2018年8月31日 星期五

Henry Moore sketch found among Gurlitt hoard of Nazi-looted art


Henry Moore sketch found among Gurlitt hoard of Nazi-looted art | Art ...


Henry Moore sketch found among Gurlitt hoard of Nazi-looted art

Watercolour of reclining figures identified on BBC programme Fake or Fortune?
A watercolour sketch by Henry Moore, identified among a Nazi art hoard in the Kunstmuseum in Bern.
 A watercolour sketch by Henry Moore, identified among a Nazi art hoard in the Kunstmuseum in Bern. Photograph: BBC/PA
An authentic watercolour sketch by Henry Moore, one of the most famous British artists of the 20th century, has been identified among the notorious Gurlitt hoard of more than 1,500 works, many of them Nazi loot inherited by German art dealer Cornelius Gurlitt from his father.
The coloured sketch of reclining figures, dating from the 1920s, has been identified through the BBC programme Fake or Fortune? and is believed to be the only UK work in the vast hoard of paintings and drawings discovered in Germany in 2012.
Although many of the works of art including pieces by Claude Monet, Paul Cézanne, Pablo Picasso and Otto Dix have deeply tainted origins, stolen by the Nazis or the result of forced sales from Jewish collectors, the programme also established that the drawing, dating from the 1920s, was actually given by Moore to a German museum, and was bought before the war by Gurlitt’s father.
The programme was asked to investigate the origins and authenticity of the drawing by the Kunstmuseum in Bern, the oldest fine art museum in Switzerland, which emerged as Gurlitt’s sole heir when he died of heart failure in 2014. A German court overruled a challenge to the will by a relative, and works from the collection are now being exhibited in Bern and at a museum in Bonn, with a full explanation of the history of the collection.
Philip Mould, an art expert and co-presenter of the programme, said the drawing was a fascinating early work by Moore. “Not only do we now know it is totally genuine, but it has been cleansed of the evil prospect that it was looted Nazi art, which will allow Bern to once again display it to the public.”
Hildebrand Gurlitt art dealer
 Hildebrand Gurlitt, father of Cornelius, who originally came into the possession of priceless artworks that were seized by the Nazis. Photograph: AP
Gurlitt inherited the works from his father, Hildebrand Gurlitt, who amassed his personal collection while operating as an art dealer for the Nazis, including buying art for Adolf Hitler. Many works in his collection were seized from museums and collectors when the artists were condemned by the Nazis as “degenerate”.
The scale of the collection was unknown until his reclusive son, who had occasionally been selling individual works of art, was investigated for tax evasion. Searches at his homes in Germany uncovered the true extent of the collection, with pictures found stacked up among hoarded tins and cartons of food. He died during an extensive investigation into the collection, including an attempt to identify the original owners so stolen works could be returned.
The Moore sketch is now estimated to be worth around £70,000, due to its emotive history as much as its intrinsic value as a work of art.

Francis Poulenc; Le travail du peintre, song cycle for voice & piano, FP 161

Francis Poulenc
Le travail du peintre, song cycle for voice & piano, FP 161

Description by Joseph Stevenson [-]

Francis Poulenc (1899 - 1963) was one of the great writers of art songs of any era, and certainly of the twentieth century. This song cycle has his characteristic mixture of energy and lyricism, of hard "modern" harmonies alternating with sweetness or tenderness.

In 1948 Poulenc thought of writing a song cycle on poems about painters in Paul Éluard's book Voir. Poulenc wanted a closing poem on Matisse so as to be able to end the cycle "...in joy and sunshine," as he wrote in his invaluable Journal de mes mélodies. The poet's death in 1952 made that impossible. After concluding other work including his great opera Dialogues of the Carmélites Poulenc was finally able to write this cycle in tribute to Éluard. The songs are reactions more to the poems than to the painters or their pictures.

"Pablo Picasso" is hard-edged and dark, despite being in C major. Éluard's poem is about the process of painting, and Poulenc captures the implacable energy of the highly prolific Spaniard in regular, indomitable rhythms. Poulenc wrote that by 1956 C major "...no longer means peaceful happiness."

"Marc Chagall," on the other hand, was a painter Poulenc was less than enamored with, and this song, as he aptly described it, is a "rambling scherzo." Its melody is rather sing-songish.

Poulenc said that "Georges Braque" was rather too mannered or tasteful, "...but that is how I feel Braque." He somewhat underrates the song, in this writer's estimation, for it is gentle and lyrical, with a nice contrast capturing the poet's juxtaposition of Braque's bird paintings and tender human paintings.

"Juan Gris" is the masterpiece of the set. Poulenc sketched out ideas for it when he first thought of the cycle. Poulenc expresses pride that he accurately caught the poem's rhythms, but even more impressive is the way he enhances the poem's tenderness and affection. (Singers should always consult Pierre Bernac's book Francis Poulenc: The Man and His Songs as preparation for performing Poulenc's mélodies: This is particularly important with this song, which requires uncommon dynamic sensitivity and, Bernac points out copying errors in the printed edition.)

"Paul Klee" is a weaker poem, and inspired a weaker song. Mostly, it fills the need, at this point in a cycle, for a presto movement. It "...must go like a bang," Poulenc wrote.

But "Joan Miró" is a much better song, very difficult to interpret with its wide variety of mood and more changes of tempo than common in his or anyone's songs of this length.

Poulenc was almost as fond of "Jacques Villon," the concluding song, as he was of "Juan Gris." Initially, the song is like a proclamation, and seemingly rather heartless, but a litany-like passage toward the end inspired a very affecting moment of humanity. This passage also is the subject of detailed discussion in Bernac's book, which correctly (the writer thinks) tells other baritones how to achieve the "...sudden softness,...sudden wonder" inherent in these lines.
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Pablo Picasso

Francis Poulenc kickin it with Pablo Picasso.
#poulenc #picasso

March Chagall
Georges Braque
Juan Gris
Paul Klee
Joan Miro
Jacques Villon

St. Jerome in his study

我一直很喜歡這幅畫(St. Jerome in his study)。是15世紀西西里的麥西拿(Messina)畫家Antenello 畫的。每看它,我就想到“風簷展書讀,古道照顏色

我一直很喜歡這幅畫(St. Jerome in his study)。是15世紀西西里的麥西拿(Messina)畫家Antenello 畫的。每看它,我就想到“風簷展書讀,古道照顏色”。2006年,我到Messina,高興可以看到它,不意它正好外借,緣慳一面。


我一直很喜歡這幅畫(St. Jerome in his study)。是15世紀西西里的麥西拿(Messina)畫家Antenello 畫的。每看它,我就想到“風簷展書讀,古道照顏色”。2006年,我到Messina,高興可以看到它,不意它正好外借,緣慳一面。


Antonello da Messina's Saint Jerome in His Study: An ... - Jstor
by PH Jolly - ‎1983 - ‎Cited by 20……查看更多管理


Antonello da Messina's Saint Jerome in His Study: An…

我所了解的。就我們的問題,最重要的是附註3:畫者可能引用 Saint Jerome 給朋友的信,描寫他的圖書館、書齋....大翻譯家的聖經,整房都是,只有桌上的是作者說他畫此的根據。

Thomas H. C. Lee 是的,那本書就是《聖經》。全畫是根據他的一些書信來畫;信中有關應該讀的書就是”gospels“。因此雖然”整房都是“書(或《聖經》),但是他在桌上打開的就是《聖經》最中心的部分(福音書)。注3(我很辛苦地仔細讀了一下)說的是Jan van Eyck 的畫,但是van Eyck 的原畫已經遺失。Antonello 是仿van Eyck,這一點殆無疑義,不過vanEyck的畫如果根據Bartolomeo Facio的De viris illustribus (St. Jerome 有同名的書)的記載,“"Hieronymus uiuenti persimilis. biblioteca mirae artis. quippe quae si paulum ab ea dis- cedas uideatur ...”,就是説房中有很多古董(珍稀藝朮作品)和各樣的書(可以引申說不只是《聖經》),而打開的那一本只是“摘要”云云。所以當然你可以進一步引申說Antonello所畫的桌上的書只是各種書的摘要。但是我認爲有兩個理由使這樣的引申無法成立:(1)畢竟Facio 講的是van Eyck, (2) “摘要”。如果是一本書(例如《聖經》)的摘要,那當然講得過去,但是那麽多書的摘要,這實在有點奇怪。無論如何,反正注3(爲了回答你的問題,害得我讀的要死,哈哈)講的不是Antenello的畫,所以對於回答“他讀的是什麽書?”這個問題並無助益。

Antonello da Messina's Saint Jerome in His Study: An ... - Jstor


by PH Jolly - ‎1983 - ‎Cited by 20
it is evident that there is only a summary of these" ("Hieronymus uiuenti persimilisbiblioteca mirae artisquippe quae si paulum ab ea discedas uideatur intorsus recederre et totos libros panderre-.quorum capita modo appropinquanti appareant.

Jerome lived field. strange art library. which, if they try to get away from it a little, and, indeed, seemeth to have no sense of departing and hurled a way that is neere vnto the heads of the space of the books of I spread the .quorum-appear.


Antonello da Messina's Saint Jerome in His Study: An Iconographic Analysis

Penny Howell Jolly
The Art Bulletin
Vol. 65, No. 2 (Jun., 1983), pp. 238-253
Hieronymus uiuenti persimilisbiblioteca mirae artisquippe quae si paulum ab ea discedas uideatur in-.

2018年8月29日 星期三

Eduardo Chillida ( 1924– 2002) :A House for Goethe...Toleranz durch Dialog 等

Ein Haus für Goethe

A House for Goethe

Johann Wolfgang von Goethe
(Frankfurt am Main 1749-Weimar 1832)
German writer and polymath; considered by many to be the most important writer in the German language and one of the most important thinkers in Western culture
Eduardo Chillida



Concrete monumental, 3 x 6 x 8 meter tall sculpture which is open to the front and top. Plane surfaces are combined with geometric openings to form a semi-enclosed space. Two areas are connected by an arch, which symbolizes a bridge between space and time. This is reminiscent of the open apse of a Romanesque church, in the middle of the last Goethe's resting place could be. "The house of a man like Goethe could not have a foof: The light that he sought, would be hidden under a roof", Chillida is said to have commented.


  • Eduardo Chillida Juantegui or Eduardo Txillida Juantegi (San Sebastián 1924 - San Sebastián 2002), Spanish Basque sculptor (Wikipedia).

Sources & Information

Toleranz durch Dialog  (德文,相當於Tolerance through dialogue ),Wikipedia 有德文版說明
看過自動翻譯才知道創作的原來歷史意思:His monument Diálogo-Tolerancia (Dialogue-Tolerance) was installed in Münster in 1993 to celebrate the Peace of Westfalia.



公差通過對話跨度。 “Diálogo - Tolerancia”)是由一個雕塑西班牙 - 巴斯克雕塑家愛德華多·奇利達從1992年[1]它位於市政廳庭院明斯特地點威斯特伐利亞和約)。


雕塑由兩個相等的部分組成,彼此面對面。它們的長度約為2.90米,深度和高度約為1.20米。[1]它們是由固體的耐候鋼[2]形成。在長凳上 - 每個不同 - 凹陷。雕塑的總重量約為18噸。[3]


Chillida在20世紀80年代為明斯特的雕塑設計工作。由於執行延期,對於發生在一個為期十年的週期是Skulptur.Projekte穆斯特在1987年,與同類題材的雕塑紀念碑拉Tolerancia塞維利亞(西班牙)借來的。另一種觀點認為奇利達與法律安排摩奴一拉Tolerancia趕到,並同意在這個城市的市長的請求創建一個類似的主題雕塑和著迷從歷史遺址的準備,特別是對明斯特。[3]已經是Monumento a la Tolerancia它提到了一個歷史性的宗教 - 種族衝突,即1492年將西班牙(Reconquista結束時的猶太人摩爾人驅逐為“缺乏寬容”的過程。[3]


1993年[2]通過對話寬容 -背後的廣場-與城市明斯特和威斯特伐利亞條約開始談判的第350週年的1200次週年連接歷史悠久的市政廳架設。她是Chillida為這個地方特別設計的。[4]
市政廳庭院因西班牙建築師華金蒙特羅(Joaquin Montero)的計劃進行了寬容和對話該雕塑於1993年5月17日在市政廳和平大廳後面的四層高的地方豎立起來。揭幕了5月18日,在威斯特伐利亞條約開始談判的第350週年的地方,藝術家,教育部長巴斯克和德國前總統的存在魏茨澤克代替。[3]
解釋能夠坐在長凳上,和他們的另一只手沒有合適的尺寸奇利達:“他們不打算接受身體,但思想” [3]


在與解散連接西德意志銀行,買入藝術作品當時和城市明斯特已經把為長期貸款,在2014年計劃銷售開放藝術市場上的雕塑被稱為。這引發了公眾和政界的普遍不滿。WestLB的合法繼承者是Portigon AG,它是北萊茵 - 威斯特法倫州的全資子公司。[4]



跳起來:一 b ·愛德華多·奇利達-公共雕塑上www.welt-der-form.net,訪問於2015年9月18日
跳轉到:a b 明斯特市:Eduardo Chillida - 通過對話容忍,於2015年9月18日訪問
跳起來:一 b ç d é 奧托Ehrenfried酒店塞萊:大教堂巨大的生日禮物,在“在Red地球Heimatblätter蒙斯特和明斯特的國家,”2015年1月(的補充Westfälische新聞報
跳轉到:a b 威斯特伐利亞新聞出售前的Chillida長椅 - 市長受到“起義”的威脅,於2015年9月18日訪問
跳起來↑ NRW從2016年7月4日起在2016年9月4日在www.derwesten.de上購買“具有全國價值”的Portigon-Kunst WAZ

 阿姆斯特丹國立博物館於今年夏天在館內花園展出西班牙巴斯克雕塑家愛德華多.奇里達(Eduardo Chillida)的九件巨形雕塑,作品借自巴塞隆納當代藝術博物館、威尼斯佩姬.古根漢收藏、倫敦Ordovas畫廊、埃爾納尼愛德華多.奇里達─皮拉爾.貝爾容絲基金會及私人收藏,為九件作品首次於荷蘭共同展出。
 愛德華多.奇里達被公認為戰後最重要的雕塑藝術改革者之一,以大型鋼雕為人所知。本次展覽所選九件作品橫跨其不同的創作時期,展現他長期以來對於互補概念的關注,如實與虛、內在與外在空間、重力與平衡等。(編譯╱高慧倩.圖版提供╱Rijksmuseum, Amsterdam)

  1. Eduardo Chillida - Wikipedia, the free encyclopedia


    Eduardo Chillida Juantegui, or Eduardo Txillida Juantegi in Basque, (10 January 1924 – 19 August 2002) was a Spanish Basque sculptor notable for his ...

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【西班牙歷史上的今天 ~ 雕刻家 Eduardo Chillida Chillida】
西班牙雕刻家 Eduardo Chillida Chillida 于1924年一月10日出生於西班牙北邊巴斯克地區的海邊城市 San Sebastián。
他曾習建築,同時還是 Real Sociedad 足球隊的守門員,但是,因膝蓋受傷而退出足球生涯,後來輟學,不讀建築,轉而在 Círculo de Bellas Artes de Madrid (一個馬徳里的藝文公益機構)作畫,同時也開始接觸雕塑。1948 年赴巴黎習藝術並短暫地嘗試泥塑創作,1951 年回到 San Sebastián 定居,開始以鋼鐵創作,開創出他的個人風格。