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The Fine
Arts and Crafts Supplement to THE OSCHOLARS |
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Associate Editors: Síghle Bhreathnach-Lynch, Isa Bickmann, Sarah Turner. Contributors:
Cristina Pascual Aransáez, Tine
Englebert, Eva Thienpont. |
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Spring 2008 |
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For the
Table of Contents, click |
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In this supplement we bring together the material devoted to the fine arts and crafts that were previously scattered through THE OSCHOLARS under Exhibitions, The Critic as Critic, Being Talked About, Conferences, Publications and the Society Page. In this way we hope to deepen our coverage of the arts movements that fed into and were nourished by the fin-de-siècle and decadence: symbolism, arts & crafts, late Pre-Raphaelitism, art nouveau, Secession and so on. |
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EXHIBITIONS(recent,
current, soon) |
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AUSTRIA |
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From
Monet to Picasso. The Batliner collection 14th September 2007 – 6th April 2008 |
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BELGIUM |
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Hector
Guimard: A
Collector’s Album Horta
Museum Amerikaansestraat
25, Brussesl
– Sint-Gillis 7th November 2007 – 13th January 2008 |
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The Hortamuseum
showed an exhibition of the Guimard Circle in Paris. In 1903, on the
occasion of the first Exhibition de l’Habitation in Paris’s Grand Palais,
Hector Guimard printed a series of postcards with which he hoped to promote
his own achievements as an architect. The buildings he selected to be
featured on these cards showed his distinct style and advertised his capacity
to partake in the revival of architecture and the decorative arts. The
presentation of these images – postcards, leaflets, and invitation cards – at
the Horta Museum aims to clarify the way in which Guimard tried to develop
advertising by means of the postcard at the beginning of the twentieth
century. It was then a modern and fairly inexpensive means to diffuse images,
and served to illustrate a clear but unfamiliar concept: ‘The Guimard
Style’. Guimard repeats the experiment
around 1910, capturing on postcards his real-life project of building
apartment blocks in the rues La Fontaine, Gros and Agar; he even manages to
reproduce the plans of the buildings on certain postcards. His last
contribution to this type of publicity concerns the town hall of the French
village at the International Exhibition of Modern Decorative and Industrial
Arts of 1925 in Paris. Guimard was not
the only architect to use this medium, but he was certainly the one most
invested in it. His strategy worked: a significant number of French Art
Nouveau buildings are of his hand. |
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Le musée imaginaire de Maurice
Maeterlinck Musée
provincial Félicien Rops Namur,
Belgium 19th January to 13th April 2008 www.ciger.be/rops
or http://www.ciger.be/rops/museum/expo41/ |
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Poet, dramatist and philosophical essayist Maurice
Maeterlinck is thus far the only Belgian author ever to have received the
Nobel prize for literature (1911). He became famous for his symbolist poetry
as well as his work for the theatre. Not only did he leave a mark on the
cultural history of Belgium; he also befriended some of the greatest poets
and artists of his day and age: Mallarmé, Verhaeren, Redon, Burne-Jones,
Khnopff, Debussy (– and, one might add, Oscar
Wilde, though Wilde’s name does not appear in the museum’s leaflet). The
temporary exhibition at the Rops Museum is conceived as Maeterlinck’s
imaginary museum: on display are works that inspired the author, as well as
works that he inspired in others. A number of Belgian and French artists like
Anto Carte, William Degouve de Nuncques, Maurice Denis, Auguste Donnay,
Charles Doudelet, Fernand Khnopff, George Minne, Odilon Redon, Léon
Spilliaert and Félicien Rops engaged with Maeterlinck’s literary work through
paintings, drawings and illustrations.
The trajectory of the exhibition starts with poetry and moves towards
the theatre. The visitor will be confronted with works using an array of
different media and techniques, ranging from illustrated works to sculptures,
bound books, photographs and documents, all of which are connected with
Maeterlinck’s texts. |
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British
Vision: Observation and Imagination in British Art 1750-1950 Museum of Fine Arts, Citadelpark, 9000 Gent, Belgium 6th October 2007 – 13th January 2008 |
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‘British Vision’ was the first exhibition of the newly refurbished Museum of Fine Arts (MSK) in Ghent, and the successor of the highly acclaimed ‘Bruxelles/Paris – Paris/Bruxelles’ of 1997, a collaboration with the Musée d’Orsay. For ‘British Vision’, the MSK could count on three British art historians – John Gage, Timothy Hyman and Andrew Dempsey – and got hold of more than 300 paintings, sculptures, watercolours, drawings, photos and books from public and private collections, many of which were on loan from European and American museums. |
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Goya, Redon, Ensor. Peintures et dessins
grotesques Antwerp, Koninklijk Museum voor Schone Kunsten 14th March 2009 – 14th June 2009 |
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CANADA |
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Women's
Fashions of La Belle Époque 1890 - 1914 Vancouver Museum Vancouver BC, Canada 13th September 2007 – 23rd March 2008 |
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This exhibition, curated by Ivan Sayers, one of Canada’s leading experts in historical women’s fashions, dives into the elegance and inventiveness of La Belle Époque. The garments astound with vibrant colours, rich fabrics, fringes, beadwork, and fur. Parisian haute couture was the arbiter of styles and silhouettes. Even in distant Singapore, Stockholm or Vancouver, fashionable ladies could pour over photographs of the latest Paris trends in style magazines. |
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TruthBeauty:
Pictorialism and the Photograph as Art, 1845-1945 Vancouver Art Gallery |
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The formation of the Pictorialist movement from the second
half of the nineteenth century till the Second World War. The exhibit
features the works of some of the leading figures in fin de siècle
photography such as |
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ENGLAND |
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From
Russia The Royal Academy, London Ended 18th April http://www.royalacademy.org.uk/exhibitions/from-russia/about-the-exhibition/
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Valentin Serov, Ida Rubinstein, 1910. Tempera and
charcoal on canvas, 147 x 233 cm. The
State Russian Museum, St Petersburg. Photo The State Russian Museum, St
Petersburg |
Over 120 paintings by French and Russian artists
working between 1870 and 1925 were displayed together for the first time in
this exhibition. It was in effect a
homage to Sergei Shchukin and Ivan Morosov as rival collectors. Of special
interest was the section of the exhibition devoted to Sergei
Diaghilev, who though best known for the Ballets Russes, was at the forefront
of the World of Art movement. He played a vital role not only in presenting
modern French art in Russia but also in taking Russian art to the West,
particularly in Paris. Artists presented in this section of the exhibition
included Alexander Benois and Leon Bakst, Boris Kustodiev, Nochiolas Roerich,
Alexander Golovin and Valentin Serov as well as a selection of impressive
portraits of great figures of Russian cultural life such as Vsevolod
Meyerhold, Feodor Chaliapin and Anna Akhmatova. |
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The Agony
and the Ecstasy: Guido Reni's Saint Sebastians Dulwich Picture Gallery 5th February – 11th May 2008 |
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The Agony and the
Ecstasy: Guido Reni’s Saint Sebastians is the first exhibition focusing on
all Reni’s paintings of Saint Sebastian together, except for the one in the
Louvre which is too fragile to travel.
Five other Saint Sebastians from Palazzo Rosso in Genoa, the
Pinacoteca Capitolina in Rome, the Museo del Prado in Madrid , Museo de Arte
de Ponce in Ponce, Puerto Rico, and Auckland Art Gallery Toi o Tamaki in
Auckland, New Zealand, will join the picture at Dulwich and will be displayed
in one room. This will be an opportunity to compare directly the six
masterpieces. Guido Reni’s painting of Saint Sebastian was the focal point of
Sir John Soane’s Gallery at Dulwich for most of the nineteenth-century and is
one of the collection’s best-known works. Reni’s paintings of the saint
respond to a religious subject by means of a sensually-charged image. Oscar Wilde wrote: ‘the vision of
Guido’s Saint Sebastian came before my eyes as I saw him at Genoa, a lovely
brown boy, with crisp, clustering hair and red lips, bound by his evil
enemies to a tree and, though pierced by arrows, raising his eyes with
divine, impassioned gaze towards the Eternal Beauty of the opening Heavens’. Doubts about the authorship of the painting
at Dulwich were raised in the 1880s. The 1997-98 restoration confirmed the
fully autograph status of the work and since the 2000 refurbishment of the
Gallery it is back in its place of honour.
Reni painted several versions of St Sebastian following two main
prototypes and scholars have long debated the exact relationship between
these canvases. The catalogue will examine the history of the paintings,
their subsequent fortune, and recent technical analysis. The exhibition is
organized with the Musei di Strada Nuova, Genoa. |
THE OSCHOLARS thanks Kate Knowles of the Dulwich
Picture Gallery for her courteous help.
We had hoped also to illustrate the Luca Giordano Saint Sebastian in
the National Gallery of Ireland, which the gallery acquired in 1868, when Wilde was living just across the
road, but we could not afford the reproduction fee. A black and white plate can, howver, be
found in Davis Coakley: Oscar Wilde, the Importance of being Irish, Dublin:
Townhouse 1994.
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Return from Exile: The Life and Times of George Gissing The John Rylands University Library, The University of Manchester Ends 19th May http://www.library.manchester.ac.uk/specialcollections/exhibitions/current/ |
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The John Rylands Library acquired The Gissing/Kohler
Collection in 2005. The collection includes autograph letters, manuscript
material, photographic material, printed books and several presented by
Gissing to friends and relatives. It is a significant collection that will
add greatly to our understanding of the man, his life and his works. The
Gissing Collection is an important addition to the library's existing Gissing
holdings, which include, some forty volumes published during his lifetime, a
number of which are first editions and many examples of his magazine fiction
and occasional writing. This
exhibition showcases items from the collection and tells the story of
Gissing's life. A web
exhibition with educational resources (Key Stage 2, Victorian Britain)
has been created to accompany the exhibition. |
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Victorian
Celebrities in Photographs: G.F. Watts and his World Guildhall Art Gallery, Guildhall Yard, London
EC2 7th January to 13th April, 2008 |
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Walter
Crane Whitworth Art Gallery, The University of Manchester, Oxford Road,
Manchester M13 9PL Ended 26th March 2008 |
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GERMANY
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Wilhelm von Gloeden: Et in arcadia ego 27th January-26th October 2008 MEWO Kunsthalle, Memmingen |
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Works by the photographer Wilhelm von Gloeden ‘... auch ich in Arkadien’ (And I was also in Arcadia). Under this title, standing for idyll and beatitude, 400 photographs of von Gloeden are exhibited from the Collection Heinz-Peter Barandun, Zürich, Switzerland. Oscar Wilde was among the collectors of his works. |
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Félix Vallotton. Idyll on the Edge (Félix Vallotton – Idylle am Abgrund) 15th February.-18the May 2008 Kunsthalle Hamburg |
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Lovers’ trysts, revelations, illicit liaisons. In 1909 the
first exhibition of the work by the Swiss artist Félix Vallotton (1865–1925)
was presented in Zurich; young girls were not admitted to the show which was
deemed too offensive for their eyes. Attitudes have changed in the meantime.
Nowadays he is recognised not only as a skilled painter and draughtsman but
also as a keen observer of his own time, whose paintings present bourgeois
convention in a critically ironic light. The acuity of his vision, often more
than his contemporaries could bear, earned him an international reputation as
an avant-garde artist. This selection of 90 paintings – including some largeformat
compositions – covering the full spectrum of his artistic output (many on
loan from private collections) will once again affirm Félix Vallotton as the
leading Swiss artist in the early days of Modernism. (Text: Kunsthaus Zürich) |
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Impressionistinnen (Women Impressionists) 22nd February.-1st June 2008 Kunsthalle Schirn, Frankfurt San Francisco Fine Arts Museums, 21.6.-21.9.2008 |
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Everyone knows the names of famous Impressionists – Manet,
Monet, Degas, Renoir, Pissarro – but it is less well known that important
women painters also belonged to their circle. Berthe Morisot, a successful
and admired colleague and close friend of and model for Manet, was highly
praised by critics for her relaxed brushstroke as the ‘most Impressionistic
of the Impressionists.’ The American artist Mary Cassatt developed her
unmistakable style during her studies in Paris and through her close contact
with Degas. Eva Gonzalès, a student of Manet, left behind an oeuvre of great
quality though limited quantity, as a result of her early death. Marie
Bracquemond exhibited with the Impressionists but began to compete with the
work of her husband, Felix Bracquemond, and ultimately abandoned painting.
This exhibition includes some 160 works from international museums and
private collections and uses the example of these four women painters to
present the feminine contribution to the Impressionist movement. (Text: Museum) |
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Symbolist Masterworks from Hessisches
Landesmuseum Darmstadt (Meisterwerke des Symbolismus aus dem
Hessischen Landesmuseum Darmstadt) 16th April - July 2008 Städel Museum, Frankfurt |
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Paintings and Sculptures by Arnold Böcklin, Franz von
Stuck and Max Klinger, Pre-Raphaelite Brotherhood e.g. John William
Waterhouse and Walter Crane. |
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Painting Light: The Hidden Techniques Of The
Impressionists (Impressionismus. Wie das Licht auf die
Leinwand kam) 29th February—22nd June 2008 Wallraf-Richartz-Museum, Cologne Palazzo Strozzi, Florence, 11th July.-28th
September 2008 |
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Which Impressionist painted on the lids of cigar boxes?
How fast did Van Gogh really work? What secret was revealed by an X-ray of a
Renoir? How can a fake be spotted? This presentation answers these and many
other absorbing questions. With over 130 works, the show takes the visitor
through the captivating world of Impressionist painting techniques. Apart
from masterworks by Caillebotte, Gauguin, Manet, Monet, Pissarro, Renoir,
Signac and Van Gogh, the exhibition features modern images showing the
technical findings on these paintings.
By bringing art and research face-to-face, the visitor is given an unparalleled
glimpse behind the scenes of Impressionism. And the Wallraf will be stocking
up for this show, with first class loans coming from the Van Gogh Museum in
Amsterdam, the National Gallery of Scotland in Edinburgh, the Musée d’Orsay
in Paris, the Tate Gallery in London, and the Art Institute of Chicago. (Text:
Museum) |
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High Society American Portraits of the Gilded Age 7th June –31st August 2008 Bucerius Kunst Forum, Hamburg |
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Mark Twain called the period following the American Civil
War the ‘Gilded Age’. This term conveys the immense wealth of the newly established
American moneyed aristocracy, which includes such famous families as that of
railway baron Cornelius Vanderbilt. The urge of these industrial magnates to
display their wealth was not only exhibited in their palatial dwellings in
New York City and their spectacular country homes along the nearby eastern
seaboard. This exhibition will demonstrate the influence that these members
of the plutocracy exerted on portrait painting and its market at the end of
the 19th century. The commissioned works reflect the fine social nuances
which the winners of the explosive economic boom used to illustrate their
position in society. The exhibition includes around fifty prestigious works,
including paintings by John Singer Sargent and James Whistler, which offer
European audiences a coherent introduction to late 19th century American
portrait painting. (Text Museum) |
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Hans
von Marées (1837-1887) Retrospective
Von-der-Heydt-Museum,
Wuppertal 8th June to 14th September 2008 |
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Retrospective of the influential German Painter, important
representative of Neo Classicism and ancestor of Symbolism. |
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Franz von Stuck 25th September 2008 – 18th January 2009 Museum Villa Stuck, Munich |
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Traces du Sacré traces of the spiritual in
20th century art 19th September 2008 -- 11th January 2009 Haus der Kunst, München |
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The 20th century emerged during a time of a great
crisis of faith. Nietzsche's philosophy with its declaration that 'god is
dead', Max Weber's assertion of the 'world's disenchantment' were expression
of this spiritual crux, which led to a changed relationship between people
and religion. This, however, did not mean the end of metaphysics in art;
rather it seems as if modern art, from Kandinsky to Francis Bacon and from
Barnett Newman to Bill Viola, has a close relationship particularly to
metaphysical questions. Artists showed and still show their will to find new
forms for their aspirations in understanding endlessness. this extensive
exhibition 'traces du sacré' explores the most extraordinary artistic modes
of representation of this path in the 20th century and shows how it still to
this day has led to the invention of new forms of expression. Amongst many
others, the works shown are by Constantin Brancusi, Maurizio Cattelan, Paul
Chan, Jake & Dinos Chapman, Giorgio De Chirico, Marcel Duchamp, Lucio
Fontana, Caspar David Friedrich, Paul Gauguin, Damien Hirst, Ferdinand
Hodler, Alexej Von Jawlensky, Martin Kippenberger, Kasimir Malewitsch, Piet
Mondriaan, Edvard Munch, Bruce Nauman, Gerhard Richter. also included are
several non-western works in order to point out the universality of this
spiritual question. In
collaboration with the Centre Georges Pompidou – Musée National d’art
moderne, Paris. |
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ITALY |
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Rodin and
Italy Brescia, Museo di Santa Giulia 24th November 2007 – 4th May 2008 |
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THE NETHERLANDS |
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“Van oude mensen en nieuwe dingen” (“Of Old People and New Things”) The Couperus Museum The Hague 25th November 2007 -- 18th May 2008. |
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The theme is the confrontation in Couperus’s work of old age with modern developments and inventions. An important source is the Sine Qua Non collection which the Letterkundig Museum Den Haag acquired last year. http://www.couperusmuseum.org |
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SCOTLAND |
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A
Victorian Master: Drawings by Frederic, Lord Leighton
Until 17th April, 2008 Whistler
and Drawing Until 17th April 2008 Hunterian Museum and Art Gallery, 82 Hillhead Street University of Glasgow |
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SPAIN
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SWEDEN |
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Henri de Toulouse-Lautrec 21st February 2007 – 25th May 2008 |
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SWITZERLAND
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Ferdinand
Hodler – A Symbolist Vision Kunstmuseum Bern Budapest, Museum of Fine Arts, 7th September -14th December 2008 9th April -10th August 2008 |
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The main focus of the exhibition will be on Ferdinand
Hodler's symbolistic vision of a great, harmonious unity of Humankind and
Nature. The presentation will make clear that Hodler, from his early work
through to his late work, consistently intensified his depiction of reality
towards the symbolic and with this very personal symbolism, made a major
contribution to the avant-garde of his time.
Hodler's international importance will be evident in his absolute
masterpieces. For the first time, in this exhibition different settings of
the large, symbolic figure compositions will be systematically placed in
relation to one another thus making new insights into Hodler's complex
development of motif possible. The landscapes, portraits and self-portraits
of the artist will also be illuminated by this aspect. All significant
collectors as well as museums at home and abroad will be generously
supporting the Museum of Fine Arts Bern with loans for the exhibition. (Text: Museum) |
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Rivoluzione! Italian Modernism from Segantini
to Balla 26th September 2008 -11th January 2009 Kunsthaus Zürich |
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USA |
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Facing the Late Victorians: Portraits of
Writers and Artists from the Mark Samuels Lasner Collection The Grolier Club 47 E. 60th Street, New
York
21st February – 26th April 2008 |
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The Grolier Club is pleased to present an exhibition that examines noted Victorians through portraits. Facing the Late Victorians: Portraits of Writers and Artists from the Mark Samuels Lasner Collection, curated by Margaret D. Stetz, Mae and Robert Carter Professor of Women's Studies at the University of Delaware, provides the opportunity for visitors to come face to face with famous British poets, painters, novelists, playwrights and illustrators. |
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Illustration: Sir Max Beerbohm (1872-1956), Oscar Wilde. Pencil, ink, and watercolour, [ca. 1894-1900] © Estate of Max Beerbohm. Mark Samuels Lasner Collection, on loan to the University of Delaware Library |
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The exhibition takes audiences back more than one hundred years to explore a phenomenon that seems astonishingly modern and familiar. Like the world we know now, Britain at the end of the nineteenth century was a nation filled with images. Whether circulating by means of posters, books, newspapers, magazines, cards, and advertisements, or hanging on the walls of art galleries and of private homes, images were everywhere. As is true today, what people most wanted to see then were images of faces and bodies, especially those of celebrities. A visual industry arose in the late Victorian period to satisfy the demand for portraits in every medium, from photographs to drawings and paintings, and to reproduce these on a mass scale. Pictures of monarchs and stage performers, of course, were in great demand; more surprisingly, so were portraits of what we might call cultural celebritiesthat is, writers and artists.Figures such as Oscar Wilde, Robert Louis Stevenson, Aubrey Beardsley, J. M. Whistler, W. B. Yeats, “George Eliot,” and the feminist “New Women” writers were as famous for the way they looked and dressed as for anything they created. |
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Just as the twenty-first century requires us to decode
images, so life in the late Victorian age required portrait literacy. The
public learned to read representations of faces for their social meaning, in
order to glean information about the class, the economic success, the degree
of masculinity or femininity, and the special temperamental qualities of the
persons depicted. When looking at pictures of writers and artists, however,
what spectators hoped most to find was visual evidence of that elusive thing
called “genius.” It was up to the makers of the images, therefore, to provide
what audiences wanted and to create visible signs of genius, just as it was
up to the subjects of the portraits to compose themselves and their
surroundings in a way that would send desirable messages. Writers and artists
trafficked in commodities, and they became commodities. Their portraits also
provided material for other workers in this industry, such as caricaturists,
who knew that the public took just as great a delight in seeing its cultural
heroes skewered as idealized. These caricature artists, in turn, became
celebrities themselves thanks to the “New Journalism,” which was eager to
circulate unflattering images of the same poets and painters it made famous |
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Facing the Late Victorians features portraits of
dozens of well-known figures such as George Bernard Shaw, J. M. Barrie, H. G.
Wells, Arthur Conan Doyle, Thomas Hardy, Henry James, and John Singer
Sargent, who dominated the world of the arts, along with pioneering
children’s book authors and illustrators, such as E. Nesbit and Kate
Greenaway. Many of these are rarely seen images, such as the unpublished
sketches of themselves that Rudyard Kipling and Aubrey Beardsley included in
letters to friends; the comical drawing of William Morris that the painter
Edward Burne-Jones added to his guest-book; or Max Beerbohm’s savage
caricature of Oscar Wilde’s head, which seems to decay before our eyes faster
than did Dorian Gray’s face. But the show ranges widely to include
photographs and drawings of many lesser lights whose work was important in
advancing British art and literatureonce celebrated writers such as the
feminist novelist Olive Schreiner and the Catholic poet Alice Meynell, as
well as the artists Walter Sickert and William Rothenstein. |
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The show draws its eighty items from the Mark Samuels
Lasner Collection, which has been assembled over the past thirty years by one
of the premier authorities on nineteenth-century book history. That
collection of first editions, presentation copies, authors’ correspondence,
and works of art and design is on loan to the University of Delaware Library.
Margaret D. Stetz, the exhibition’s curator, is the Mae and Robert Carter
Professor of Women’s Studies and Professor of Humanities at the University of
Delaware. |
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Catalogue: Facing the Late Victorians
is accompanied by a lavishly illustrated book by Margaret D. Stetz, published
by the University of Delaware Press. Copies are available on site at
the Grolier Club or may be purchased from Associated University Presses,
2010 Eastpark Boulevard, Cranbury, NJ 08512; Tel. (609) 655-4770,
e-mail aup440@aol.com, web www.aupresses.com ($49.00. ISBN:
978-0-87413-992-1). |
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REVIEWS
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Sue Prideaux: Edvard Munch Behind the Scream: Yale University Press, New Haven and London |
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Review by Síghle
Bhreathnach-Lynch |
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The following three hundred and ninety-one pages then
proceed to provide an absorbing account of the artist’s life and career as
articulated through the medium of art. There are twenty-five chapters and as
their headings convey, they cover every year from his birth in 1863 to his
death in 1944. It was a life permeated with intense emotional experiences.
Born to an obsessively religious father and a mother who died when he was
just five, followed by a sister Sophie in 1877 his life was dogged not only
by tragedy but a strong personal feeling of guilt. He described how he felt
growing up in Kristiania (now Oslo). ‘I felt like a boat built of helpless
material, of old rotten wood, launched by the shipbuilder onto the stormy sea
of life with the words: ‘If you sink it’ll be your own fault and you’ll burn
in hell for your failure, burn forever in the eternal flames.’ |
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His art career began in 1879 when he entered Technical
College, then the Royal School of Design and Frits Thaulow’s Open Air Academy
in 1883. His first exhibited painting At
the Coffee Table dates from the same year. Two years later he visited
Paris via Antwerp where he met Millie Thaulow who was to become his first of
his many lovers. At the end of that decade he was awarded a state scholarship
and returned to Paris once more. Here he spent time in the studio of Pierre
Bonnard and exhibited work at a Synthétiste exhibition. In the 1890s he found
himself a fairly regular guest at Stephane Mallarmé’s Mardis where he met among others, artists Alphonse Mucha,
Douanier Rousseau and Edouard Vuillard and the composers Edvard Grieg and
Maurice Ravel. It was here that he also met the exiled Oscar Wilde. Munch and August Strindberg were close to
Salpetrière psychiatrists and Paris occultism. By 1902 he reached success
with his Frieze of Life, exhibited
for the first time at the Berlin Secession. |
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In the first decade of the new century there were
exhibitions across Europe; Paris, Oslo, Copenhagen, Prague. But the breakneck
pace of his life which included complicated love affairs and large amounts of
alcohol was brought to a halt with a nervous breakdown in 1908. Yet in the
clinic, he found time to write, paint a portrait of his doctor, Dr. Jacobsen,
and a fine self-portrait. Meanwhile paintings were on show with the German
Bridge group and the Berlin Secession movement. In 1913 he was invited to
exhibit at the famous Armory Show in New York with the Berlin Freie
Secession. That same year he travelled extensively. His activities during the
1920s were marked by a large retrospective in Berlin including 223 paintings
from public collections. There was a show in San Francisco and at the Royal
Society in London. In 1932 he was awarded the Goethe Medal for Science and
Art and two years later presented the Legion d’honneur. Four years before his
death he bequeathed all his works to the city of Oslo. The Munch Museum
opened in Oslo in 1963. |
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Sue Prideaux’s exploration and analyses of his work is
thoroughly grounded in an impressive range of primary and secondary sources.
Not only that, but she shows an empathy for this tortured man while managing
to remain objective at the same time.
For instance Munch’s way of articulating his response to his sister
Sophie’s death from tuberculoses is revealed in a very moving way in the
account of the painting of The Sick
Child. Rather than take a model from the Bohemian circle in which he
moved (considered a desecration) he chose a twelve year old undernourished
child, Betzy Nielsen. She was put in the bed while Munch’s aunt, tante Karen,
sat beside the bed, her pose expressing one of profound sorrow. Prideaux
notes how the artist simplified his subject. There are no extraneous
narrative details ~ the praying father, the complicated family tensions, the
context of room and furniture. He repainted the picture numerous times,
scratched it out, let it become blurred in the medium, scraped off half the
background. Using his own eyelashes he painted wavy lines across the picture.
Overwhelmed by emotion as he worked, tears poured down his cheeks. So he took
up a fixative sprayer and sprayed the canvas with liquid paint to imitate his
tears. |
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In spite of an enormous schedule of exhibitions interspersed with powerful emotional upheavals in his personal life in the period 1892-94, Munch found time to paint the original of ten of his greatest works which was to become The Frieze of Life. These include The Voice depicting the call of love, the awaking of physical love in The Kiss, its inevitable pain in The Vampire, the mystery of sex in Madonna followed by Jealousy and finally despair, The Scream. He wrote of how the visionary experience of this last representation had come to him at sunset, high up on Ekeberg, to the east of Oslo, the only point from which the city can be viewed. The main slaughterhouse for the city was up there as was the mental hospital in which his manic depressive sister, Laura Catherine, was incarcerated. The author believes that he had gone to visit her. The screams of the animals being slaughtered and the screams of the insane from the hospital were reputedly terrifying to hear. She then goes on to remind the reader that Munch believed that artists ‘paint souls’. Thus she interprets The Scream as a portrait of the soul, an image on the reverse, ‘the hidden side of the eye ball as Munch looked into himself’. The image is so striking that it has come to be seen as a metaphor of the dilemma of modern man. It is often linked with the German philosopher Schopenhauer’s concept of dread but Prideaux is quick to point out that Munch did not come across him until much later in life! |
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This is a book whose presentation and lay out is user friendly. The illustrations (of very good quality) are grouped together throughout the volume. As each one is mentioned in the text, its number is placed in the margin to the side of that text. This is helpful in not breaking the flow of the narrative for the reader. Footnotes, a bibliography and an extensive index are supplied at the end of the book while a map of Munch’s Oslo is helpfully provided at the front. For all those interested in the cultural life of Europe in the last half of the 19th century this biography is a must. |
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Women Impressionists Exhibition at Schirn Kunsthalle
Frankfurt/Germany – and some thoughts on the fin-de-siècle
situation of women artists |
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Isa Bickmann |
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Times were changing ... Last year, at the 49th Venice biennial the countries France, Great Britain and Germany were represented by Women artists (Sophie Calle, Tracey Emin and Isa Genzken). |
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Exhibition
View So you might think that a gender
orientated exhibition will not fit in these days, where female artists have
the same possibilities as their male colleagues? No, it is better to say, it
is a little bit late – 35 years after Linda Nochlin’s famous essay ‘Why Have
There Been No Great Women Artists?’, – but it fits. Sad to say, you still
have to find an institution that gives the chance to do an exhibition that is
gender study based. The Schirn Kunsthalle in Frankfurt/Gemany did so. Apart from the fierce feminist tone the exhibition keeps a promise: in a wide range of aubergine-coloured walls you see masterly painted images, in wonderful impressionist brush strokes and lines by the four most important Women Impressionists: Mary Cassatt, Berthe Morisot, Eva Gonzalès and Marie Braquemond. |
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In the USA Mary Cassatt is very well-known for two
reasons: first, Americans do like Impressionism very much; secondly, in America
the status of female artists had changed during the nineteenth century very
much. Mary Cassatt is the only one of the four women who received an training
at the academy. The Pennsylvania Academy of the Fine Arts, the oldest academy
in the US, ‚provided a culture of mutual acceptance and personal growth,
appreciated women artists’ creativity, and supported them by inviting them to
participate in exhibitions, by offering them teaching positions, and by
awarding them prizes, scholarships, and travel funds.’[1]
In comparison with Pennsylvania the academies in Paris, Berlin and London
seem backward. In Berlin female students won admission for the first time in
1919, in Munich in 1921, and in Düsseldorf in 1922. In Paris the private
Académie Julian had allowed women to study since the 1870s. |
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Because in Europe the women artists did not have the
chance to get a good education in the arts they were considered as amateurs
and dilettantes. Furthermore breadwinning was unusual for these women, given
that the impressionist style is allocated in the upper middle class[2]. |
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But some (like Morisot, Braquemond and Gonzalès) did not take
this for granted. They worked with or in classes of academy trained painters
or with colleagues. Morisot met Eduard
Manet in 1868 (in 1874 she married his younger brother Eugène, who supported
her work) and they worked together and influenced each other. Gonzalés was
educated in painting and drawing by Charles Chaplin and by doing copies in
the Louvre. In 1869 she became Manet’s sole student. Marie Bracquemond was
educated by two Ingres-followers. At the end of the eighties she gave up
painting because of the continued disputes with her husband Felix
Bracquemond. Mary Cassatt worked with Edgar Degas. |
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The
life-worlds of women and their male colleagues were different. That is
visible in motifs and subjects: Women and child scenes dominate this
exhibition, portraits of sisters and daughters in plein air, too. These are
the results of a lack of elbow-room in contrast to male artists. But you cannot
call it a typical female impressionist motif – considering that Impressionism
in general has been called ‘feminine’[3].
Odilon Redon several times drew and painted his children. He was a
representative of a new look on children in general, their innocence and
curiosity. And it has to be discussed, what Griselda Pollock[4]
called in her catalogue essay ‘eroticization of the relations of maternal and
infant bodies’. Whoever saw mothers in France or other Mediterranean
countries kiss, cuddle, hug their children, something that is quite unusual
in protestant areas, cannot wonder about Mary Cassatt’s paintings. On the
contrary: it shows Cassatt’s excellent power of observation. |
Mary
Cassatt: |
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Maurice Denis loved painting his wife, his sister-in-law
and his children. Women in rich clothes can also be seen in the paintings of
Aman-Jean. |
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These are the connections – time immanent – between
Impressionism and Symbolism, that did not stop in the relationships. Téodor
de Wyzewa wrote on Berthe Morisot. The Symbolist poet Stéphane Mallarmé,
close friend of Berthe Morisot, and after her death in 1895 guardian of her
daughter Julie, welcomed in 1891 Oscar Wilde and Paul Valéry. |
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Family,
husbands who are full of envy like Félix Bracquemond, and society, who did
not accepted women’s talent and strength of purpose are the chief causes for
the fact that brilliant female artists are still unknown. |
Marie
Bracquemond: Le Gouter, 1880 |
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What does this mean for us, friends of the Wilde-Era:
There a still some unknown symbolist and idealist women artists’ oeuvres still seeking research: Jean David Jumeau-Lafond did a very important
job on Jeanne Jacquemin[5],
but what about the sculptor Charlotte Besnard (married to Albert Besnard),
who e.g. designed the tomb of Georges Rodenbach, or the painter Elisabeth
Sonrel (1874-1951)?
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It might be that very talented painters like Berthe
Morisot were the reason for Josephin Péladan’s misogyny: In the postscript of
the ‘Rules of the Salon De la Rose+Croix’[6]
he wrote: ‘Following Magical law, no work by a women will ever be exhibited
or executed by the Order.’ |
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The catalogue is also published in English
(Trade edition: hardcover ISBN 978-3-7757-2079-3) Schirn Kunsthalle Frankfurt: 22nd February to
1st June 2008 Fine Arts Museums of San Francisco: 21st June to 21st September 2008 |
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[1] Anna Havemann, A Call to Arms: Women Artists’ Struggle for Professional Recognition in the Nineteenth-Century Art World, in: Exhib. Cat. Women Impressionists Frankfurt/Ostfildern 2008, p. 283. [2] Ingrid Pfeiffer,
Impressionism is Feminine. On the Reception of Morisot, Cassatt, Gonzalès, and Bracquemond, in: Exhib. Cat. Women Impressionists, p. 15. [3] Pfeiffer, op.cit., p.15 ff. [4] Griselda Pollock, Mary Cassatt: The Touch and the Gaze, or Impressionism for Thinking People, in: Exhibit. Cat. Women Impressionists, p. 154-167, here: p.161ff. [5] See Revue de l’art, Sept. 2003, p. 57-78. [6] Règle et Monitoire, cit. in: Robert Pincus-Witten, Occult Symbolism in France. Joséphin Péladan and the Salons de la Rose-Croix, New York/London 1976, appendix II, p. 216. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||
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ABSTRACTS
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This
section will present abstracts of theses and conference papers. |
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CONFERENCES – SEMINARS – SYMPOSIA – LECTURES |
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To accompany the exhibition "Painting Light - Hidden techniques of the Impressionists" (29.2 - 22.6.2008), the Wallraf-Richartz-Museum & Fondation Corboud will host a symposium. From 12 to 14 June 2008, international experts will talk about "Painting techniques of Impressionists and Postimpressionists" at the Stiftersaal of the museum. The keynotes of the event are information on the current state of scholarship and interdisciplinary exchange between conservators and art historians. The symposium starts on Thursday, 12 June with a keynote lecture by Richard Brettell (University of Texas, Dallas). On Friday, 13th June and Saturday, 14th June sixteen talks will be given. The symposium will be conducted in German and English. All German talks will be translated simultaneously into English. The symposium will be held by the Wallraf-Richartz-Museum & Fondation Corboud in co-operation with the Cologne Institute of Conservation Science (CICS) and the Association of German Conservators (VDR). It is being generously sponsored by the Fritz Thyssen Stiftung and the RheinEnergieStiftung Jugend, Beruf und Wissenschaft. Full details of the symposium are available on the exhibition website (go to www.impressionismus-wallraf.de and click symposium) |
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Lectures
at the Van Gogh Museum |
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The Van Gogh Museum presents a series of lectures for all those interestedin finding out more about Vincent van Gogh and his contemporaries. Every first Sunday of the month the museum hosts a presentation highlighting the latest research into the collection or a current exhibition. Researchers, curators and restorers tell the story behind the art on display andpresent new insights and findings. The lectures start at 14.00 in the auditorium and last 30-45 minutes.Entrance is free for visitors to the museum. The language is Dutch. Incase of speakers from abroad the language is English. |
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Sunday, 6 April 2008: ?The sunflowers according to Van
Gogh? by Louis van Tilborgh, curator Van Gogh research (Van Gogh Museum) and
author of 'Van Gogh and the sunflowers'.
Van Gogh attached great importance to his still lifes with sunflowers,
and after his death they quickly gained iconic status. But would Van Gogh
have regarded this as justified? A lecture on the significance of the
sunflower |
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Sunday, 13 April 2008: 'Illustration, Caricature, Comics'
by Patricia Mainardi, professor of art history (New York City University) |
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Sunday, 4th May 2008: ‘Ophelia's eyes: the
Shakespeare of Millais?’ by Bart Westerweel, professor emeritus of early
modern English |
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Sunday, 1st June 2008: ‘Gauguin in the Van Gogh Museum?’ by Leo Jansen, curator of paintings (Van Gogh Museum). The paintings by Paul Gauguin in the Van Gogh Museum’s collection tell the story of his quest for a new style and for recognition as a modern artist. At the same time they are illustrative of the admiration Vincent and Theo van Gogh felt for his talent and the support they gave him. This exceptional triumvirate is the focus of this lecture |
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PUBLICATIONS
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Petra
ten-Doesschate Chu: The Most Arrogant Man in France. Gustave Courbet and the
Nineteenth-Century Media. Princeton
University Press 2007. |
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Ruth E.
Iskin: Modern Women and Parisian Consumer Culture in Impressionist Painting. Cambridge University Press 2007. |
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Petra
ten-Doesschate Chu and Laurinda S. Dixon (edd.): Twenty-First-Century
Perspectives on Nineteenth-Century Art: Essays in Honor of Gabriel P.
Weisberg. University of Delaware
Press 2008. |
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Elizabeth Prettejohn: Art for Art’s Sake Aestheticism in Victorian Painting. New Haven and London: Yale University Press 2007. £35.00 This book is the first to analyse the distinctive role
of painting in the many debates surrounding the idea of ‘art for art’s sake’.
It features innovative interpretations of major works by Rossetti, Whistler,
Leighton, Burne-Jones and other artists associated with the movement. S.B-L. |
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Katherine M. Bourguignon (ed.): Impressionist Giverny, A Colony of Artists, 1885-1915. Giverny: Musée d’art Américain, Terra Foundation for American Art, 2007. Distributed by the University of Chicago Press. 219 pp. Exhibition catalogue with foreword, illustrations, essays, catalogue of the works shown in the exhibition, historical documents, map, list of artists working in Giverny, selected bibliography, index. $49.00 (cl) ISBN 978-0932171-52-8. A review by Sally Webster may be found on the H-France web page at: http://www.h-france.net/vol7reviews/webster.html
(H-France Review Vol.
7 (December 2007), No. 149) |
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Alfred Weidinger: Klimt. Prestel, Munich, Berlin, London, New York: Prestel 2007. £89.00/ $165.00. This is the definitive complete catalogue of the
paintings of Gustav Klimt. A sumptuous volume, it is a must for all devotees
of the Austrian Symbolist painter who was one of the most prominent members
of the Vienna Art Nouveau. S.B-L. |
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Isa
Bickmann’s review of the Odilon Redon Exhibition at the Schirn Kunsthalle
Frankfurt 2007 has been published in |
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Antoine Capet’s recent reviews on line in La tribune de l'art include ‘Modern Painters : The Camden Town Group’ at the Tate http://www.thearttribune.com/Modern-Painters-The-Camden-Town.html ‘A Victorian Master: Drawings by Frederic, Lord Leighton’ at the Hunterian Art Gallery, University of Glasgow http://www.thearttribune.com/A-Victorian-Master-Drawings-by.html ‘Breaking the Rules: The Printed Face of the European Avant Garde 1900-1937’ at The British Library http://www.thearttribune.com/Breaking-the-Rules-The-Printed.html
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and for H-Museum ‘Millais, Hunt and Modern Life’ Symposium, Tate Britain,
London Thursday 29 November 2007, 19.00h-21.30h Friday 30 November 2007,
10.00h-19.00h and in the Historians of British Art Newsletter January 2008: Blakesley, Rosalind P. The Arts and Crafts Movement. London & New York: Phaidon, 2006. 272 pp; Cumming, Elizabeth. Hand, Heart and Soul: The
Arts and Crafts Movement in Scotland. Edinburgh: Birlinn, 2006. xv, 240
pp. |
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BIBLIOGRAPHIES
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A bibliography of the publications of Gabriel Weisberg on the art of the
latter half of the 19th century has been compiled with generous co-operation
of Professor Weisberg. To see this,
click the icon |
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SOCIETIES(click on
their colophons to reach their websites) |
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THE ASSOCIATION OF ART HISTORIANS
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This English Association ‘represents the interests of those involved in all aspects of the discipline, including art, design, visual culture, architecture, film, photography, conservation and museum studies.’ |
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THE IRISH ASSOCIATION OF ART HISTORIANS
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The IAAH is the representative association for
art historians in Ireland and is responsible for the election of the Irish
National Committee of the Comité International d'Histoire de l'Art (CIHA). |
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Since its foundation, the IAAH has maintained a
programme of lectures, events, seminars and tours to significant sites in
Ireland and abroad. The range of lecture subjects has been broad and varied.
Visits are also arranged to important collections and exhibitions at home and
abroad. Financial assistance is given from time to time for research,
publications and restoration projects and the IAAH funds an essay prize for
History of Art undergraduates. |
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Although the Association itself is still active,
its website site promising quarterly updates on its news and events has been
abandoned. The last event announced was for September 2004. Our attempt to
contact them at the address given on the website (iaah@ireland.com) brought
the reply ‘User unknown’. |
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We wrote the above in the spring of 2007; in April 2008 the website has not changed. |
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THE SCOTTISH SOCIETY FOR ART HISTORY |
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The SSAH was founded in 1984 to promote Art History in Scotland. It is open to everyone interested in art, from people with a general interest to specialist scholars, and from students to teachers, museum curators, collectors and dealers. The Society aims to be relevant to all fields of art, including applied art, architecture and design, as well as fine art. It also embraces the art of all periods and countries, though of course it has a strong commitment to Scottish art. The Society publishes both a Newsletter and a Journal, and Tables of Contents are available on the Society’s website (the latest Journal there being Vol. 11, 2006). THE OSCHOLARS on our Publications page will note articles covering our concerns that appear in the latter. The website has now been upgraded since we last checked on 7th January 2008. |
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THE ARTS & CRAFTS SOCIETY OF NEW YORK
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The Arts and Crafts Society of Central New York is a non-profit organization dedicated to the study of the Arts and Crafts Movement through a schedule of lectures, symposia, tours and other educational programs for the purpose of increasing awareness of this rich cultural heritage and stimulating interest in its preservation. |
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The Society's website maintains a number of fora
dedicated to different aspects of Arts and Crafts, and its latest newsletter
can be downloaded as a .pdf. |
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The objectives are: |
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To preserve, document, and understand the
artifacts and ideals of the Arts & Crafts Movement. ·
To accomplish these objectives, the society
encourages study groups in such areas as architecture, ceramics, glass,
furniture, books, and other topics. ·
Support conferences, seminars, publications
and exhibitions relating to the Arts & Crafts Movement. ·
Sponsor research and publication of Arts and
Crafts material. · To work toward the establishment of an Arts & Crafts research center to serve as a place of study, exhibitions, meeting, and collection. |
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THE DECORATIVE ARTS SOCIETY |
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Founded in 1975, The Decorative Arts Society
encourages the study and appreciation of the applied arts, architecture and
interior design on an international basis throughout Europe and America from
1850 to the present. In its activities
and publications the Society embraces all the different media – furniture,
ceramics, glass, metalwork, textiles, jewellery and fashion as well as
industrial design, stage and film design and the graphic arts. Membership is international and is open to
all who are interested in any aspect of this vast field. No specialist
knowledge is required. Existing members comprise collectors, dealers,
libraries, museum curators, teachers, students, artists and designers, as
well as those from other walks of life, all of whom wish to share their
enthusiasm with others. |
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The DAS has an international reputation for its
scholarship on the decorative arts which is disseminated world-wide through
the annual journal, sent free of charge to all members. This illustrated
publication contains authoritative articles based on original research
usually collected around a particular theme or topic. With at least 100 pages
and over 100 illustrations, many in colour, the Journal is of permanent
scholarly value to both institutions and collectors. |
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There is a full cumulative index of past Journals, most of which are still
available. Back numbers are available through Richard Dennis Publications,
The Old Chapel, Shepton Beauchamp, Ilminster, Somerset TA19 OLE, England. Tel
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For membership details contact The Membership
Secretary, Decorative Arts Society, PO BOX 136, Woodbridge, Suffolk IP12 1TG,
England. The Society maintains a website which can be reached by clicking its
monogram. |
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THE FURNITURE HISTORY SOCIETY |
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1 Mercedes Cottages, St John's Road, Haywards
Heath, West Sussex, RH16 4EH, England. @ The small, and rather reticent, webpage that
used to be at http://www.iserv.net/~plucas/fhsoc.htm no longer exists, and has
been replaced by a much grander site (click below). Among the information
given on its various pages we cite the following: |
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Furniture
History, the journal of the Furniture History Society, is an extensively
illustrated scholarly journal issued annually to members only. It is the only
journal devoted to the history of furniture from all parts of the world and
is internationally recognized as authoritative. Subjects range from the work
of individual makers and designers to aspects of interior decoration,
domestic economy and trade practice. Contributions have been made by the
foremost scholars in the field. |
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From time to time, single issues devoted to
individual subjects or notable articles published in special editions for
sale to the public. One can use the link Special
Publications for a list of available back issues. |
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The Furniture History Society’s illustrated Newsletter, published four times a year, comprises about 24 pages of notices of the Society’s activities, news items and short articles on current matters of interest, such as recent discoveries, research topics or museum acquisitions. The Newsletter also reports on past visits, lectures and study tours at home and abroad and includes numerous book reviews. |
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THE ASSOCIATION OF HISTORIANS OF NINETEENTH-CENTURY ART
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Founded in 1993, the Association of Historians
of Nineteenth-Century Art currently has more than three hundred members.
AHNCA's goal is to foster dialogue and communication among those who have a
special interest in the field of nineteenth-century art and culture.
Nineteenth-century art is broadly defined as all art that was produced
between the American Revolution and the Paris International Exposition of
1900, regardless of geographic boundaries. |
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Current members in good standing receive two
newsletters annually and a directory of association members. All memberships
run from January to December of the calendar year in which you join or
renew. The Association’s journal, Nineteenth
Century Art Worldwide, published on-line, has long been featured in the
Publications section of THE OSCHOLARS. |
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The AHNCA's annual session ‘New Directions in
19th-century Art History’ was held at the College Art Association annual
conference in Dallas in 20th to 23rd February 2008. |
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The Association’s website (last modified 29th August 2007) can be found by clicking the banner. |
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THE PRE-RAPHAELITE SOCIETY
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‘The Pre-Raphaelite Society is dedicated to the
celebration of the mood and style of art which Ruskin recognised and
preserved by his writings, and to the observation of its wide-ranging
influence. In co-operation with societies of similar aims world-wide, it
seeks to commemorate Pre-Raphaelite ideals by means of meetings, conferences,
discussions, publications and correspondence, and to draw attention to
significant scholastic work in this field. First and foremost, however, it is
a society in which individuals can come together to enjoy the images and
explore the personalities of the Pre-Raphaelites and their followers through
the medium of fine art, the appreciation of good design and the excellence of
the traditional arts.’ (Written for the Society by the late Anthony Hobson –
author of J W Waterhouse.) |
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The Society organises a varied programme of
lectures and visits to exhibitions and places of interest each year. |
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Membership enquiries: Michael Wollaston - 18 Floyd Grove, Balsall Common, Coventry, CV7 7RP England; General enquiries: Barry Johnson - 37 Larchmere Drive, Hall Green, Birmingham, B28 8JB England |
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The Review of the PRS: First issued in the Spring of 1993, The Review has appeared three times a year (except in 1998, 2000 and 2003), when special issues on Burne-Jones, Ruskin and Millais each represented two numbers. Many of the issues are available for sale. Please contact for an order form. Tables of Contents of The Review of the PRS are published on the website, and are covered in our Publications section. |
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BRUSH STROKES
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Serena Trowbridge, editor of the Review of the Pre-Raphaelite Society
has been interested in contacting anyone working on the Pre-Raphaelite
painter F.G. Stephens: ‘All suggestions welcome’ to Serena Trowbridge @. |
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NICE
Paintings - the National Inventory of Continental European Paintings |
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Announcing the launch of a new web resource for the study
of history of art, museum studies and picture research. NICE Paintings (http://vads.ahds.ac.uk/collections/NIRP/index.php)
contains detailed records of nearly 8,000 pre-1900 Continental European oil
paintings from 200 public collections across the United Kingdom. Over 2,500
are illustrated with digital colour images, and more images are being added
regularly. This pioneering database is the first phase of a project to bring
together in one searchable catalogue all 22,000 old master paintings in UK
museums. The project was funded by the Arts and Humanities Research Council,
the Getty Foundation and the Kress Foundation. NICE Paintings was produced by the National
Inventory Research Project (NIRP), based at the University of Glasgow. NIRP
is a partnership between the University of Glasgow and Birkbeck University of
London. It is managed by a steering committee of curators from national and
regional collections across the UK, chaired by Dr Susan Foster, Director of
Collections at the National Gallery, London. The project is continuing to add
digital images to the database, contributed by museums and the Public
Catalogue Foundation, and is working to complete the project by adding to the
database records on the 15,000 old master paintings in national university
and other major regional museums not included in this initial research phase
of the project. URL: http://vads.ahds.ac.uk/collections/NIRP/index.php;
contact: Andrew Greg @ |
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For the
Table of Contents, click |
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