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EASTERN AVANT-GARDE ORBIT II DIGITAL DELIGHTS | LIST NO. 4 DECEMBER 2019 Dear Clients, Colleagues and Friends
EASTERN AVANT-GARDE ORBIT II DIGITAL DELIGHTS | LIST NO. 4 DECEMBER 2019 Dear clients, colleagues and friends, I am hereby glad to present my new short list »Digital Delights«, edition no. 4. The following illustrated list contains 30 new arrivals as well as carefully selected items from my stock related to the Central and Eastern European Avant-Garde orbit. Illustrated books and magazines, each created by major proponents of Bulgarian, Czech, Estonian, Hungarian, Latvian, Romanian, Russian and Yugoslavian avant-garde movements from the 1920s and 1930s are waiting to be discovered by you. Highlights include the first ever printed poems by Paul Celan (pos. 1), the striking "Moholy- Nagy issue" of the Hungarian periodical MA (7), the spectacularly covered magazine »Kreisā Fronte« from Latvia (8-11), »The Adventures of The Five Little Roosters Gang«, probably the most breathtaking of all surrealist children books (29), and some particularly rare Bulgarian items, created by a short lifted but nevertheless fervent modernist scene around Geo Milev (please also consider my monograph »Bulgarian Modernism. Books and Magazines 1919-1934« still available in my web-shop). The list is in alphabetical order and the descriptions are mainly done in English, some of them in German language however. English translations on demand. So, please enjoy browsing, watching and reading, and of course I am very much looking forward to your feedback and orders. Yours, 1 1 Paul CELAN: [Drei Gedichte in] Agora. Colecție internațională de artă și literatură [Internationale Sammlung von Kunst und Literatur]. Îngrijită de [Hg. v.] Ion Caraion și Virgil Ierunca. Vol. 1 [Alles Erschienene] (= Colecție »Sisiph«). -
Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: Arthistoricum.Net 2021, P
Damnatio Memoriae. The Case of Mart Stam Simone Hain Hain, Simone, Damnatio Memoriae. The Case of Mart Stam, in: Bärnreuther, Andrea (ed.), Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: arthistoricum.net 2021, p. 359-573, https://doi.org/10.11588/arthistoricum.843.c11919 361 Simone Hain [ B ] What do we understand by taking a stand regarding architecture and design, and particularly of the Bauhaus and Modernism? architectural historiography As early as 1932, 33-year-old Mart Stam was preoccupied with the of modernism idea that he might be counted as dead as far as architectural his- tory, or rather the «West», was concerned, because for over a year and a half he had failed to provide new material for art history. «We Are Not Working Here with the Intention of Influencing How Art Develops and Making New Material Available to Art History» On August 20th, 1932, he wrote to Sigfried Giedion, the most im- portant art historian for architects: «You will be amazed to receive another little letter from me after I have been dead for a year and a half. Yes, I am immersed in our Russian work, in one of the most [ B ] difficult tasks that will ever exist. I know that we won’t be able to build a lot of flawless buildings here, that we won’t be able to produce wonderful material compositions, that we won’t even be able to implement pure floor plans and apartment types, maybe not even flawless city plans. [...] we are not working here with the intention of influencing how art develops and making new mate- rial available to art history, but rather because we are witnessing societal projects of modernism a great cultural-historical development that is almost unprecedent- reshaping the world ed in its scope and extent [...].»1 Stam describes his activities in Russia ex negativo, knowing full well that in doing so he is violating the well-established rela- tionship between himself and Giedion and all the rules of the game in the industry. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT. -
SELECCIÓN DE NOVEDADES DE LA BIBLIOTECA Todos Los
Museu Picasso de Barcelona www.museupicasso.bcn.cat SELECCIÓN DE NOVEDADES DE LA BIBLIOTECA Todos los documentos se encuentran disponibles en la Biblioteca del Museu Picasso. Acceso público y gratuito con cita previa necesaria: teléfono 93 256 30 31 o [email protected] Sobre Picasso... Picasso, fotògraf d'Horta : instantànies del cubisme, 1909 Picasso, fotògraf d'Horta : instantànies del cubisme, 1909 / Salvador Carbó Sabaté, Elias Gaston. -- Horta de Sant Joan : Centre Picasso d'Orta, 2003. -- 110 p. : il. ; 30 x 21 cm Catálogo de la exposición organizada por el Centre Picasso d'Orta, en el marco de la celebración del centenario "Picasso i Horta, 1909-2009", presentada en el Convent de Sant Salvador, Horta de Sant Joan, del 28/06/2009 al 18/10/2009 y en el Museu Picasso, Barcelona, del 22/10/2009 al 13/12/2009 Sumario: Picasso, fotògraf d'Horta / Elias Gaston Membrado, p. 5; Instantànies del cubisme, 1909 / Salvador Carbó Sabaté, p. 13; catàleg d'il·lustracions, p. 58 ; crèdits fotogràfics, p. 59 ; bibliografia i arxius, p. 62 ; textos en castella- no, p. 64 ; English version, p. 88 La Escultura tardía de Picasso, Mujer : la colección en contexto Comisaria Elizabeth Cowling. -- Màlaga : Museo Picasso Málaga, 2009. -- 147, [12] p. : il. ; 28 x 23 cm ISBN 978-84-934901-7-1 Catálogo de la exposición presentada en el Museo Picasso Málaga del 11/05/2009 al 30/08/2009 Sumario: Picasso recorta el metal / Lionel Prejger, p. 22; La escultura tardía de Picasso: Mujer. La colección en contexto / Elizabeth Cowling, p. 28; Lista de obras, p. -
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ART & THE CÔTE D’AZUR 2012 The French Riviera is indissociable from Culture, as SOME FIGURES demonstrated once again in this press kit entirely dedicated The French Riviera offers an extremely broad range of to news from museums and the artistic scene for 2012 in the exhibition venues with over 100 museums in the Alpes- Alpes-Maritimes. Maritimes département and the Principality of Monaco and over 150 art galleries. We invite you to retrace the itineraries of great painters like Picasso, Matisse and Chagall as well as Cocteau and Bonnard to whom the Riviera paid very special tribute in 2011, by THE MUSEUMS CAN BE DESCRIBED AS creating two new museums dedicated to each of them! You FOLLOWS: will also find some key architectural itineraries on the French > 3 national museums: Fernand Léger, Marc Chagall, Riviera. Picasso “La Guerre & la Paix”. > 2 museums run by the département (Asian Arts in Nice And there’s much more. Art is always at the heart of the and Merveilles in Tende). destination. Indoors and outdoors, many itineraries enable > 15 museums dedicated to artistic movements, you to meet artists of the 21st century... including 10 for modern and contemporary art. We also invite you to enjoy certain variations around love, > 11 museums dedicated to an artist (Renoir, Peynet, gardens... Fragonard, Cocteau,Matisse...). > 11 museums dedicated to a particular period in history. We hope your enjoy reading these pages! > 10 museums dedicated to the history of a city or region. > 30 theme museums. > 21 folk museums. NUMBER OF VISITORS (figures for 2010) 11 million tourists visiting the French Riviera. -
Antibes : L'instant Unique
Document generated on 09/28/2021 6:09 p.m. Vie des arts Antibes L’instant unique Jacques Lepage Number 65, Winter 1971–1972 URI: https://id.erudit.org/iderudit/57949ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Lepage, J. (1971). Antibes : l’instant unique. Vie des arts, (65), 67–71. Tous droits réservés © La Société La Vie des Arts, 1971 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ * > Picasso en conversation avec Mme Cuttoli; à gauche, Mme Suzanne Ramié, éditeur des poteries de Picasso, a Vallauris. antibes instant unique I parr JacqueJacques LLEPAGE E Une femme fuit. Vers Marseille tonne encore. Parce que Françoise dans sa villa du cap d'Antibes. la route s'étire. Le soleil de juillet Gilot est horrifiée par les scorpions Françoise, déterminée à ne plus co assoiffé ces terres de Haute- qui pullulent dans la maison que habiter avec les scorpions du vieux Provence où Picasso cherche le re Dora Maar leur a prêtée, parce bourg fortifié des Vaucluses décide pos. La jeune femme, sa compagne, qu'elle hésite à lier sa vie plus long Picasso à louer la maison du gra espère qu'une voiture va la recueil temps à celle de Picasso, voici veur Louis Fort, au Golfe-Juan (2). -
Surrealism in and out of the Czechoslovak New Wave
Introduction Surrealism In and Out of the Czechoslovak New Wave Figure I.1 A poet’s execution. A Case for the Young Hangman (Případ pro začínajícího kata, Pavel Juráček, 1969) ©Ateliéry Bonton Zlín, reproduced by courtesy of Bonton Film. 2 | Avant-Garde to New Wave The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960s was described at the time as the ‘Czech film miracle’. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. As we shall see, Surrealism was by no means the only avant-garde tradition to make a significant impact on this cinema. But it did have the most pervasive influence. This is hardly surprising, as Surrealism has been the dominant mode of the Czech avant-garde during the twentieth century, even if at certain periods that avant-garde has not explicitly identified its work as Surrealist. Moreover, the very environment of the Czech capital of Prague has sometimes been considered one in which Surrealism was virtually predestined to take root. The official founder of the Surrealist movement, André Breton, lent his imprimatur to the founding of a Czech Surrealist group when he remarked on the sublimely conducive locality of the capital, which Breton describes as ‘one of those cities that electively pin down poetic thought’ and ‘the magic capital of old Europe’.1 Indeed, it would seem a given that Czech cinema should evince a strong Surrealist tendency, especially when we consider the Surrealists’ own long-standing passion for this most oneiric of art forms. -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ...................... -
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Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p. -
(Pologne), 1987 Largentière (France). 1929 : Sur Les
Michel SMAJEWSKI, dit Michel SIMA, sculpteur photographe. 1912 Slonim (Pologne), 1987 Largentière (France). 1929 : Sur les conseils de son professeur de dessin, part pour Paris étudier le dessin. Il a 17 ans et entre à l’académie de la Grande Chaumière où il étudie le dessin et la sculpture jusqu’en 1932. Parallèlement, il s’initie à la photographie. 1933 : Il se lie au groupe de Francis GRUBER, Moise KISLING qui l’a encouragé et Pierre TAL- COAT. Il travaille dans l’atelier du sculpteur FETU jusqu’en 1934. Élève de ZADKINE de 1934 à 1935, il est remarqué par COCTEAU qui lui fait connaître Paul ELUARD et Francis PICABIA, chez qui il participe aux dimanches artistiques, littéraires et poétiques. À partir de cette période, travaillant avec les agences de presse, il réalise des reportages photographiques sur Paris et sur les événements politiques et artistiques qui ont animé les années 30. Rencontre de MAX ERNST. En 1935, il partage l’atelier, situé impasse Ronsin à Paris, du peintre René BESSET qui lui fait rencontrer BRANCUSI, leur voisin. 1936, Il rencontre PICASSO. 1937, il effectue un bref passage dans l’atelier de sculpture de BRANCUSI, impasse Ronsin. Il assiste le sculpteur COUTURIER pour l’exécution des projets d’Aristide MAILLOL pour l’exposition universelle de 1937. Il rencontre Robert DESNOS dont il sera le secrétaire. C’est à cette époque qu’il fait la connaissance de Picasso et de Gertrude Stein. Il fréquente l’appartement que Gertrude STEIN partage avec son frère, rue de Fleurus, à Paris. Au début de la guerre, il est mobilisé à Coëtquidan, incorporé au régiment polonais et se fait réformer. -
UC Berkeley Room One Thousand
UC Berkeley Room One Thousand Title A Reverse History of Modernism: What Connects Prague to Le Corbusier? Permalink https://escholarship.org/uc/item/1678061j Journal Room One Thousand, 2(2) ISSN 2328-4161 Author Hrabova, Martina Publication Date 2014 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Martina Hrabova A Reverse HistoryWhat Connects of ModernismPrague to Le Corbusier? In two parallel and interrelated stories, the following essay presents a specific view of the history of avant-garde architecture in former Czechoslovakia. This work grew out of personal experience; following what at first seemed an unlikely trail to me revealed the inherent problems of Czech modernist historiography and its meanings. Beginning with memories of the house where I grew up, it lead to questions about the relationship between existing structures and the historical narratives behind them. Unexpectedly, this simple case study of my family home relates to larger debates about the character of Czech Modernism and its relationship to Le Corbusier. A White House That Became Yellow For more than twenty years, my family has lived in a villa on what was once the outskirts of Prague (Figure 1). As long as I can remember, it has had a traditional exterior with a pitched roof and conventional detailing. The four-story structure, with its yellow façade, resembles many other buildings in the neighborhood. The outer cloak however was added in the 1930s and conceals some remarkable secrets. When I was little I had not thought much about the history of the house. However, this changed during my studies of art history at 65 Martina Hrabova Charles University, Prague. -
'“Do You See Anything?” Asked Poussin': the Informe, Bataille and the Czech Surrealists
19 ‘“Do You See Anything?” Asked Poussin’: The Informe, Bataille and the Czech Surrealists LENKA BYDOVSKÁ 302 Lenka Bydžovská Lenka Bydžovská is a researcher at the Department of Art of the 19th to the 21st Centuries at the Institute of Art History at the Czech Academy of Sciences. In this synthesis of formal analysis and art-historical investigation, Bydžovská explores the hitherto unexamined connections between Czech Surrealism and the infuential French theorist Georges Bataille. Te strategies of formal ‘decomposition’ practised by Czech artists Toyen and Vincenc Makovský are discussed with reference to Bataille’s concept of the ‘informe’ or ‘formless’, a quantity that calls all categories into question. Bydžovská reveals the points of contact that the Czech avant-garde established with Bataille’s renegade Surrealist circle, even as it oriented itself around the ‘orthodox’ Surrealism of André Breton. She traces particularly strong afnities between Bataille’s thought and the work of Jindřich Štyrský, evident in a preoccupation with low or repulsive matter, scatology, bodily fragmentation, and the fuid boundary between ‘civilisation and animality’. Tis essay frst appeared in the Czech journal Umění in 1997.1 (JO) ‘“Do You See Anything?” Asked Poussin’: Te Informe, Bataille and the Czech Surrealists In Honoré de Balzac’s story Te Unknown Masterpiece (Le Chef-d’œuvre inconnu, 1831), the young Nicolas Poussin longs to see a supposed crowning achievement by the old master Frenhofer, who ‘sees higher and farther than other painters’, but who, with his endless deliberations over colour and line, is also consumed by many doubts.2 When, after a long efort, Poussin fnally succeeds in gaining entry to Frenhofer’s studio, together with the famous court painter Frans Porbus, both are astounded by the ravishing paintings which hang on the walls and which, to their amazement, the artist declares to be the errors of youth.