Gold Plates Picasso
The gold plates made by Pablo Picasso are not only beautiful but also extremely rare. Many people do not know that Picasso even made plates. In fact he made nearly 4,000 pieces of art made of ceramic. His plates and platters made out of precious metal are stunning and worth a great deal of money. The gold plates are parts of a private collection and valued at EUR 3,000,000. This slideshare is Part I and focuses on the gold plate by Picasso called "Vallauris".
John Frederick Lewis - Mirage of the OrientJerry Daperro
John Frederick Lewis (London 1805 – Walton-on-Thames 1876) English Painter. He studied art under his father who was a distinguished engraver, Christian Frederick Lewis. He was trained under Sir Thomas Lawrence as an animal painter.
He exhibited in the British Institute in 1820 and the British Academy in the following year. He visited Switzerland and Italy in 1824. in 1932-34, he lived Spain and Morocco. As a result he published a series of lithographs on Moorish architecture, that established him as an serious artist. In 1837, he visited Paris and Rome. In 1840, he went to Greece. Turkey and the Middle East.
In 1841 he settle down in Cairo, at the Egypt was part of the Ottoman Empire. He lived there for 10 years an adopted an Egyptian ways of life, even dressed in tradition costumes and turben. During his stay, he painted the Egyptian ways of life, with authenticity. In 1947 he married to Marian Harper, who appeared in many of his painting dressing in ‘Turkified European’, living amongst the Egyptian.
When he return to England, he became the president of the Old Watercolour, a post he held for 8-9 years. He became a full member of the Royal Academy and exhibited there regularly. In 1876 he died in Walton-on-Thames at the age of 72.
Gold Plates Picasso
The gold plates made by Pablo Picasso are not only beautiful but also extremely rare. Many people do not know that Picasso even made plates. In fact he made nearly 4,000 pieces of art made of ceramic. His plates and platters made out of precious metal are stunning and worth a great deal of money. The gold plates are parts of a private collection and valued at EUR 3,000,000. This slideshare is Part I and focuses on the gold plate by Picasso called "Vallauris".
John Frederick Lewis - Mirage of the OrientJerry Daperro
John Frederick Lewis (London 1805 – Walton-on-Thames 1876) English Painter. He studied art under his father who was a distinguished engraver, Christian Frederick Lewis. He was trained under Sir Thomas Lawrence as an animal painter.
He exhibited in the British Institute in 1820 and the British Academy in the following year. He visited Switzerland and Italy in 1824. in 1932-34, he lived Spain and Morocco. As a result he published a series of lithographs on Moorish architecture, that established him as an serious artist. In 1837, he visited Paris and Rome. In 1840, he went to Greece. Turkey and the Middle East.
In 1841 he settle down in Cairo, at the Egypt was part of the Ottoman Empire. He lived there for 10 years an adopted an Egyptian ways of life, even dressed in tradition costumes and turben. During his stay, he painted the Egyptian ways of life, with authenticity. In 1947 he married to Marian Harper, who appeared in many of his painting dressing in ‘Turkified European’, living amongst the Egyptian.
When he return to England, he became the president of the Old Watercolour, a post he held for 8-9 years. He became a full member of the Royal Academy and exhibited there regularly. In 1876 he died in Walton-on-Thames at the age of 72.
Encouraged by the success of Romanticism in portraying the exceptional and the exotic subjects. Several French painters travelled to North Africa and Middle East painting scenes of ‘Oriental’ history and the contemporary life. Delacroix was one of the first and the most convincing. Many others followed, notably Gerome. Other preferred to used their imagination and let it run wild, depicting their version of the imaging ‘Orient’, like Ingres A particular popular theme was the harem. Since no European man had ever been into a harem their works were mostly frictional. British painters like John Frederic Lewis and William Holman Hunt also embarked on their journey of discovery. Both men also spent part of their life living in the Middle East. They have also bought back images of what they experienced in the ‘Orient’.
AP ART HISTORY: Symbolism, Arts and Crafts movement, Art Nouveau, Austrian Se...S Sandoval
AP ART HISTORY : Other Art Styles of the Late Nineteenth Century.
Art Nouveau, Arts and Crafts Movement, Austrian Secession, Symbolism.
Artists, architects: Redon, Moreau, Rousseau, Carpeaux, Horta, Gaudi, Tiffany, Klimt
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxgalerussel59292
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
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AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxjack60216
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
This is the first of four Powerpoint on US gallery to be released on the next few day. In 1974 Norton Simon agreed to take over the Pasadena Art Museum, giving his collection a permanent home. In 1995, the museum began a major renovation and design. It also included a new theatre. Norton Simon started collecting seriously in 1964, when he purchased the entire European collection of the Duveen Brot. Today, his collection on European paintings is broadly based and methodological. The collection covers the whole span of European painting developments from the early Renaissance to modern days. All the mainstream movements are represented by works from the masters. However, one noticeable absence are paintings from America. In 1970s the collection started to include Asian Arts. Today, there are some 4,000 works in the collection. On European paintings the collection would complement to that of the more well-known Paul Getty Museum. Ion paintings, it must rank as one of the best on the west coast of America.
ROSA BONHEUR, Plowing in the Nivernais, 1849Rosa Bonheur.docxdaniely50
ROSA BONHEUR, Plowing in the Nivernais, 1849
Rosa Bonheur was one of the most renowned animal painters in history. Her earliest training was received from her father, a minor landscape painter, who encouraged her interest in art in general and in animals as her exclusive subject. He allowed her to keep a veritable menagerie in their home, including a sheep that is reported to have lived on the balcony of their sixth-floor Parisian apartment.
Bonheur's unconventional lifestyle contributed to the myth that surrounded her during her lifetime. She smoked cigarettes in public, rode astride, and wore her hair short. To study the anatomy of animals, Bonheur visited the slaughterhouse; for this work, she favored men's attire and was required to obtain an official authorization from the police to dress in trousers and a smock. Because of this recognition from official sources, she was then awarded a commission from the French government to produce a painting on the subject of plowing. Exhibited in the Salon of 1849, it firmly established her career in France.
Figure 22-31 ROSA BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ 1/4” x 16’ 7 1/2”. Metropolitan Museum of Art, New York.
The artist was praised by Napoleon III and Delacroix for her very realistic, yet passionate, studies of animals. This was a sensation at the 1853 Salon. It was reworked until 1855 and then it toured England and the U.S. for three years. She sold the painting and its reproduction rights. When an engraving was made of the work, it made the owner of the painting a lot of money since many people bought inexpensive reproductions of it. Her art, as did most Academic art, reached a broad audience through the mass medium of the print.
NIEPCE, View from His Window at La Gras, c. 1826
The very first photograph ever taken. Niepce used a mixture of natural, light-sensitive elements on a piece of pewter placed in a camera obscura and left it to daylight exposure. It rendered this image called a heliograph because it was exposed to the sun. Helio = sun, graph = writing, in other words, “sun writing.” Photo = light, thus photography is “light writing.”
Even though this image is blurry and hazy, we can still see the rooftops, trees, and sky.
LOUIS DAGUERRE, Boulevard du Temple, Paris, c. 1838
In 1839, Louis Daguerre patented his process of fixing images on a copper plate called a daguerreotype. It is the earliest form of creating portraits. These portraits were placed under glass, framed and placed in a hinged box for the owner to cherish. Daguerreotypes are one-of-a-kind and cannot be duplicated. The image rendered in this fashion was extremely crisp and detailed. Tt came in different sizes from very small (2” x 2 1/2”) to what we would consider to be a normal sized picture for a portrait, (6 1/2” x 8 1/2”).
However, this image is not of a person/persons. It is of a busy street scene, yet there are almost no people (there’s a person getting his shoes shined in .
1. TOM SLINGSBY
Writer & Editor
ABOUT
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2. ARTWORK DOCUMENTATION
for Aidan Meller Galleries
Henry Matisse, figure studies
extract
These drawings were made during the years 1901–1903, a
formative stage in Matisse's career. Since moving to Paris in
the early 1890s, he had accomplished little in the way oftruly
innovative work. But this was all to change with his discovery
ofvan Gogh and the warm colours ofsouthern France.
From the turn ofthe century onwards, Matisse was
discovering a unique voice ofhis own, developing the daring
works that spearheaded Fauvism.As his conviction in his
creativity grew, so did his public profile.
He had his first solo show with AmbroiseVollard in 1904,
and the following year exhibited his masterpieceWoman with
a Hat at the Autumn Salon, establishing his relationship with
collectors Gertrude and Leo Stein.
***
The two studies on the recto side ofthis object (left) bear a
striking resemblance to Matisse’s friend Mecislas Golberg,
whom we believe to be the subject. Golberg was a Russian-
Polish Jew, former anarchist, and political philosopher.
Having been deported from France on two occasions for
acts ofsubversion, Golberg was eventually granted provisional
leave to remain in exchange for abandoning all political
activities.Thus, on his return to France at the dawn ofthe
new century, he brought his fierce intelligence to bear on the
question ofart. He began to promote his theories ofa new
art“ofreduction, ofmovement, and ofspeed” - qualities
which are effectively pursued in this dynamic drawing.
Biographer Hilary Spurling explains that Golberg and
Matisse met through sculptorAntoine Bourdelle:
The two certainly got to know one another well in
Bourdelle’s studio, and perhaps they worked together as well,
for in addition to his private sittings, Golberg posed naked
for the entire sculpture class in 1900.
In addition to modelling, Golberg scraped a living
publishing magazine articles. Bourdelle, meanwhile, was
Matisse’s sculpture tutor, and had formerly worked for
Auguste Rodin.At this stage Golberg was suffering from
malnutrition and late-stage tuberculosis and came to be
affectionately known as “the living skeleton”.
His gaunt features would have been ofgreat interest to any
student ofanatomy, and we believe they are the ones
represented in this drawing.
3. Just as in early twentieth-century Paris, the rich reserves of
talent which pooled in 1940s NewYork were in need ofa
great promoter to put them on the map.
They found this in Peggy Guggenheim, born into the less
affluent branch ofa very wealthy family ofJewish business-
men and philanthropists. Peggy's father, a native of
Philadelphia, died in theTitanic sinking.When she was
twenty-one years old Peggy inherited $2.5m dollars, leaving
her in the enviable position ofbeing able to buy whatever art
she pleased.
Guggenheim grew up to be a woman ofunconventional
tastes and morals who, after setting up her first gallery in Paris,
was forced to flee France with the Nazis about to invade. In
this sense, her personal story embodies a wider transition of
artistic influence from Paris to NewYork.
Once described as possessing a“whim ofiron”, Guggen-
heim is said to have had a short attention span.Yet her career
was shot through with a knack for discovering great talents
and entrusting them with the freedom and support they
needed to realize their potential.
***
As a young woman, Peggy incited the disapproval ofher
parents when she took up a job as a clerk at SunwiseTurn, an
avant-garde bookshop which sold cutting-edge poetry and
fiction. It also dealt in reproductions ofworks by artists such
as Picasso and Matisse. Guggenheim was able in her role at
the bookshop to meet some ofmodernism's key agents in the
USA, such as poet Margaret Anderson, founding editor ofthe
seminal journalThe Little Review.
This mind-opening experience planted in the young
heiress a fascination with European modernism, and it was in
pursuit ofthis passion that she moved to Paris, where she
married the writer and artist LaurenceVail.Vail typified the
avant-garde spirit ofthe 'Lost Generation' ofexpatriate
Americans in Paris, earning him the nickname 'The King of
Bohemia'. He introduced Guggenheim to all ofthe key
players in the city's artistic milieu.
But when her marriage withVail broke down,
Guggenheim found herselfdrifting aimlessly across Europe
with little to occupy her.At the suggestion ofher friend
PeggyWaldman, she opened an art gallery, Guggenheim
Jeune, on London's Cork Street in 1938. It was here that she
first demonstrated her innovative tastes and talent for scandal.
Her first exhibition, by Jean Cocteau, included a large
drawing which was impounded by customs because ofits
depictions ofnudity. So as not to disappoint the artist,
Guggenheim bought the piece herself, something which was
to become an expensive habit.
BOOK
for Aidan Meller Galleries
The Insider's Guide to the Art World
Chapter Five: New York City, extract
4. LEAFLET COPY
for Aidan Meller Galleries
Special Collections
The Club affords its members access to leading
private art collections and exclusive experiences of
public art institutions. Its events programme is
steeped in the heritage ofWestern art, journeying
from the Old Masters through to cutting-edge
contemporary art.With the launch ofthe Club in
2016, members will visit Oxford’s hidden Pre-
Raphaelite treasures, the Rothschild Collection, and
make a behind-the-scenes visit to the Royal
Academy.
A Wealth of Experience
Aidan MellerArt Club enables members to start and
continue their journeys as collectors with the finest
resources the art world has to offer.They enjoy the
illustrious society ofprominent art experts and
fellow connoisseurs.This is because collecting is
about the experiences and knowledge, as well as the
artworks, you acquire.
In Cultured Company
To ensure a convivial group ethos, all candidates for
membership are required to submit letters of
reference and are carefully vetted. Membership is by
invitation only and is typically drawn from the body
ofcollectors best known to the Aidan Meller
Galleries.This selective approach means that
members can count on meeting individuals who will
enrich their experience ofthe Club.
Reap the Rewards of Art Club
5. FEATURE ARTICLE
for Aidan Meller Galleries
The outlandish and magical artefacts which filled James
Hooper’sTotems Museum in Arundel stood as representatives
ofa bewildering array oftribal cultures.They also bore
witness to the curiosity ofan enthusiast who assembled a
collection ofnearly 2,000 artefacts by the time ofhis death.
Hooper came from humble beginnings, a fact belied by his
status as one ofBritain's most important collectors of
ethnographic art. Unlike many acclaimed collectors, his
achievements were made without the advantage ofa wealthy
background. His career began when he was still a schoolboy,
and his father, a police inspector, made him a gift ofa tribal
spear. Hooper cleaned the spear and proudly mounted it on
his bedroom wall. He wrote that the incident made him
wonder who had produced it.What did the maker look like?
Where did he live? Such questions were the beginning ofa
lifelong obsession.
After serving briefly in the FirstWorldWar, Hooper
moved to Littlemore near Oxford, where he was just a stone's
throw away from the Pitts Rivers museum.There he
befriended Henry Balfour, the museum's first Curator.
Balfour was one ofthe country's foremost authories on art
from tribal societies and travelled widely, visiting the
countries from which the museum's exhibits were sourced
and meeting other ethnologists. He took Hooper under his
wing, opening his mind to the extraordinary richness and
interest ofethnographic art, spurring Hooper on in the
development ofhis collection.
Whereas Balfour's knowledge had been honed by travel,
Hooper's success came not from perilous voyages down the
Congo, but from tapping into the rich resources located
within the confines oftheThamesValley. Hooper never
visited any ofthe societies whose art he collected. Scouring
junk shops and advertisements, he was able to get his hands
on the abundant ethnographic jetsam which was a legacy of
Britain’s colonial presence overseas.
Fascinated by the mysterious ritual practises ofthe
societies they encountered, British colonial servants often
tended to acquire examples ofceremonial African art, as
trophies, souvenirs and conversation pieces. Scholars have
commented on the contradictions involved in the practice.
This form ofcollecting was both a continuation ofthe
violence inflicted against indigenous communities, and an
expression ofadmiration for them.
On their retirement and return to Britain, these civil
servants would often sell items which they assumed to be of
low value. Many stunning examples oftribal art thereby
found their way into the hands ofenthusiasts such as Hooper,
who was able to source exotic masks and statues from the
small ads and cosy junk shops ofthe Home Counties.
The Art Collector
Collector in Focus: James Hooper, extract
6. WEB COPY
for Pighog Press
We're thrilled to have been shortlisted twice in this
year's Michael Marks awards. Pighog has been
nominated inThe Publishers Award Shortlist and
Charlotte Gann's menacingly beautiful debut
pamphletThe LongWoman has been recognised in
The Pamphlet Award Shortlist for its "starkly
beautiful imagery and dark storytelling."
Congratulations to Charlotte! As theWordsworth
Trust puts it,
"The Awards are designed to raise the profile ofpoetry
pamphlets, recognising the enormous contribution that they
make to the world ofpoetry ...Winners will be announced
at a public Readings andAwards Ceremony held at the
British Library on the evening ofFriday 22nd June 2012"
The LongWoman is part ofPighog's Sussex Series
and follows in the footsteps ofSarah Jackson's Milk
in being nominated for the award.To enjoy more
great Pighog poetry, please join us at Brighton
Festival Fringe, where all our ticketed events are now
priced just £5 (£3 concessions)! The programme of
events also features a number offree events at
Metrodeco. For more on Charlotte Gann's poetry,
read an interview with her on our media page.
Pighog recognised in shortlists for the prestigious
Michael Marks Awards
7. Provocative and magical, lyrical and cinematic, a new
generation ofLatin American poets shows offits wit
and invention in this bilingual sampler.
The collection takes readers on a journey across
the vibrant poetic landscapes ofthe Spanish-speaking
Americas. From the desirous unquiet ofJavier
Norambuena, from whose Humedales the volume
takes its title, to the medieval magic ofElena
Salamanca, these are poems that fascinate and inspire
as they explore the uncanny properties ofdomestic
and psychic spaces.
With a captivating cast ofobsessive adolescents,
synthetic flowers, perverse housewives and
mythological figures, Hallucinated Horse presents its
English translations facing the Spanish originals,
making it a superb tool for language students.
56pp ISBN: 9781906309220
Hallucinated Horse: New Latin American Poets
Nicole Cecilia Delgado and Tom Slingsby (eds. and trans.)
WEB COPY
for Pighog Press
8. AI SHEET
for Pighog Press
Strapline:
Britain’s most visionary writer documents Sussex in unique
collaboration
Short Description:
Postcards from the 7th Floor is a unique collaboration between
poet Iain Sinclair and artist Oona Grimes, documenting real-
life stories associated with Marine Court at St Leonards-on-
Sea.
Full Description:
A remarkable collaboration in poetry and drawing, Postcards
from the 7th Floor documents the stories and characters that
gather around Marine Court, a huge modernist residential
block overlooking the ocean at St Leonards-on-Sea, East
Sussex.
Boasting both Grimes’ playful yet meticulous images, and
the mesmerising psychogeographic beat-poetry ofthe finest
literary stylist ofhis generation, Postcards from the 7th Floor
conjures the lost souls and hidden tales which accumulate in
the shadow ofa fading“hymn to the sun”.
Sinclair and Grimes provide different twists on the same
real-life stimuli. From bizarre newspaper headlines to oddly-
clad drunks wandering the shore, this is the forgotten British
coastline at its most vivid and challenging. Stunningly
designed by Aneel Kalsi, the publication reads as a poetry
book from one cover and an artist’s book from the other. It
features 28 poems and 2 prose pieces by Sinclair and 26 high-
fidelity reproductions ofGrimes’ images.
Key Selling Points:
• 2010’s most innovative poetry publication
• Reversable format: artist’s book and poetry book in one.
• Master of psychogeography goes back to beat
roots
• Brilliantly detailed, poppy and playful illustrations
• Collectable, limited edition of 1000
• Printed on exquisite carbon-neutral paper
Postcards from the 7th Floor
Iain Sinclair & Oona Grimes