2018年7月31日 星期二

Lucas Cranach, the Elder/ the Younger


The final decision in favor of the Norton Simon Museum represents a landmark ending to a complicated lawsuit that lasted over a decade.

Lucas Cranach, the Elder/ the Younger


Many of the paintings in our collection depict saints, who can be identified by symbols artists used to represent them. In this work by Lucas Cranach the Elder, Saint Genevieve holds the candle which she mysteriously relit: http://bit.ly/1FEn6yA

Lucas Cranach the Younger died ‪#‎onthisday‬ in 1568. Here’s his woodcut of Martin Luther http://ow.ly/Hq0PT

Lucas Cranach the Younger died #onthisday in 1568. Here’s his woodcut of Martin Luther http://ow.ly/Hq0PT
Lucas Cranach the Younger was born ‪#‎onthisday‬ in 1515. Here’s his print of Martin Luther http://ow.ly/CdMGt
Tune in to Monday’s BBC Radio 4 ‪#‎MemoriesOfANation‬ episode at 09.45 to hear more about Luther http://ow.ly/CgmpQ

Lucas Cranach the Younger was born #onthisday in 1515. Here’s his print of Martin Luther http://ow.ly/CdMGt

Tune in to Monday’s BBC Radio 4 #MemoriesOfANation episode at 09.45 to hear more about Luther http://ow.ly/CgmpQ

Britannica Concise Encyclopedia: Lucas Cranach, the Elder

(born 1472, Cranach, bishopric of Bamberg — died Oct. 16, 1553, Weimar, Saxe-Weimar) German painter and printmaker. He took his name from the town of his birth. Little is known about his early life or training. In Vienna (c. 1501 – 04) he painted some notable portraits and landscapes characteristic of the Danube school. From 1505 to 1550 he was court painter in Wittenberg, where he achieved great success and wealth painting portraits, mythological subjects, and altarpieces for Protestant and Catholic churches. He attracted so many young artists to Wittenberg that the town became an art centre. A friend of Martin Luther, Cranach became known as the chief pictorial propagandist of the Protestant cause in Germany. He produced numerous engravings and more than 100 woodcuts, notably for the first German edition of the New Testament (1522). After his death, his style was perpetuated by his son, Lucas the Younger (1515 – 86).


Wikipedia article "Lucas Cranach the Elder".


From the Fringe | 18.02.2008

Naked "Venus" Gets Free Ride in London

Venus has gone nude for more than 450 years. And prudish public officials could not convince her to cover up on the London Underground.

Topless would've been okay, officials for Transport of London said. But the poster for an upcoming Lucas Cranach the Elder exhibition at the Royal Academy of Arts in London went too far. The German master's "Venus Standing in a Landscape" depicts an unclothed, golden-haired woman cocking her hips behind a transparent veil.
Transport officials demanded the bottom half of the picture be cropped before it could go up in the London Underground. The advertisement was originally nixed for going against a rule prohibiting pictures which depict "men, women or children in a sexual manner, or display nude or semi-nude figures in an overtly sexual context."
Museum officials expressed shock that the "Venus" painting, completed in 1532, could be seen as problematic.
"We wouldn't have put a poster design forward if we thought it was offensive," academy spokeswoman Jennifer Francis said.
Decision reversed
John Whittingdale, an influential legislator, described the original ban as "absolutely bonkers."
On Saturday, Feb. 16 transportation officials admitted they had made a mistake and reversed their decision.
The exhibition on the German artist's work is scheduled to open March 8 at the Royal Academy of Arts in London. "Venus" is one of 70 works of Lucas Cranach the Elder which will be displayed in London.
DW staff (th)

2018年7月30日 星期一

Magic Realism: Art in Weimar Germany 1919–33




'Magic Realism: Art in Weimar Germany 1919–33' opens today at TateModern – one of our exhibition highlights of the week: https://www.apollo-magazine.com/…/magic-realism-art-in-wei…/

2018年7月29日 星期日

László "Moholy Nagy: Experiment In Totality" By Sibyl Moholy-Nagy

包豪斯理想 Bauhaus ldeal

Evolution in Art:As Illustrated by the Life-Histor...

此書,Experiment in Totality by Sibyl Moholy-Nagy ( Oct. 1969 第二版)感人 (這本的全文見Full text of "Moholy Nagy Experiment In Totality"
它是Walter Gropius (1883-1969) 的愛將 László  Moholy- Nagy (1895-1946)的  (第2任)夫人Sibyl Moholy-Nagy (1903-1971)寫其先生在德國包浩斯和芝加哥設立設計學院的創作回憶錄。
值得一讀 。 László "Moholy Nagy認為,人動手起來 ,可影響其心靈和感情。

"Moholy Nagy: Experiment In Totality"  的 卷首真言(motto), 乃取自 Alice in Wonderland 首章一句:

"And she tried to fancy what the flame of a candle looks like after the candle is blown out, for she could not remember ever having seen such a thing."



Moholy Nagy 1946.11.24 臨終的話 ,匈牙利語
Aludni
要睡了....




From Wikipedia, the free encyclopedia
Sibyl Moholy-Nagy (October 29, 1903 – January 8, 1971) was an architectural and art historian. Originally a German citizen, she accompanied her husband, the Hungarian Bauhaus artist László Moholy-Nagy, in his move to the United States. She is the author of one of the most important and influential[by whom?] studies of his work, Moholy-Nagy: Experiment in Totality, plus several other books on architectural history.

Biography[edit]

Sibylle Pietzsch was born in Dresden on October 29, 1903 to architect Martin Pietzsch (Deutscher Werkbund) and Fanny Clauss Pietzsch. After attending the University of Dresden, she became an actress, performing in several films. She eventually became a scriptwriter, and in the late 1920s, met Bauhaus-trained artist and photographer László Moholy-Nagy (1895–1946) while working on a film script. They were married in 1932. They had two daughters, Hattula (born 1933), and Claudia (1936–1971). After residing together in Germany for over a year and a half, they left due to the rise of Nazism. In 1934, they settled in Amsterdam, and then London for two years.
In 1937, the family emigrated to the United States, settling in Chicago. Here, Moholy-Nagy assisted her husband in opening and the New Bauhaus, in October 1937. Moholy-Nagy also helped her husband and the New Bauhaus staff to run the school until its closure in 1938. Moholy-Nagy also helped her husband run the Chicago Institute of Design for several years. Her first, and only published novel, Children's Children, appeared in 1945.
After her husband's death in November, 1946, Moholy-Nagy decided she would become an architectural historian and teacher. Her first book, a biography on her husband, Moholy-Nagy: Experiment in Totality, established her as an academic. In 1951, after holding teaching positions in Chicago and San Francisco respectively, she got a job as associate professor of architecture history at the Pratt Institute inNew York City. She taught courses on such subjects as urban history and design. She retired from being a full professor in 1969, and became a visiting professor at Columbia University until her death.
Throughout the 1950s and 1960s, Moholy-Nagy had a fulfilling career as an architecture critic, maintaining professional relationships with such figures as Walter GropiusPhilip Johnson, and Carlos Raul Villanueva (whom she would undertake an extensive study of his work). One her most important books, Matrix of Man: An Illustrated History of Urban Environment, appeared in 1968. She also made numerous contributions to architecture magazines, such as Architectural Forum and Progressive Architecture. She was also one of the first critics to study post-War Latin American architecture in-depth.
She died in New York City on January 8, 1971.

Bibliography[edit]

  • Paine, Judith, "Sibyl Moholy-Nagy: A Complete Life." Archives of American Art Journal 15:4 (1975), 11–16.
  • Sibyl Moholy-Nagy, Moholy-Nagy: Experiment in Totality. Cambridge, Mass.: MIT Press, 1969.

Selected publications[edit]

  • Children's Children (writing as S.D. Peech). New York: H. Bittner, 1945
  • Moholy-Nagy: Experiment in Totality. New York: Harper Brothers, 1950. (Rev. Ed., MIT Press, 1969)
  • Paul Klee: Pedagogical Sketchbook (Introduction and translations). New York: Praeger, 1953 (rev. 1968)
  • Native Genius In Anonymous Architecture. New York: Horizon Press, 1957.
  • Carlos Raul Villanueva and the Architecture of Venezuela. New York: Praeger, 1964.
  • Matrix of Man: An Illustrated History of Urban Environment. Preager, 1968
  • The Architecture of Paul Rudolph. (Introduction). Praeger, 1970



The Prolific Career of an Early Bauhaus Innovator: Laszlo Moholy-Nagy

  • 09:30 - 29 J




“The Siesta”, a large oil painting based on Jean-Francois Millet’s “La Sieste.”










 Jean-Francois Millet’s “La Sieste"
http://lusile17.centerblog.net/13895-peintre-celebre-jean-francois-millet

Peintre célèbre - Jean Francois Millet



Although best known for his feverishly colored landscapes, Vincent Van Gogh (1853 – 1890) preferred to paint people. Paying for models was a challenge to the impoverished painter, as he would constantly complain in letters to his only lifelong friend, his brother Theo. One painting featuring not just one but two people is “The Siesta”, a large oil painting based on Jean-Francois Millet’s “La Sieste.”






Le saviez-vous ?
Le musée d’Orsay est gratuit pour les 18-25 ans*, y compris les expositions temporaires.
----------
Did you know ?
The Musée d'Orsay is free for 18-25 year olds*, including temporary exhibitions.
* ressortissants ou résidents de longue durée d'un pays de l’Union européenne // citizens or long-term residents of an EU member state ?⠀
Photo : © Musée d'Orsay / Eric Jouvenaux

2018年7月28日 星期六

Klimt By Frank Whitford 1990



オーストリアを代表する画家クリムト。旧約聖書の女性を官能的に描いた代表作が来日することが決まりました
オーストリアを代表する画家グスタフ・クリムト(1862~1918)の作品を紹介する「クリムト展 ウィーンと日本…
















https://thamesandhudson.com/klimt-9780500202463

Klimt

Frank Whitford


Gustav Klimt’s work brilliantly negotiates the borders between the traditional and the modern, the figurative and non-figurative. His subtly erotic portraits, richly patterned landscapes and enigmatic allegorical compositions are at once sensuous and refined, while his extravagant, ornamental style verges on abstraction.


Obliged to go his own way when he was denied public commissions, Klimt became the leader of the modernists in Vienna, perhaps the greatest portraitist of his age, a landscape painter of dazzling originality and, above all, the creator of extraordinary decorative schemes. Frank Whitford examines the artist’s work against the background of his time – the tragic final years of the Austro-Hungarian Empire.

In the light shed by political and cultural history, Klimt’s paintings and personality emerge with new clarity.引



此書遠流有翻譯本《克林姆》 ( Klimt By Frank Whitford 1990),1994年,雖然出處沒,有幾處可能翻譯錯誤,不過有簡單索引,還是很有幫助 (本書中,主要的維也納文化人都提到、引用了),譬如說,重要的評論家/記者Karl Kraus (April 28, 1874 – June 12, 1936)卡爾·克勞斯,本書翻譯成"克羅斯",有6處出處。



同家出版社2005年相關作品

Gustav Klimt - Thames & Hudson

https://thamesandhudson.com/klimt-drawings-watercolours-9780500238264

Nov 14, 2005 - There can be no doubt about Klimt's greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours. Rainer Metzger brings together hundreds of Klimt's works on paper in a w.

"Constantin Brâncuşi" 1876–1957. “Sleeping Muse,” The Kiss (1908),Sculptural Ensemble of Constantin Brâncuși at Târgu Jiu





With exhibitions of Brancusi's work at both MoMA The Museum of Modern Art and Solomon R. Guggenheim Museum, Hugh Eakin writes, "Few artists encapsulate the story of the early twentieth-century avant garde more alluringly than Constantin Brancusi. Within a few years, he had somehow managed to apprentice with Rodin. Then, throwing out the master’s methods, he completely redefined what sculpture was."


NYBOOKS.COM
The Ascetic Beauty of Brancusi


For years, Brancusi made hardly enough money to eat. In 1926, a version of one of his most extraordinary subjects, Bird in Space, was famously held up at the US border because customs officials didn’t think it was art. Sometimes, he even baffled his own cohort. Picasso (or perhaps Matisse) is said...


The Metropolitan Museum of Art, New York
Edward J. Steichen lived in Paris on and off from 1900 to 1924, making paintings and photographs. A cofounder with Alfred Stieglitz of the Photo-Secession, Steichen offered his former New York studio to the fledgling organization as an exhibition space in 1905. Known first as the Little Galleries of the Photo-Secession and later simply by its address on Fifth Avenue, 291, the gallery introduced modern French art to America through the works of Rodin, Matisse, Cézanne, and, in 1914, Constantin Brancusi.

Steichen lived in Paris on and off from 1900 to 1924, making paintings and photographs. A cofounder with Alfred Stieglitz of the Photo-Secession, Steichen offered his former New York studio to the fledgling organization as an exhibition space in 1905
METMUSEUM.ORG


Centre Pompidou
JEUNE PUBLIC | Le printemps arrive avec un peu d'avance à l'atelier Brancusi !
Ce week-end, participez avec vos enfants à un parcours poétique en compagnie de la conteuse Valérie Jeanne.
© ADAGP, Paris, 2014 – Photo : DR
Atelier Brancusi, Centre Pompidou, 2014

Happy birthday to Constantin Brancusi. The subject of a sleeping head occupied Brancusi for almost twenty years. In conceiving and executing “Sleeping Muse,” the sculptor eschewed drama and detail in favor of reducing ideas to fundamental forms and simplified details. This bronze is one of four casts made in 1910 from a marble of the previous year for which Baroness Renée Irana Franchon was the model.





Sculptor Constantin Brancusi was born this day 1876. His 1912 white marble "Muse" from the Guggenheim collection embodied the proportions of classical beauty: http://gu.gg/Jk8SD

Happy birthday to modernist pioneer Constantin Brancusi, who would have been 139 today http://ow.ly/Jjhsi


Wikipedia article "Constantin Brâncuşi".

Imagination : Constantin Brancusi…The Monk of Modernism ». BBC

這部 (2017補,我忘記了) 解釋為什麼羅丹的The Kiss ,是19世紀的。
而 Brâncuşi 的 The Kiss (1908),則是在墳墓
更真更美更永恆

整體探討雕塑之精神性、宗教感。
包括他晚年信藏傳佛教。

2017補:我1977年讀The Language of Sculpture一書,Constantin Brâncuşi 的份量頗重。
世界變化大,該書第7章專論  Brâncuşi at Tirgu Jiu,現在的拼音為Târgu Jiu---我看過一張地圖,顯示"巴黎-維也納-Târgu Jiu"等三地,成一等距離之直線。
John Berger 說,"Constantin Brâncuşi" (1876–1957)的最後20年,尋尋覓覓,無所得,因他早已找到他的Form。


Sculptural Ensemble of Constantin Brâncuși at Târgu Jiu

https://en.wikipedia.org/wiki/Sculptural_Ensemble_of_Constantin_Br%C3%A2ncu%C8%99i_at_T%C3%A2rgu_Jiu

Columbia Encyclopedia: Brancusi, Constantin
(bränkyū'zē, Rom. brän'kūsh) , 1876–1957, Romanian sculptor. Brancusi is considered one of the foremost of modern artists. In 1904 he went to Paris, where he worked under Mercié. He declined Rodin's invitation to work in his studio. Because of his radical, economic style, his abstract sculptures, The Kiss (1908), Sleeping Muse (1910), and the portrait of Mlle Pogany (1923; Musée d'Art moderne, Paris) were the subjects of much controversy. He altered his technique from modeling to carving c.1910. In 1927 Brancusi won a lawsuit against the U.S. customs authorities who attempted to value his sculpture as raw metal. The suit led to legal changes permitting the importation of abstract art free of duty. Brancusi's work is notable for its extreme simplification of form, its organic and frequently symbolic character, and its consummate craftsmanship. He had a profound understanding of materials, working primarily in metal, stone, and wood. Bird in Space (1919; Mus. of Modern Art, New York City) is a characteristic work. Others are in the Solomon R. Guggenheim Museum, New York City, and in the museums of Chicago, Cleveland, and Philadelphia.


Biography: Constantin Brancusi
Constantin Brancusi (1876-1957), a Romanian sculptor who settled in France, revolutionized the art of sculpture in the 20th century. His work revealed the beauty of pure form in sculpture, but he endowed it with an organic mystery.
Constantin Brancusi was born into a family of poor peasants in the hamlet of Hobita in the province of Oltenia on Feb. 21, 1876. He taught himself to read and write and at the age of 18 entered the School of Arts and Crafts in Craiova and graduated in 1898. He then studied sculpture at the Bucharest Art School until 1902. His Ecorché, or flayed nude, executed in 1902, is such an accurate study of the male anatomy that it is still used at the medical school in Bucharest.
Brancusi enrolled at the Académie des Beaux-Arts in Paris in 1904, where he studied with Antonin Mercié. But Brancusi was drawn to the innovative art of Auguste Rodin, from whom he learned that the purpose of sculpture is not merely the representation of the surface of forms but the evocation of the inner force that produces the surface. He exhibited for the first time in 1906 in Paris, showing a portrait at the Salon organized by the Societé Nationale des Beaux-Arts and three other works at the Salon d'Automne in the same year. In Brancusi's works of 1905-1907, particularly the series Children's Heads, he used Rodin's impressionistic system of modeling, in which the planes bounding the volume are fragmented to suggest the transitory expressions of the physiognomy. Brancusi declined Rodin's invitation to become his studio assistant because he felt it necessary to find his own way without being subjected to the master's over-whelming influence.
The nature of Brancusi's future work, in which he eliminated all that was not essential in order to suggest the primordial sentiment, was foreshadowed in Prayer (1907), a statue of a kneeling woman which concentrates attention on the generalized contour of the body and not analytically on its volume. Step by step he reached a greater degree of simplification, of abstraction of the real element, which was still figurative. The decorative value was obtained by geometrical stringency and skillfully polished surfaces, as in the Wisdom of the Earth (1909) and The Kiss (1910). These works embody his new esthetics, inspired by folklore, which permitted a return to the suggestiveness and naive simplicity of primitive art. He dissected the scheme of folk art, which he took as his model, and retraced the slope back to the path of its formation, to the sentiment that gave it birth.
Maturity of His Art
By 1910 Brancusi's art took on the characteristics which were to revitalize sculpture. He worked in stone, wood, and bronze, perfecting his rendition of earlier themes, such as the portrait (Mademoiselle Pogany series, 1912-1933), the bird (Magic Bird cycle, 1912-1915; Bird in Space cycle, 1919-1940), the fish (Fish cycle, 1922-1930), and the column (Endless Column series, 1918-1937). In these works he projected his own rich inner life, at times haunted by fantasies of Romanian mythology, bypassing the intermediate representation of the human figure. Sculptures such as The Witch (1916) and The Chimera (1918) are sensitive incarnations of that sentiment which had given rise to Brancusi's native folklore. Brancusi's aim in his mature work was to reveal the crystalline structure of organic forms and to bring out the autonomous life of inorganic matter inherent in the very consistency of stone, metal, and wood.
Brancusi's Parisian studio was crowded with Romanian folk art. He led a simple life, similar to that of the peasants in his native province, which he never forgot, no matter how integrated he was in the French artistic movement. He was very successful and received numerous commissions. To honor the Romanian soldiers of World War I, Brancusi erected a monumental ensemble at Târgu-Jiu near his birthplace, which consists of the Endless Column in steel and the Gate of the Heroes and the Table of Silence with 12 chairs in stone (1937-1938). The structural and decorative elements of the monument were derived from the simple architecture and furniture of the Romanian peasants.
Brancusi died in Paris on March 16, 1957.
Contemplation and Liberation
Brancusi demonstrated that modern art, while preserving the harmony, balance, and humanism of its western European artistic legacy, could originate from the primordial ages of mankind which preceded the culture of classical antiquity. He invented forms that begin from reality but are not subject to it. His simple, calm forms, of organic perfection (although they have sometimes been considered abstract), reflect the creative attitude that is fundamental to modern plastic arts: renunciation of the method of interpreting sentiment by means of the poses and gestures of the human body (for example, the Beginning of the World, 1924; Socrates, 1923). Brancusi was interested in the stylization of forms in accordance with a logic governed by the requirements of expression (for example, The Cock, 1924). He reduced the image to the essential, pure form, as in his famed versions of Bird in Space.
The highly personal art of Brancusi cannot be labeled by the terms applied to modern movements, such as surrealism, cubism, abstraction, or futurism. It expresses his profound grasp of the intuitive spirit of creation, which is ingeniously integrated with the major stylistic aspects of modern art.
Further Reading
The most important work on Brancusi in English is Sidney Geist, Brancusi: A Study of the Sculpture (1968). Geist also wrote the catalog for the retrospective exhibition held in 1969-1970, Constantin Brancusi, 1876-1957 (1969). See also David Lewis, Constantin Brancusi (1957); Sir Herbert Read, Constantin Brancusi (1957); Carola Giedion-Welcker, Constantin Brancusi, 1876-1957 (1958; trans. 1959); and Christian Zervos, ed., Constantin Brancusi: Sculptures, peintures, fresques, dessins, in French (1957). An important documentation of the bird sculptures is Athena T. Spear, Brancusi's Birds (1970).
Additional Sources
Lewis, David Neville, Constantin Brancusi, London: Academy Editions; New York: St. Martins Press, 1974.