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Vincent Van Gogh the Starry Night
Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880. -
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SUM, CONVENT OF ST AGNES, NATIONAL GALLERY PRAGUE, PRAGUE, CZECH REPUBLIC, 2018 Antony Gormley's passion is to ask whether a human form - as both a vessel for the body and a container for the mind - can be a contemporary subject for contemplation; questions that are essentially spiritual. Gormley speaks of "being" in its widest context, exploring the now. He works with life, making body moulds and body casts, by implication life-size, in various subtle, undramatic states, and places them in a range of settings. These locations are never random; Gormley selects them for their associations. He treats the body as a house and invites the viewer's participation. For Gormley: "How the sculptures are disposed in space is perhaps more important than what they represent." ['Vessel', Antony Gormely, Galeria Continua, San Gimignano, 2012, p.42] This thinking is relevant for the works installed at the Convent of St Agnes, founded at the beginning of the 13th century and situated at the edge of the Old Town. The Church of St Salvator, the earliest Gothic building in Prague and the oldest part of this magnificent historical space, is the perfect site for the 'Reflections' series, in which contemporary art will be seen in a context that speaks to the uniqueness of both art and architecture. The viewer is left alone to reflect. Antony Gormley's two works on paper - the woodcut REACH (2016) and the imprint FEEL (2016) - resonate with the cast iron sculpture SUM (2012), the show's central motif. "Sum" in Latin stands for "I am" in English, or "being", the title of this show. -
Collecting Asian Art in Prague: Cultural Politics and Transcontinental Networks in 20Th Century Central Europe
H-Announce Collecting Asian Art in Prague: Cultural Politics and Transcontinental Networks in 20th Century Central Europe Announcement published by Simone Wille on Tuesday, May 18, 2021 Type: Conference Date: June 17, 2021 to June 18, 2021 Location: Czech Republic Subject Fields: Art, Art History & Visual Studies, Asian History / Studies, Colonial and Post-Colonial History / Studies, Diplomacy and International Relations, Eastern Europe History / Studies This conference looks at collections of Asian art in an outside Prague from the perspective of the national cultural politics interconnected with individual encounters as well as institutional cultural and diplomatic exchange in Central Europe during the 20th century. The focus will lie on collections of Asian art--hereby uses as an umbrella term for East Asian, South-East Asian, South Asian, Central Asian and West Asian art. The location includes Prague and its neighbouring cultural centres in Central Europe, thereby allowing a comparison of the mechanisms of collecting and presentation across time and place in the 20th and 21st centuries. Rather than viewing the collection as connected to a deterministic account of cultural flows through centres and peripheries, the conference will focus on international and transcontinental neteworks. It will look closely at the roles these networks played in establishing the grounds for collecting, displaying and narrating Asian art in Central European museums, which were used as platforms for cultural diplomacy or propaganda. By revisiting historical entanglements and relational comparisons that connect Asia and Central Europe, the conference's framework will focus on exhibitions, diplomatic exchange, and discursive aspects on art from Asia in the context of cultural politics. -
Carl Spitzweg and the Biedermeier
UNIVERSITY OF PUGET SOUND “A CHRONIC TUBERCULOSIS:” CARL SPITZWEG AND THE BIEDERMEIER BENJAMIN BLOCK ART494 PROF. LINDA WILLIAMS March 13, 2014 1 Image List Fig. 1: Carl Spitzweg, English Tourists in Campagna (English Tourists Looking at Ruins). Oil on paper. 19.7 x 15.7 inches, c. 1845. Nationalgalerie, Staatliche Museen Preussicher Kulturbesitz, Berlin. 2 The Biedermeier period, which is formally framed between 1815 and 1848,1 remains one of the murkiest and least studied periods of European art. Nowhere is this more evident than in the volumes that comprise the contemporary English-language scholarship on the period. Georg Himmelheber, in the exhibition catalogue for Kunst des Biedermeier, his 1987 exhibition at the Münchner Stadtmuseum, states that the Biedermeier style was “a new variety of neo- classicism.”2 William Vaughan, on the other hand, in his work German Romantic Painting, inconsistently places Biedermeier painters in a “fluctuating space” between Romanticism and Biedermeier that occasionally includes elements of Realism as well.3 It is unusual to find such large discrepancies on such a fundamental point for any period in modern art historical scholarship, and the wide range of conclusions that have been drawn about the period and the art produced within indicate a widespread misunderstanding of Biedermeier art by scholars. While there have been recent works that point to a fuller understanding of the Biedermeier period, namely the exhibition catalogue for the 2001 exhibit Biedermeier: Art and Culture in Central Europe, 1815-1848 and Albert Boime’s Art in the Age of Civil Struggle, most broadly aimed survey texts still perpetuate an inaccurate view of the period, and some omit it altogether. -
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CERNY David Cerny was born in 1967 in Prague, Czech Republic Cerny burst into the public eye in 1991 when he painted a Soviet tank, that served as a war memorial in central Prague, the color pink. Creating extreme controversy with his work, this international sculptor has been described as “witty, exciting, kinetic, crass and provacative”. Cerny is the son of a graphic designer father and a mother who was a restorer of art in the National Gallery of Prague. He learned his trade at the Academy of Applied Art in the country’s capital, studied in Boswil on a grant from the Swiss government, and also in New York City at P.S.I Artists Residence New York before taking part in the Whitney Museum Independent Study Program. His works are characteristically bold, courageous and reach into sensitive political, historical and social themes, all sprinkled with the unconventional artist’s sarcastic humor. In his hometown of Prague alone, Cerny has 14 installations in public spaces that have become major public attractions. In 2001 he created a non-profit cultural art and event center in a former 1920’s glass warehouse in Prague, which he named the “Meet Factory”. Cerny calls his factory a “multicultural supermarket”, as it houses a theatre, music stage and 16 studious occupied by a total of 30 international artists. More information and available works: www.hohmannfineart.com HOHMANN 73-660 El Paseo | Palm Desert, CA 92260 | (760) 346-4243 | [email protected] BIOGRAPHY DAVID CERNY Cerny has gained international attention with his larger than life art installations that can be found in and far beyond his native Prague. -
Lectionary Texts for March 6, 2019 • Ash Wednesday - Year C • Page 4
Lectionary Texts for March 6, 2019 •Ash Wednesday - Year C Joel 2:1-2, 12-17 • Psalm 51:1-17 • 2 Corinthians 5:20b-6:10 • Matthew 6:1-6, 16-21 Matthew 6:1-6, 16-21 Ash Wednesday, c. 1855-1860 by Carl Spitzweg, German, 1808-1885 Oil on cedar wood Staatsgalerie Stuttgart, Stuttgart, Germany Continued Lectionary Texts for March 6, 2019 •Ash Wednesday - Year C • Page 2 Carnival is over. Lent has begun. Still wearing his cheerful clown costume, he probably pushed the spirit of revelry a bit too far. With bent head, his arms are crossed and his face is in shadows. The previous day his antics and costume were saying “Look at me!” In the Matthew gospel, Jesus teaches us to be less concerned with how others may see us. The clown, the dark en- trance across from him, and the window and light above form a narrative triangle. The entrance is where the clown has come from, while the window above lets in the light, the rays point upward and invite the clown toward fullness, possibility, and hope. Carl Spitzweg was a romanticist painter and poet, considered to be one of the most important European artists of the early 1800’s. Self-taught as an artist, he received an inheritance in 1833 and was able to dedicate himself to painting. He visited Prague, Venice, Paris, London, and Belgium studying the works of various artists and refining his technique and style. His paintings frequently contained a touch of humor, and several articles and books refer to him as the Ger- man Norman Rockwell. -
Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2010 Visualizing the Nation: Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College Recommended Citation Dedon, Carrie, "Visualizing the Nation: Constructing a Czech National Art in the Prague Biennale" (2010). Pomona Senior Theses. Paper 39. http://scholarship.claremont.edu/pomona_theses/39 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. VISUALIZING THE NATION: CONSTRUCTING A CZECH NATIONAL ART IN THE PRAGUE BIENNALE By Carrie Dedon Submitted to Pomona College in Partial Fulfillment of the Requirement for the Degree of Bachelor of Arts Thesis Readers: Frances Pohl Mary McNaughton April 23, 2010 Carrie Dedon Acknowledgements Many thanks to Frances Pohl and Mary McNaughton for their suggestions and advice in writing this thesis; to the Pomona College Art History faculty, particularly my advisor George Gorse, for their support and encouragement; to the Faculty Research Committee for the Summer Undergraduate Research Project Grant and the Art & Art History Department for the Flintridge Foundation/Louisa Moseley Fine Arts Special Project Grant, both of which funded my research in Prague; to Josef Bolf, Lucie Drdova, Edith Jeřábková, Miloš Šejn, Štĕpanká Šimlová, Pavel Šmíd, and Miloš Voytĕchovsky for their insightful interviews; to Katka Francová and her family for their generous hospitality and Czech-English translations; and to my family and friends who were the patient sounding boards for every idea in the following pages. -
The Construction of National Identity in the Historiography of Czech Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten: Theses THE CONSTRUCTION OF NATIONAL IDENTITY IN THE HISTORIOGRAPHY OF CZECH ART MARTA FILIPOVÁ A THESIS SUBMITTED TO THE UNIVERSITY OF GLASGOW FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF THE HISTORY OF ART August 2008 © Marta Filipová 2008 Abstract National identity can be expressed in many ways by individuals, groups and states. Since the nineteenth century, Central Europe has been undergoing rapid changes in the political, social and cultural spheres, which was reflected in the self-definition of the nations living in this region, and in their definition by others. The Czech people, who until 1918 were a part of the Austro-Hungarian Empire, gave birth to a national revival movement in the nineteenth century and eventually emancipated themselves to create an independent Czechoslovakia. The idea of „national identity“ was, therefore, crucial and this was enhanced in many areas of human activity, including the construction of a historical legitimacy for the nation. The struggle for recognition of the historical existence of the Czech nation was also projected into the discourse adopted for historical and contemporary art writing and exhibition practice. In this thesis, I focus on the ways in which Czech national identity was constructed in the historiography of art. I shall argue that the various ideologies which influenced the writers led to an understanding of Czech art as epitomising certain qualities of the Czech nation. At the same time, the Czech nation was presented as highly advanced because of its artistic achievements. -
Thomas Dacosta Kaufmann 146 Mercer Street Princeton, N.J
Thomas DaCosta Kaufmann 146 Mercer Street Princeton, N.J. 08540 Tel: 609-921-0154 ; cell : 609-865-8645 Fax: 609-258-0103 email: [email protected] CURRICULUM VITAE Education Collegiate School, New York, valedictorian Yale University, B.A., summa cum laude with exceptional distinction in History, the Arts and Letters, 1970 Yale University, M.A., with Honors, in History, 1970 Warburg Institute, University of London, M.Phil. Dissertation: Theories of Light in Renaissance Art and Science (Advisor: E. H. Gombrich), 1972 Harvard University, Ph. D., in Fine Arts Dissertation: “Variations on the Imperial Theme; Studies in Ceremonial Art, and Collecting in the Age of Maximilian II and Rudolf II” (Advisor: J. S. Ackerman), 1977 Employment Princeton University, Department of Art and Archaeology Frederick Marquand Professor of Art and Archaeology, 2007- Assistant Professor, 1977-1983; Associate Professor, 1983-1989; Professor, 1989-; Junior Advisor, 1978-1980; Departmental Representative (i.e., vice-chair for Undergraduate Studies, and Senior Advisor), 1983-1987, 1990-1991 Chairman, Committee for Renaissance Studies, 1990-93 University of San Marino, History Department, Professor, Lecture Cycle, 2010 Summer Art Theory Seminar, Globalization, School of Art Institute of Chicago, 2008, Professor Forschungsschwerpunkt Geschichte und Kultur Ostmitteleuropa (former Academy of Sciences, Berlin; Max-Planck-Gesellschaft), Visiting Professor, 1994 Herzog Anton Ulrich Museum, Braunschweig, Stiftung Niedersachsen, Summer Course, Visiting Professor, 1994 University of Pennsylvania, Department of Art History Visiting Professor, 1980 Awards, Fellowships, and other Distinctions Elected Member, Latvian Academy of Sciences, 2020 Honorary Doctorate (Doctor historiae artrium, h.c.), Masaryk University, Brno, 2013 Wissenschaftlicher Gast, Kunsthistorisches Institut in Florenz, 2013 Nina Maria Gorissen Fellow in History (Berlin Prize Fellowship), American Academy in Berlin, 2013 Honorary Doctorate (Doctor phil. -
April 2007 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend .......................................................... -
Exhibiting Central European Baroque Art in Cold War Britain: ‘The Works Themselves Refute Geographical Separatism’
Exhibiting Central European baroque art in Cold War Britain: ‘The works themselves refute geographical separatism’ Verity Clarkson This article analyses the organization and reception of one exhibition of baroque art, Baroque in Bohemia. 1 Organized collaboratively across the Iron Curtain, it formed part of an official governmental programme of cultural exchanges between Britain and Czechoslovakia. It was shown in two British locations in the summer and autumn of 1969: firstly, London’s Victoria and Albert Museum (henceforward V&A) and later the City Museum and Art Gallery in Birmingham.2 The press release summarized its content as ‘Baroque sculpture, paintings, glass, silver, ecclesiastical vestments and metalwork ranging in date from the beginning of the seventeenth to the end of the eighteenth century’, noting that the exhibition aimed to trace ‘the evolution of the Bohemian Baroque in all its aspects’.3 Exhibits were drawn mostly from Czech sources, predominantly museum collections in Prague and churches in Bohemia.4 However, planning the show was a more collaborative effort, requiring co-operation between a number of administrative and governmental bodies both across the East-West divide and within each individual country. The Czechoslovak Ministry of Culture took a lead role alongside various Czech museums, notably the National Gallery in Prague. Various British cultural and governmental organizations also worked together to realize the exhibition. The nominally apolitical Arts Council of Great Britain was in charge of general administration -
Carl Spitzweg Kunst Museum Winterthur | Reinhart Am Stadtgarten 29 February – 2 August 2020
Press release Carl Spitzweg Kunst Museum Winterthur | Reinhart am Stadtgarten 29 February – 2 August 2020 Press conference for the exhibition Thursday, 27 February 2020, 11 o’clock, or individual tour by appointment Kunst Museum Winterthur | Reinhart am Stadtgarten Stadthausstrasse 6, CH-8400 Winterthur Der arme Poet (The Poor Poet), one of the landmarks of German painting, is now being shown for the first time in Winterthur in a major exhibition on Carl Spitzweg. Together with Der Bücherwurm (The Bookworm), Der Kaktusfreund (The Cactus Friend) and other masterpieces, it is the highlight of the first exhibition on the Biedermeier master in Switzerland in almost 20 years. Carl Spitzweg (1808 - 1885) is one of the most successful and popular German painters of his time. However, the tranquility of his paintings is deceptive, for Spitzweg was a precise and critical observer. He described the Biedermeier zeitgeist with humour and irony and exposed society with its sometimes eccentric excesses, for example in quirky characters like The Bookworm or The Cactus Friend. Even when he painted a sentry placing his knitting aside to look into the distance - only to discover nothing – this witty subject has a decidedly political component: the painter is ridiculing the unnecessary military excesses in 19th century Germany. By eluding censorship and apparently innocently, Spitzweg exposed political grievances. In this interpretation, The Poor Poet emerges not simply as a romantic idealization of the poet, but as an unsparing display of the artist's poverty, representative of the restriction of art in general. The exhibition at the Kunst Museum Winterthur brings together numerous major works by the Munich master.