carl and Verna Schmidt Foundation. The majority of the photographs of works lent by Mark Forgy are by Robert Fogt Photography. On the cover: Portrait of a Woman, in the style of Amedeo Modigliani, c.1975, oil on canvas, 21 x 14 ½ inches, Collection of Mark Forgy Hillstrom Museum of Art gustavus.edu/finearts/hillstrom DIRECTOR’S NOTES he exploits of numerous infamous art forgers have been widely recounted, and one of the most fascinating and notorious cases has to do with Hungarian-born Elmyr de Hory (1906-1976). After an early life of privilege that included art studies in Budapest, Munich and Paris, de Hory’s situation was turned upside down by World War II, during which he was imprisoned thrice, his family’s estate was Ttaken, and his father died in Auschwitz. -
Of the Hunt Institute for Botanical Documentation
Carnegie Mellon University, Pittsburgh, Pennsylvania Vol. 26, No. 1 Bulletin Spring 2014 of the Hunt Institute for Botanical Documentation Inside 4 Duets on display 4 Open House 2014 4 William Andrew 4 Illustrated mushroom Archer papers books, part 2 Above right, Tulipe des jardins. Tulipa gesneriana L. [Tulipa gesnerana Linnaeus, Liliaceae], stipple engraving on paper by P. F. Le Grand, 49 × 32.5 cm, after an original by Gerard van Spaendonck (Holland/France, 1746–1822) for his Fleurs Sessinées d’après Nature (Paris, L’Auteur, au Jardin des Plantes, 1801, pl. 4), HI Art accession no. 2078. Below left, Parrot tulips [Tulipa Linnaeus, Liliaceae], watercolor on paper by Rose Pellicano (Italy/United States), 1998, 56 × 42.5 cm, HI Art accession no. 7405. News from the Art Department Duets exhibition opens The inspiration for the exhibition Duets 1746–1822) has done so with the began with two artworks of trumpet subtle tonality of a monochromatic vine, which were created by the stipple engraving and Rose Pellicano 18th-century, German/English artist (Italy/United States) with rich layers Georg Ehret and the contemporary of watercolor. The former inspired Italian artist Marilena Pistoia. Visitors a legion of botanical artists while frequently request to view a selection teaching at the Jardin des Plantes in of the Institute’s collection of 255 Ehret Paris, and the latter, whose work is and 227 Pistoia original paintings. One inspired by French 18th- and 19th- day we displayed side-by-side the two century artists, carries on this tradition paintings (above left and right) and noticed of exhibiting, instructing and inspiring not only the similarity of composition up-and-coming botanical artists. -
Luzern, September 2007
Luzern, September 2007 Lucerne September 2007 LUCERNE'S LION MONUMENT After flying into Zurich and taking the train to Lucerne, we walked to the Lion monument... a very peaceful setting made all the more enjoyable with the knowledge that the return walk would be mostly downhill and followed by wine, cheese and chocolates! The traditionally neutral Swiss supplied mercenaries to foreign governments and enjoyed a reputation for honoring their agreements. In 1792 the Swiss Guards’ ABOVE: Bertel Thorwaldsen's Lõwendenkmal, Lucerne honor was put to the test, when --after trying to escape the French Revolution--King Louis XVI, Marie-Antoinette, and their children were hauled back to the Tuileries Palace in Paris. A mob of working-class Parisians stormed the palace in search of aristocratic blood. More than 700 Swiss officers and soldiers died while defending the palace, without knowing that their royal employers--like Elvis--had left the building. In the early 1800s, the Danish artist Bertel Thorvaldsen was hired to sculpt a monument to the fallen Swiss Guards. The sculpture was carved in a sandstone cliff above the city center HANS ERNI: Mondays, when many tourist attractions are closed, is a good day to walk the 2 miles from the Center of Lucerne to the Museum of Swiss Transportation which is co-located with an IMAX, a planetarium and a delightful collection of work by local artist Hans Emi. h t t p : / / w w w . h a n s - e r n i . c h / h t m l / l i t h o g r a p h i e n . -
Bruno Giacometti - Telegraph 2012Nov 28 Fri17sat 08:56
Bruno Giacometti - Telegraph 2012Nov 28 Fri17Sat 08:56 Bruno Giacometti Bruno Giacometti, who has died aged 104, was the last surviving member of a notable family of artists and sculptors — among them his brother Alberto Giacometti — but chose to follow a different vocation, becoming a leading architect in Switzerland. The Giacometti family, with Bruno (on his father's knee), Alberto (left) and Diego (front, seated) 5:55PM BST 30 Mar 2012 The youngest of four children, Bruno Giacometti was born on August 24 1907 at Stampa, a hamlet in Bregaglia, a small and at that time undeveloped Italian-speaking valley in the Swiss canton of Graubünden. His father, Giovanni (1868-1933), was a “Swiss colourist” landscape and portrait painter of some repute; his cousin and neighbour, Augusto Giacometti, was also a prominent artist. His brothers Alberto and Diego were, respectively, six and five years older then him. The Giacometti children grew up with no electricity or running water. Transportation was by stagecoach. The fastest way to Chur, the capital of the region, was by foot over the Septimer, an old Roman pass. If those making the journey did not beat the first snow, they were usually not found until the next spring. http://www.telegraph.co.uk/news/obituaries/9176979/Bruno-Giacometti.html Page 1 of 3 Bruno Giacometti - Telegraph 2012Nov 28 Fri17Sat 08:56 The principal crop of the Bregaglia valley was hay, and the Giacomettis, like other boys in the village, helped to bring in the harvest. In a 1912 painting by Giovanni, the family is depicted clustered around a thick wooden table in the family living room under a low-hanging wrought-iron lamp, reading, drawing, crocheting.