2018年8月31日 星期五

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

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

https://www.theguardian.com/artanddesign/.../henry-moore-watercolour-gurlitt-hoard-...

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
Pinterest
 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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Parts/Movements


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。

”。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。

好像少有人問他讀的是?






Antonello da Messina's Saint Jerome in His Study: An ... - Jstor
https://www.jstor.org/stable/3050320
by PH Jolly - ‎1983 - ‎Cited by 20……查看更多管理



JSTOR.ORG

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。
你能讀拉丁文,這個令我非常欽佩。我是班門弄斧了。請你指正。不過我是覺得除非還有別的證據,我們頂多應該只能說他讀的是《聖經》吧?

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

https://www.jstor.org/stable/3050320

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.




(
JOURNAL ARTICLE

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
https://www.jstor.org/stable/3050320?seq=1#page_scan_tab_contents
Hieronymus uiuenti persimilisbiblioteca mirae artisquippe quae si paulum ab ea discedas uideatur in-.

2018年8月26日 星期日

Bob Ross ‘Joy of Painting’, the "wet-on-wet" (or alla prima) technique




Bob Ross achieved pop-culture fame as a television host -- now artists and fans are attempting to secure a spot in art history for him as well.


Bob Ross
Bob at Easel.jpg
BornRobert Norman Ross
October 29, 1942
Daytona Beach, Florida, U.S.
DiedJuly 4, 1995 (aged 52)
Orlando, Florida, U.S.
Occupation
  • Painter
  • art instructor
  • television host
Years active1981–1994
Spouse(s)
  • Vivian Ridge
    (m. 1965; div. 1977)
  • Jane Ross
    (m. 1977; her death. 1992)
  • Lynda Brown
    (m. 1995; his death. 1995)
Children1
Military career
Allegiance United States of America
Service/branch United States Air Force
Years of service1961–1981
RankE7 USAF MSgt 1967-1991.svg Master Sergeant
Websitebobross.com

Influences
Ross dedicated the first episode of the second season of The Joy of Painting to Bill Alexander, explaining that "years ago, Bill taught me this fantastic [wet-on-wet] technique, and I feel as though he gave me a precious gift, and I'd like to share that gift with you [the viewer]".[17] As Ross's popularity grew, his relationship with Alexander became increasingly strained. "He betrayed me," Alexander told the New York Times in 1991. "I invented 'wet on wet', I trained him, and ... he thinks he can do it better."[18] Art historians have pointed out that the "wet-on-wet" (or alla prima) technique actually originated in Flanders during the 15th century, and was used by Frans Hals, Diego Velázquez, Caravaggio, Paul Cezanne, John Singer Sargent, and Claude Monet, among many others.[19][20]

2018年8月25日 星期六

501 Great Artists: A Comprehensive Guide to the Giants





ART Book Review - 501 GREAT ARTISTS by Stephen Farthing

https://www.youtube.com/watch?v=lGyMaCqaeFc



A concise yet comprehensive reference guide for art lovers and art students, this illustrated volume profiles major artists from classical antiquity to the modern era. All 501 artists featured in this book receive at least a one-page entry that summarizes their life, their work, and their influence. The most influential artists are discussed in entries of up to four pages. Entries are illustrated with portraits of the artists and reproductions of some of their best-known works. Included here are painters, sculptors, photographers, and performance and video artists. Among them are Renaissance artists Raphael and Michelangelo, northern European artists such as Peter Paul Rubens and Rembrandt van Rijn, English landscape painters Turner and Constable, French impressionists such as Degas and Renoir, Japanese artists Sesshu and Hishikawa Moronobu, American abstract expressionists Jackson Pollock and Willem de Kooning, twentieth-century European giants such as Pablo Picasso and Georges Braque, and modern sculptors Isamu Noguchi, Alexander Calder, Richard Serra, and many others. Important women in the arts are also included, among them, sculptor Louise Nevelson, painters Georgia O'Keeffe and Helen Frankenthaler, American impressionist in France Mary Cassatt, and many others. This informative and entertaining compendium of biographical sketches is supplemented with more than 670 illustrations, most of them in color.




501 Great Artists: A Comprehensive Guide to the Giants ... - Amazon.com
https://www.amazon.com/501-Great-Artists-Comprehensive-Giants/dp/0764161334


Among them are Renaissance artists Raphael and Michelangelo, northern European artists such asPeter Paul Rubens and Rembrandt van Rijn, English landscape painters Turner and Constable, French impressionists such as Degas and Renoir, Japanese artists Sesshu and Hishikawa Moronobu, American abstract expressionists ...




缺點:多人作品空白

https://en.wikipedia.org/wiki/Eduardo_Chillida

The Substance or the Shadow: Images of Victorian Womanhood









The Substance or the Shadow: Images of Victorian Womanhood
Image result for substance or shadow images victorian womanhood

2018年8月24日 星期五

吳湖帆的手與眼




吴湖帆的手与眼





吳湖帆的手與眼


20世紀上半葉的大規模中國文物聚散,是當今海內外各大公私收藏機構格局定型前的最后一次,具有鮮明的時代性。以海上吳湖帆為代表的古書畫鑒定家,見證並經歷了這個歷史性的聚散離合,所達到的卓越鑒賞水平更與這個特殊時代密不可分。

中國書畫素來講求手與眼、眼與心、手與心的統一。《吳湖帆的手與眼》邀請國內外十余位學者,從吳氏家傳、鑒藏、交游、創作等方面撰文,介紹了他在書畫和詞的創作上的成就、一生的收藏活動、古書畫鑒定的思想和方法,從而全方位地呈現出寄情書畫而又將鑒藏與研究融為一體的一代大家吳湖帆。

目錄

甲午戰爭后的吳大瀲——兼論吳氏收藏的遞傳問題
近現代書畫鑒定學科的奠基者——吳湖帆與20世紀上半葉的書畫鑒藏活動
從吳湖帆的題跋談其鑒定問題
吳湖帆鑒藏中的蘇州文脈
寶篋梵音,千年重光——吳湖帆與雷峰塔所藏《寶篋印經》的因緣
吳湖帆和他的收藏圈朋友
吳湖帆——德國學者及收藏家維多利亞•孔達的良師益友
北宋郭熙《幽谷圖》與吳湖帆臨《幽谷圖》
吳湖帆藝術生涯代表標准的民國趣味
一段由吳大瀲訪碑而綿延至今的金石學因緣
詞人吳湖帆
作為教育家的吳湖帆
閱讀吳湖帆:畫內與畫外
附錄