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  • 2010-2014  (24)
  • London  (14)
  • New Haven [u.a.] : Yale Univ. Press
  • New York, NY
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  • 1
    Language: English
    Pages: Illustrationen
    Year of publication: 2014
    Keywords: Malerei ; Ausstellung ; Malerin ; London
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  • 2
    ISBN: 9781450766142
    Language: English
    Pages: 90 Seiten , Illustrationen
    Year of publication: 2011
    Keywords: Maler ; Malerei ; Collage ; No! Art ; Ausstellung
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  • 3
    Language: English
    Pages: 56 Seiten , Illustrationen
    Year of publication: 2010
    Keywords: Ausstellung
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  • 4
    ISBN: 9780988661349
    Language: English
    Pages: 80 Seiten , Illustrationen
    Year of publication: 2014
    Keywords: Ausstellung
    Abstract: This small, museum-quality show, organized by scholars Esti Dunow and Maurice Tuchman, is composed of just 16 paintings. All are loans from private collections, and none, miraculously, are for sale. Many are being shown for the first time since Russian-Jewish painter Chaim Soutine̷s 1950 MoMA retrospective. Soutine is a painter̷s painter, and it is worth going to Kasmin to see in person his particular mastery of the medium. Rather than being a cool painter, Soutine was irrepressible. The earliest painting in the show, Landscape with Donkey (1918), is a post-Cézanne countryside̶all red-roofed geometry, it surprises by the inclusion of a very flat, very pert donkey in the lower left corner. His exuberant trees and landscapes pick up rainbows in their brushwork. His scribbled mustard and green forests look like the mistral is moving through them. Soutine is also the master of the dead bird. His pheasants, turkeys, geese and chickens are top-notch. Two Pheasants on a Table (1926) takes a pair of the little birds pillowed on a tablecloth and serves up the broken geometries of wings and each small, open orange beak. The colors are expressive: Periwinkle-on-yellow, the birds lie on a greenish-white cloth with laddered green-pea wallpaper in vertical columns behind them, highlighting the vertiginous drop-off of the table on which they are placed. The painting situates us above these two, as if our heads were bent in contrition over the tangle of two avian lives smudged out. Another knockout in this show is Plucked Goose (1933), an oil on panel in which the pink, bare breast of the seemingly still-warm animal is stubbly with a few white and blue brambly feathers, its neck a knot of sinews. It is grotesque and wonderful, painting with a main line into the meeting of matter and spirit. It hasn̷t been on public view since a show at the Tate in 1963. A blood-mottled hare on a black table, Skinned Rabbit (1923), prefigures Francis Bacon̷s meaty bodies. In the still lifes, you see Chardin̷s famous skate-ray, Rembrandt̷s splayed ox hanging on hooks and those few, glorious fleshy stlll lifes by Goya. These works play with the meaning of the French term for still life, nature morte. But this makes them sound too wordy and clever̶their intelligence, never moralistic or punning, is visceral. You might feel a bit exhausted from all of the art available in recent weeks, in New York art fairs and auctions̶or conflicted about the overwhelming prices achieved by so many living artists. In this show of older paintings, their canvases and panels lightly buckled and swayed from age and displayed in unfashionable frames, the winds of fashion have subsided. Within all of this death, what is left is the pure, quiet magic of paint.
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  • 5
    Language: English
    Pages: 59 Seiten , Illustrationen
    Year of publication: 2013
    Keywords: Künstler ; Ausstellung
    Abstract: Ninety-three drawings and paintings will be installed, comprising Lurie's documentation and recollection of his experiences in concentration camps of Nazi Germany at the end of the war. Created from mid 1945 though late 1946, the work is a chronology of Boris's time there when he worked for the Allied occupying army and saw survivors living in Displaced Persons Camps that still resembled the likenesses of the former Nazis’ death camps. In 1945 Lurie was twenty-one years old and had no formal training in art, beyond the grade school level. Remarkably, he was able to create visually powerful depictions of prisoners marching out of enormous labor barns, Allied soldiers overseeing DP inmates and tending to management duties, survivors still dressed in stripped uniforms as they try to put themselves and their lives back together, as well as unnamed portraits and emaciated women, nude and sometimes with shaved heads. Throughout all of this work there is the presence of fierce raw talent. Lurieʼs violently strong, graphic line quality is confident and assured, with a tense nervous energy that reminds us of El Greco, who Boris admired. We also see, in nascent form, subjects Lurie will explore throughout his career: dancing figures, emotional figurative compositions, and nude women, an obsessive theme that will reemerge in his shocking work of the '50s and '60s. There is a grim look to this work that provides forceful visual credibility to the assessment of Earl G. Harrison, Truman's envoy to the DP camps, when he said: "We appear to be treating the Jews as the Nazis treated them, except that we don't exterminate them.”
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  • 6
    Language: English
    Pages: 159 Seiten , Illustrationen
    Year of publication: 2011
    Keywords: Malerei ; Grafik ; Ausstellung
    Abstract: Unseen works by Herman It is a chance to see rare artworks from Josef Herman, and brings together for the first time much of Herman's surviving work from this formative period, when his art was at its most experimental and his use of colour strikingly imaginative. Most works are held in private collections, so have rarely been seen or previously gathered together on such a comparable scale. Included are the few remaining works from Brussels, a series of powerfully expressionist figurative works in oil, gouache and tempera, striking designs for a politically-themed ballet, and many works on paper from the series known as the 'Memory of Memories'. These vivid, often poignant, sketches fired by memory and imagination, carried out in Glasgow between 1940 and 1943, bring the memory of Herman's family (who perished in the Warsaw Ghetto), as well as his lost Warsaw years, back to life. The Glasgow art scene The exhibition also includes examples of work by Herman's contemporaries in Glasgow: fellow Polish émigré Jankel Adler, Estonian-born sculptor Benno Schotz and Scottish colourist J D Fergusson, alongside whom Herman briefly made a considerable contribution to the Glasgow arts scene. At the Ohel Centre in North London (1943-4), Herman mixed with fellow artists Martin Bloch, David Bomberg, Jacob Epstein and Ludwig Meidner (whose work is also included), as well as with the poets Itzik Manger and Avrom Stencl. Ystradgynlais and Herman The exhibition concludes in mid-1944, when Herman's momentous discovery of the Welsh mining town of Ystradgynlais in South Wales changed the direction of his life and work forever. The catalogue includes contributions from Herman's biographer, Monica Bohm-Duchen, as well as Professor Jerzy Malinowski (President of the Polish Institute of World Art Studies and Head of Modern and Oriental Art, Nicolaus Copernicus University, Torun, Poland), Nanny Schrijvers (curator and researcher, the Royal Museum, Antwerp), Douglas Hall (former first Keeper of the Scottish Gallery of Modern Art in Edinburgh), the artist's son, David Herman, Ben Uri's Head of Curatorial Services, Rachel Dickson and the curator Sarah MacDougall, the inaugural Ben Uri Eva Frankfurther Research and Curatorial Fellow for the study of émigré artists.
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  • 7
    Language: English
    Pages: 115 Seiten , Illustrationen
    Year of publication: 2014
    Keywords: Glasmalerei ; Künstler ; Ausstellung
    Abstract: ‘Life and Art Through Stained Glass’ examines the artistic career of architect, painter, designer and stained glass innovator Roman Halter. His near 50-year career as an artist would, had circumstances been different, have been much more widely recognised, as his command of many crafts was significant and distinctive. Stained glass is an exact, technical, complicated, architectural art-form that merges engineered structures, on one hand, with both depth and balance of colour appropriate to its space, on the other. Like many architects, Halter could ably address the technical requirements, but it was his innate creativity and his talent as a visual artist that allowed him to move between disciplines and to join a select group of practitioners who are today recognised as pre-eminent in this field. His stained glass windows can be found in synagogues across London. In The Room of Prayer at Leo Baeck College he designed a series of small, brilliantly coloured squares of stained glass to decorate each window and designed and made part heart-shaped, part Menorah-shaped glass and aluminium windows for the ark containing the Torah. At the New North London Synagogue two tall, vertical, primary-coloured windows are inscribed in Hebrew, and at the North Western Reform Synagogue, eighteen monumental designs are intricately decorated with the theme of Life “Chai”, the Hebrew letters for the number 18. In The Central Synagogue an azure panorama of an idealised Jerusalem illuminates the stairwell mezzanine, whilst his commanding, prismatic Jacob Wrestling with the Angel stretches the capacity of stained glass design to new and near-abstract limits. In 1978 when this work was received it was considered an artistic step too far, but it has come to be recognised as a virtuoso work within this medium. After only seven years working in the discipline, in 1983 Halter began his three-year collaboration with Henry Moore, working on a blue stained glass window, Reclining Figure, which is one of the centrepieces of this exhibition.
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  • 8
    Language: English
    Pages: 159 Seiten , Illustrationen
    Year of publication: 2014
    Keywords: Eardley, Joan ; Fell, Sheila ; Frankfurther, Eva ; Herman, Josef ; Lowry, L. S. ; Künstler ; Künstlerin ; Malerei ; Ausstellung
    Abstract: This exhibition examines the work of five figurative artists working in Britain in the 1950s, who each had a strong identification with the place in which they chose to live and work and which formed, for a significant part of their careers, the primary focus of their practice. Each associated themselves with a particular place: Eardley - Townhead in Glasgow; Fell, the mining community and landscape of her native Aspatria, Cumbria; Frankfurther - London's East End and its multi-cultural working-class communities; Herman - Ystradgynlais in South Wales with its indigenous mining community; and Lowry - his hometown of Manchester and its industrial, multi-peopled cityscape. This exhibition links these five seemingly disparate artists by uncovering a network of relationships, both personal and professional, and their shared exploration of particular artistic concerns and motifs. This exhibition is one of the outcomes of the Eva Frankfurther Research and Curatorial Fellowship for the Study of Emigré Artists.
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  • 9
    Language: English
    Pages: 30 Seiten , Illustrationen
    Year of publication: 2013
    Keywords: Künstler
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  • 10
    Language: English
    Pages: 92 Seiten , zahlr. Ill.
    Year of publication: 2011
    Keywords: Malerei ; Jerusalem
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