DOCSLIB.ORG

Hill Stead Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hill Stead Museum ciy Cassatt de Mary Cassatt, Galerie Durand-Ruel, Paris, 1893 1844–1926 Recognized as one of the foremost 19th-century American painters and printmakers, Mary Cassatt is known for her prolific career and Impressionist artwork. A native of Pennsylvania who lived as an expatriate in Paris beginning in 1874, Mary Cassatt started formal training as a painter in 1861. In 1865, she took her first trip to Europe, where she would remain for the next four years, traveling and studying in Paris, Rome, and Madrid. In 1868, her painting A Mandolin Player became her first work to be accepted by the Paris Salon, the official art exhibition of the Académie des Beaux-Arts. Edgar Degas saw Cassatt’s work at the Salon, and in 1877 he asked her to exhibit with the Impressionists. Cassatt’s painting style and subject matter changed greatly because of her association with Impressionism. She abandoned colorful costume genre depictions in favor of scenes from contemporary life. Two years later, Cassatt and other artists, including Degas, Félix Braquemond, and Camille Pissarro, experimented with graphic techniques in the hopes of creating a new print journal. Although the journal never came to fruition, this work became very important to Cassatt in her development as a printmaker and a painter. Throughout the latter half of the 1880s, Cassatt produced etchings and drypoints of members of her family. Her failing eyesight prevented her from working for the last 15 years of her life, but because she had been an exceptionally prolific printmaker, she produced more than 220 prints during the course of her career. NMWA Exhibitions Trove: The Collection in Depth, 2011 Preserving the Past, Securing the Future: Donations of Art, 1987-1997, 1997–98 The Washington Print Club Thirtieth Anniversary Exhibition: Graphic Legacy, 1994–95 Four Centuries of Women’s Art: The National Museum of Women in the Arts, 1990–91 American Women Artists: 1830-1930, 1987 Selected Works from our collection by this artist Mother’s KissMary Cassatt The BathMary Cassatt Mary Cassatt 1844–1926 About the Artist Birth Place Allegheny City, Pennsylvania Death Place Le Mesnil-Theribus, France Phonetic Spelling MAIR-ee ka-SAHT Medium Drawings and prints; Painting Style Impressionism Places of Residence Paris; Le Mesnil-Theribus, France Training Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1861–65 Retrospective Exhibitions Mary Cassatt Retrospective, Yokohama Museum of Art, Japan, 2016; Mary Cassatt: Modern Woman, Art Institute of Chicago, Chicago, 1998–99; Mary Cassatt, 1844–1926, National Gallery of Art, Washington, D.C., 1970; Exposition de Tableaux, Pastels et Gravures de Mary Cassatt, Galerie Durand-Ruel, Paris, 1893 Mary Cassatt 1844–1926 Recognized as one of the foremost 19th-century American painters and printmakers, Mary Cassatt is known for her prolific career and Impressionist artwork. A native of Pennsylvania who lived as an expatriate in Paris beginning in 1874, Mary Cassatt started formal training as a painter in 1861. In 1865, she took her first trip to Europe, where she would remain for the next four years, traveling and studying in Paris, Rome, and Madrid. In 1868, her painting A Mandolin Player became her first work to be accepted by the Paris Salon, the official art exhibition of the Académie des Beaux-Arts. Edgar Degas saw Cassatt’s work at the Salon, and in 1877 he asked her to exhibit with the Impressionists. Cassatt’s painting style and subject matter changed greatly because of her association with Impressionism. She abandoned colorful costume genre depictions in favor of scenes from contemporary life. Two years later, Cassatt and other artists, including Degas, Félix Braquemond, and Camille Pissarro, experimented with graphic techniques in the hopes of creating a new print journal. Although the journal never came to fruition, this work became very important to Cassatt in her development as a printmaker and a painter. Throughout the latter half of the 1880s, Cassatt produced etchings and drypoints of members of her family. Her failing eyesight prevented her from working for the last 15 years of her life, but because she had been an exceptionally prolific printmaker, she produced more than 220 prints during the course of her career. NMWA Exhibitions Trove: The Collection in Depth, 2011 Preserving the Past, Securing the Future: Donations of Art, 1987-1997, 1997–98 The Washington Print Club Thirtieth Anniversary Exhibition: Graphic Legacy, 1994–95 Four Centuries of Women’s Art: The National Museum of Women in the Arts, 1990–91 American Women Artists: 1830-1930, 1987 Selected Works from our collection by this artist Mother’s KissMary Cassatt The BathMary Cassatt Shop NMWA NMWA Collection Catalogue Highlighting 90 works from NMWA’s collection, this beautifully designed catalogue spans the Renaissance to the present. YouTube Email Signup Search Enter your keywords National Museum of Women in the Arts Visit Explore Advocate Learn Support Shop Exhibitions Collection Highlights Artist Profiles Mary Cassatt Mary Cassatt 1844–1926 About the Artist Birth Place Allegheny City, Pennsylvania Death Place Le Mesnil-Theribus, France Phonetic Spelling MAIR-ee ka-SAHT Medium Drawings and prints; Painting Style Impressionism Places of Residence Paris; Le Mesnil-Theribus, France Training Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1861–65 Retrospective Exhibitions Mary Cassatt Retrospective, Yokohama Museum of Art, Japan, 2016; Mary Cassatt: Modern Woman, Art Institute of Chicago, Chicago, 1998–99; Mary Cassatt, 1844–1926, National Gallery of Art, Washington, D.C., 1970; Exposition de Tableaux, Pastels et Gravures de Mary Cassatt, Galerie Durand-Ruel, Paris, 1893 Mary Cassatt 1844–1926 Recognized as one of the foremost 19th-century American painters and printmakers, Mary Cassatt is known for her prolific career and Impressionist artwork.A native of Pennsylvania who lived as an expatriate in Paris beginning in 1874, Mary Cassatt started formal training as a painter in 1861. In 1865, she took her first trip to Europe, where she would remain for the next four years, traveling and studying in Paris, Rome, and Madrid. In 1868, her painting A Mandolin Player became her first work to be accepted by the Paris Salon, the official art exhibition of the Académie des Beaux-Arts.Edgar Degas saw Cassatt’s work at the Salon, and in 1877 he asked her to exhibit with the Impressionists. Cassatt’s painting style and subject matter changed greatly because of her association with Impressionism. She abandoned colorful costume genre depictions in favor of scenes from contemporary life.Two years later, Cassatt and other artists, including Degas, Félix Braquemond, and Camille Pissarro, experimented with graphic techniques in the hopes of creating a new print journal. Although the journal never came to fruition, this work became very important to Cassatt in her development as a printmaker and a painter.Throughout the latter half of the 1880s, Cassatt produced etchings and drypoints of members of her family. Her failing eyesight prevented her from working for the last 15 years of her life, but because she had been an exceptionally prolific printmaker, she produced more than 220 prints during the course of her career. NMWA Exhibitions Trove: The Collection in Depth, 2011Preserving the Past, Securing the Future: Donations of Art, 1987-1997, 1997–98The Washington Print Club Thirtieth Anniversary Exhibition: Graphic Legacy, 1994–95Four Centuries of Women’s Art: The National Museum of Women in the Arts, 1990–91American Women Artists: 1830-1930, 1987 Selected Works from our collection by this artist Mother’s Kiss Mary Cassatt The Bath Mary Cassatt 1893 Mary Cassatt 1844–1926 Recognized as one of the foremost 19th-century American painters and printmakers, Mary Cassatt is known for her prolific career and Impressionist artwork.A native of Pennsylvania who lived as an expatriate in Paris beginning in 1874, Mary Cassatt started formal training as a painter in 1861. In 1865, she took her first trip to Europe, where she would remain for the next four years, traveling and studying in Paris, Rome, and Madrid. In 1868, her painting A Mandolin Player became her first work to be accepted by the Paris Salon, the official art exhibition of the Académie des Beaux-Arts.Edgar Degas saw Cassatt’s work at the Salon, and in 1877 he asked her to exhibit with the Impressionists. Cassatt’s painting style and subject matter changed greatly because of her association with Impressionism. She abandoned colorful costume genre depictions in favor of scenes from contemporary life.Two years later, Cassatt and other artists, including Degas, Félix Braquemond, and Camille Pissarro, experimented with graphic techniques in the hopes of creating a new print journal. Although the journal never came to fruition, this work became very important to Cassatt in her development as a printmaker and a painter. Throughout the latter half of the 1880s, Cassatt produced etchings and drypoints of members of her family. Her failing eyesight prevented her from working for the last 15 years of her life, but because she had been an exceptionally prolific printmaker, she produced more than 220 prints during the course of her career. NMWA Exhibitions Trove: The Collection in Depth, 2011Preserving the Past, Securing the Future: Donations of Art, 1987-1997, 1997–98The Washington Print Club Thirtieth Anniversary Exhibition: Graphic Legacy, 1994–95Four Centuries of Women’s Art: The National Museum of Women in the Arts, 1990–91American
Load more

Recommended publications
  • THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
    THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline:
    [Show full text]
  • Oral History Interview with Frederick A. Sweet, 1976 February 13-14
    Oral history interview with Frederick A. Sweet, 1976 February 13-14 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Frederick Sweet on February 13 & 14, 1976. The interview took place in Sargentville, Maine, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. Interview February 13, 1976. ROBERT BROWN: Could you begin, perhaps, by just sketching out a bit of your childhood, and we can pick up from there. FREDERICK SWEET: I spent most of my early childhood in this house. My father, a doctor and tenth generation Rhode Islander, went out to Bisbee, Arizona, a wild-west copper-mining town, as the chief surgeon under the aegis of the Company. My mother always came East at pregnancy and was in New York visiting relatives when my father died very suddenly of cerebral hemorrhage. My mother was seven months pregnant with me. Since I was to be a summer baby, she ended up by coming to this house and being a cook and being a cook and a nurse with her there. The local doctor came and said nothing was going to happen for quite a long time and went off in his horse and buggy. I was promptly delivered by the cook and a nurse.
    [Show full text]
  • Monet and American Impressionism
    Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies.
    [Show full text]
  • James G. Lydon Duquesne University Pittsburgh, Pennsylvania
    168 BOOK REVIEWS APRIL and was a major trader in opium smuggled in from the Near East and India. Though some historians have suggested that drug smuggling re- flected racist attitudes, the author concludes rather that it fitted the moral standards of the day. Defense of opium smuggling was defense of free-trade principles. Despite the corruption of government officials which itoccasioned, the Chinese did not have the same antipathy for American traders as they directed toward the British who fought two wars to continue the trade. What Britain attained by war, America gained by diplomacy, without creating hatreds. While they treated Chinese law casually, Americans greatly respected Chinese merchants for their honesty and high ethical standards. Though the outlines of American contacts withAsia have been thoroughly sketched by others, Goldstein makes an important contribution inrelating the social issues connected with the trade to questions of cultural exchange and racist relationships. Some minor carping: the author might have concentrated a bit more attention on the importance of Chinese styles to eighteenth- century Europeans, the era of "Chinoiserie." That Asian culture was in the mode undoubtedly encouraged American interest in the China trade. The archaic spelling used for St. Eustatius (St. Eustacia) was bothersome. Is it George Chinery (illustration opposite p. 36) or George Chinnery (p. 38) ? References to American war vessels as USF Congress and USF Vincennes are confusing. Does the "F" sig- nify frigate ? Ifso, it is a new usage since frigates were ship-rigged ; thus USS serves. Allin all,however, this small study is very well done ;it is well written, very well researched, very nicely and profusely illustrated, very neatly packaged and published.
    [Show full text]
  • American Impressionism Treasures from the Daywood Collection
    American Impressionism Treasures from the Daywood Collection American Impressionism: Treasures from the Daywood Collection | 1 Traveling Exhibition Service The Art of Patronage American Paintings from the Daywood Collection merican Impressionism: Treasures from the Daywood dealers of the time, such as Macbeth Gallery in New York. Collection presents forty-one American paintings In 1951, three years after Arthur’s death, Ruth Dayton opened A from the Huntington Museum of Art in West Virginia. the Daywood Art Gallery in Lewisburg, West Virginia, as a The Daywood Collection is named for its original owners, memorial to her late husband and his lifelong pursuit of great Arthur Dayton and Ruth Woods Dayton (whose family works of art. In doing so, she spoke of her desire to “give surnames combine to form the moniker “Daywood”), joy” to visitors by sharing the collection she and Arthur had prominent West Virginia art collectors who in the early built with such diligence and passion over thirty years. In twentieth century amassed over 200 works of art, 80 of them 1966, to ensure that the collection would remain intact and oil paintings. Born into wealthy, socially prominent families on public display even after her own death, Mrs. Dayton and raised with a strong appreciation for the arts, Arthur and deeded the majority of the works in the Daywood Art Gallery Ruth were aficionados of fine paintings who shared a special to the Huntington Museum of Art, West Virginia’s largest admiration for American artists. Their pleasure in collecting art museum. A substantial gift of funds from the Doherty only increased after they married in 1916.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • G a G O S I a N G a L L E R Y Hiroshi Sugimoto Biography
    G A G O S I A N G A L L E R Y Hiroshi Sugimoto Biography Born in 1948, Tokyo. Lives and works in New York. Education: 1972 BFA, Art Center College of Design, Los Angeles. 1966-1970 BA, Saint Paul's University, Tokyo. Solo Exhibitions: 2009 Lightning Fields, Gallery Koyanagi, Tokyo, Japan. Lightning Fields, Fraenkel Gallery San Francisco, CA. 2008 Hiroshi Sugimoto: Seven Days/Seven Nights, Gagosian Gallery, New York. Hiroshi Sugimoto, Museum der Moderne, Salzburg, Austria. Hiroshi Sugimoto, Neue Nationalgalerie, Berlin. Hiroshi Sugimoto, Kunstmuseum Luzern, Switzerland. Hiroshi Sugimoto: History of History, The National Museum of Art, Osaka, Japan. Travelled to: 21st century Museum of Contemporary Art, Kanazawa, Japan. 2007 Leakage of Light, Gallery Koyanagi, Tokyo. Hiroshi Sugimoto, K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. Travlled to: Fine Arts Museum of San Francisco, Villa Manin Centro d’Arte Contemporanea, Udine, Italy. Hiroshi Sugimoto, Villa Manin, Passariano, Italy. Hiroshi Sugimoto: Colors of shadow, Fraenkel Gallery, San Francisco, CA. 2006 Hiroshi Sugimoto, Modern Art Museum, Fort Worth, TX. Hiroshi Sugimoto: Colors of Shadow, Sonnabend, New York. Hiroshi Sugimoto: Mathematical Forms, Galerie de l’Aterlier Brancusi, Paris. Hiroshi Sugimoto, Galerie Marian Goodman, Paris. Hiroshi Sugimoto:Joe, Gagosian Gallery, Beverly Hills. Hiroshi Sugimoto: Photographs of Joe, The Pulitzer Foundation for the Arts, St. Louis, MO. Hiroshi Sugimoto, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Hiroshi Sugimoto: History of History, Arthur M. Sackler Gallery, The Smithsonian, Washington D.C. 2005 Hiroshi Sugimoto: History of History, Japan Society, New York. Hiroshi Sugimoto: Retrospective, Mori Art Museum, Tokyo. (through 2006) Conceptual Forms, Gagosian Gallery, London (Britannia Street) and Sonnabend Gallery, New York.
    [Show full text]
  • My Dearest Watercolourists, I Hope You Are Doing Well. I Could Not Miss The
    My dearest watercolourists, I hope you are doing well. I could not miss the occasion to share some beautiful winter landscapes with you, so for this week’s newsletter we will look at Pissarro’s work! One of the Impressionist artists mentioned two weeks ago, Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). Pissarro was the oldest of the Impressionist group and a figure younger artists were looking up to. For example, artist Paul Cézanne said "he was a father for me. A man to consult and a little like the good Lord". What is revolutionary about Pissarro’s work is his profound interest in illustrating realist portraits of peasants and workers, the common folk. He decided to approach his subjects without artificial embellishments, in their common setting. For today I chose only wintery landscapes, but I highly encourage you to explore more of Pissarro’s work. Simply google ‘Camille Pissarro- paining ’ and enjoy! You will not be disappointed. Let’s have a look! Below there are three landscapes. The first one is probably the most interesting. It is a cityscape with a very unusual perspective and viewpoint. It shows what would be a fairly high-class part of the city- The Avenue de L'Opera, Paris. However, the moment chosen, the morning, as well as the perspective present a very different demography. What do you think about these choices? The next two images are winter countryside landscapes inhabited by solitary peasant figures.
    [Show full text]
  • Mary Cassatt
    National Gallery of Art Summer 2008 ngakids inside scoop Washington Pull-out who?what?how? [images for this section: Leonardos’ Ginevra de’Benci; Leonardo’s self-portrait] [design: place quote somewhere inside] A face is not well done unless it expresses a state of mind. Leon- “I have had a joy from which no one can rob me — I have been able to touch some people with my art.” Mary Cassatt Mary Cassatt, The Boating Party (detail), 1893 / 1894, National Gallery of Art, Chester Dale Collection who? what? how? Impressionist Connection 2 Early in her career, Cassatt explored different styles exhibit with the Impressionists in 1879. The Impres- of painting. Soon, however, she began to observe and sionists depicted fleeting moments in both nature and paint the scenes around her in Paris, exploring the ordinary human activity and experimented with bright subject of modern life. But Cassatt was not a bohemian colors, loose brush strokes, and innovative angled artist. She was comfortable in her own social milieu, viewpoints. These techniques reflected a dynamic new and it is this world — populated by family, friends, and approach to painting. their children — that she depicted. Ladies seated in Among these artists, Cassatt was the only American — the theater, women reading or taking tea in homes or and one of only three women. Her artistic talent, gardens, mothers washing and swaddling babies, and understanding of French language and culture, and children playing were the subjects that were part of her independent thinking earned her the respect of everyday world. this selective group, whose membership included Her ability to capture a moment in time caught the Claude Monet, Auguste Renoir, Camille Pissarro, and attention of Edgar Degas, who invited Cassatt to Alfred Sisley.
    [Show full text]
  • Download (PDF)
    EDUCATOR GUIDE SCHEDULE EDUCATOR OPEN HOUSE Friday, September 28, 4–6pm | Jepson Center TABLE OF CONTENTS LECTURE Schedule 2 Thursday, September 27, 6pm TO Visiting the Museum 2 Members only | Jepson Center MONET Museum Manners 3 French Impressionism About the Exhibition 4 VISITING THE MUSEUM PLAN YOUR TRIP About the Artist 5 Schedule your guided tour three weeks Claude Monet 6–8 in advance and notify us of any changes MATISSE Jean-François Raffaëlli 9–10 or cancellations. Call Abigail Stevens, Sept. 28, 2018 – Feb. 10, 2019 School & Docent Program Coordinator, at Maximilien Luce 11–12 912.790.8827 to book a tour. Mary Cassatt 13–14 Admission is $5 each student per site, and we Camille Pissarro 15–16 allow one free teacher or adult chaperone per every 10 students. Additional adults are $5.50 Edgar Degas 17–19 per site. Connections to Telfair Museums’ Use this resource to engage students in pre- Permanent Collection 20–22 and post-lessons! We find that students get Key Terms 22 the most out of their museum experience if they know what to expect and revisit the Suggested Resources 23 material again. For information on school tours please visit https://www.telfair.org/school-tours/. MEMBERSHIP It pays to join! Visit telfair.org/membership for more information. As an educator, you are eligible for a special membership rate. For $40, an educator membership includes the following: n Unlimited free admission to Telfair Museums’ three sites for one year (Telfair Academy, Owens-Thomas House & Slave Quarters, Jepson Center) n Invitations to special events and lectures n Discounted rates for art classes (for all ages) and summer camps n 10 percent discount at Telfair Stores n Eligibility to join museum member groups n A one-time use guest pass 2 MUSEUM MANNERS Address museum manners before you leave school.
    [Show full text]
  • Dalí's Surrea¡¡St Activities and the Model of Scientific Experimentationr
    @ Astrid Ruffa, 2005 Dalí's surrea¡¡st activities and the model of scientific experimentationr Astrid Ruffa Abstract This paper aims to explore relationships between Salvador Dalí's practices at the end of the 1920i ånd during the 1930s, and models of scientific experimentation. ln 1928 Dalí took a growing interest in André Breton's automatism and elaborated his first conception of õurrealilm which was based on the model of the scientific observation of nature. Dalí's writings of this period mimicked protocols of botanic or entomological experiments and refonñulated in an original way Bre'ton's surrealist proiect: they simulated the conditions and practices of scientific óbservaiions of nature. Paradoxically, this documentaristic and hyper- were oO¡éctive attitude led to a hyper-subjective and surrealistic description of reality: objects taken out of their context, if,ey were broken up and no longer recognisable' When Dalí his officially entered Breton's group-and conceived the paranoiac-critical method, he focused attention on another scieniific model: Albert Einstein;s notion of space{ime. Dalí appropriated and a concept which defined the inextricable relationship between space{ime and the object which b'ecame, in his view, the mental model of the interaction between interiority and exteriority, invisible and visible, subjectivity and objectivity. Significantly, the Catalan artist almost rewrote one of Einstein's own papers, by pointing out the active dimension of Einstein's space-time and by conferring new meanings on his notion of the space-time curve. I will track down the migrátion of thiã concept from physics to Dalí's surrealist vision by most considering its importancã in writings where the artist uses his method to interpret the varied phðnomena, from the my[n ot Narcissus, to English pre-Raphaelitism and the architecture of Antoni Gaudí.
    [Show full text]
  • Navin Rawanchaikul Selected Solo/Collaborative
    NAVIN RAWANCHAIKUL 1971 Born in Chiang Mai, Thailand Lives and works in Chiang Mai and Fukuoka, Japan. SELECTED SOLO/COLLABORATIVE EXHIBITIONS/PROJECTS 2016 Lost on the Farm, Jim Thompson Farm Tour, Pak Thong Chai district, Nakhon Ratchasima, Thailand OKLAND, presented by Sovereign Art Foundation, Art Central, Hong Kong Postcards from Dubai, Southeast Asia Platform, presented by Yavuz Gallery, Art Stage Singapore, Singapore 2015 Tales of Navin, DC Collection, Chiang Mai, Thailand A Tale of Two Homes, OK Store and stuiOK, Chiang Mai, Thailand 2014 Every Second, Yokohama, Japan Hometowns, Fukutake House, Shodoshima Island, Japan Postcards from Dubai, presented by Yavuz Fine Art, Art Dubai, Dubai, UAE 2013 Slow Boat to Navinland, Slow Boat project in collaboration with Ikon Youth Program, Ikon Gallery, Birmingham, UK 2012 A Tale of Two Cities, presented by Yavuz Fine Art, ART HK, Hong Kong 2011 Navinland, Gallery Niklas Belenius, Stockholm, Sweden Paradiso di Navin, Paradiso, 54th International Exhibition Venice Biennale, Venice, Italy Places of Rebirth, Valentine Willie Fine Art, Singapore Places of Rebirth, Sakshi Gallery, Mumbai, India 2010 Māhākād Festival, Chiang Mai, Thailand Who is Navin?, Gallery Niklas Belenius, Stockholm, Sweden SUPER CHINA!, Ullens Center For Contemporary Art, Beijing, China We Love You Comrade Navin, Café for Contemporary Art, Vancouver, Canada 2008 Dim Sum Rider, Tang Contemporary Art, Hong Kong Navin’s Sala, The River Promenade, Bangkok, Thailand Navinland Cinema, Sakshi Gallery, Mumbai, India 2007 Navins of
    [Show full text]