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Article

Arman  

Alfred Pacquement

[Fernandez, Armand]

(b Nice, Nov 17, 1928; d New York, Oct 22, 2005).

American sculptor and collector of French birth. Arman lived in Nice until 1949, studying there at the Ecole des Arts Décoratifs from 1946 and in 1947 striking up a friendship with the artist Yves Klein, with whom he was later closely associated in the Nouveau Réalisme movement. In 1949 he moved to Paris, where he studied at the Ecole du Louvre and where in an exhibition in 1954 he discovered the work of Kurt Schwitters, which led him to reject the lyrical abstraction of the period. In 1955 Arman began producing Stamps, using ink-pads in a determined critique of Art informel and Abstract Expressionism to suggest a depersonalized and mechanical version of all-over paintings. In his next series, the Gait of Objects, which he initiated in 1958, he took further his rejection of the subjectivity of the personal touch by throwing inked objects against the canvas.

Arman’s willingness to embrace chance was indicated by his decision in ...

Article

Lawrence E. Butler

(b Bellefonte, PA, May 24, 1863; d New York, April 24, 1938).

American sculptor and collector. Son of a Presbyterian minister, Barnard grew up in the Midwest and began studying at the Chicago Academy of Design in 1880 under Douglas Volk (1856–1935) and David Richards (1829–97). Here he was first introduced to plaster casts of Michelangelo’s works and to the casts of Abraham Lincoln made by Leonard Volk (1828–95) in 1860, both clearly influential on his subsequent career. In 1883 he went to Paris, where he enrolled in the Ecole des Beaux-Arts and worked with Pierre-Jules Cavelier. Barnard’s sculptures are noted for their spiritual, allegorical, and mystical themes and were done in the expressive modelling style of the period.

Alfred Clark, wealthy heir to the Singer fortune, became Barnard’s patron in 1886. Through Clark and his Norwegian companion Lorentz Severin Skougaard, Barnard was introduced to Nordic themes. Clark commissioned important marble pieces including Boy (1884...

Article

In the 20th century, discussion of the relationship between Byzantine art and the art of the Latin West evolved in tandem with scholarship on Byzantine art itself. Identified as the religious imagery and visual and material culture of the Greek Orthodox Empire based at Constantinople between ad 330 and 1453, studies of Byzantine art often encompassed Post-Byzantine art and that of culturally allied states such as Armenian Cilicia, Macedonia, and portions of Italy. As such fields as Palaiologan family manuscripts and wall paintings, Armenian manuscripts, and Crusader manuscripts and icons emerged, scholars identified new intersections between Western medieval and Byzantine art. Subtle comparisons emerged with the recognition that Byzantine art was not static but changed over time in style and meaning, although most analyses identified Byzantine art as an accessible reservoir of the naturalistic, classicizing styles of antiquity. Scholars considering the 7th-century frescoes at S Maria Antiqua and mosaics at S Maria in Cosmedin, both in Rome, and the 8th-century frescoes at Castelseprio and Carolingian manuscripts such as the Coronation Gospels of Charlemagne (Vienna, Schatzkam. SCHK XIII) used formal comparisons with works such as pre-iconoclastic icons at St Catherine’s Monastery on Sinai, along with the history of Byzantine iconoclasm, to argue for the presence of Greek painters in the West. Similarly, Ottonian and Romanesque painting and luxury arts, such as ivories, provided examples of the appropriation of Byzantine imperial imagery. Yet the study of works such as the great 12th-century ...

Article

Geneviève Monnier

(b Paris, July 19, 1834; d Paris, Sept 27, 1917).

French painter, draughtsman, printmaker, sculptor, pastellist, photographer and collector. He was a founder-member of the Impressionist group and the leader within it of the Realist tendency. He organized several of the group’s exhibitions, but after 1886 he showed his works very rarely and largely withdrew from the Parisian art world. As he was sufficiently wealthy, he was not constricted by the need to sell his work, and even his late pieces retain a vigour and a power to shock that is lacking in the contemporary productions of his Impressionist colleagues.

The eldest son of a Parisian banking family, he originally intended to study law, registering briefly at the Sorbonne’s Faculté de Droit in 1853. He began copying the 15th- and 16th-century Italian works in the Musée du Louvre and in 1854 he entered the studio of Louis Lamothe (1822–69). The training that Lamothe, who had been a pupil of Ingres, transmitted to Degas was very much in the classical tradition; reinforced by the Ecole des Beaux-Arts, which he attended in ...

Article

Jane Lee

(b Chatou, nr Paris, June 17, 1880; d Garches, Sept 8, 1954).

French painter, sculptor, illustrator, stage designer and collector. He was a leading exponent of Fauvism. In early 1908 he destroyed most of his work to concentrate on tightly constructed landscape paintings, which were a subtle investigation of the work of Cézanne. After World War I his work became more classical, influenced by the work of such artists as Camille Corot. In his sculpture he drew upon his knowledge and collection of non-Western art.

Derain abandoned his engineering studies in 1898 to become a painter and attended the Académie Carrière. He also sketched in the Musée du Louvre and painted on the banks of the Seine. On a visit to the Louvre in 1899 he met the painter Georges Florentin Linaret (1878–1905), who had been his companion at school, and who was copying Uccello in an extraordinary manner; he was studying under Gustave Moreau and later introduced Derain to a fellow pupil, Henri Matisse. Derain’s painting was already influenced by the work of Cézanne, and in ...

Article

(b Le Havre, July 31, 1901; d Paris, May 12, 1985).

French painter, sculptor, printmaker, collector and writer (see fig.). He was temperamentally opposed to authority and any suggestion of discipline and devised for himself a coherent, if rebellious, attitude towards the arts and culture. For all his maverick challenges to the values of the art world, Dubuffet’s career exemplified the way in which an avant-garde rebel could encounter notoriety, then fame and eventual reverence. His revolt against beauty and conformity has come to be seen as a symptomatic and appreciable influence in 20th-century culture.

The son of a prosperous and authoritarian wine-merchant in Le Havre, Dubuffet left home for Paris at 17 to pursue irregular studies in the arts. But, growing sceptical of the artist’s privileged status and savouring an affinity with ‘the common man’, he abandoned painting in ...

Article

Vojtěch Lahoda

(b Chropyně, Moravia [now Czech Republic], April 4, 1882; d Prague, Oct 6, 1953).

Czech painter, printmaker, sculptor, writer and collector. After a short period at a business school and in an insurance office in Brno, he became a student at the Academy of Fine Arts in Prague (1903). In 1904 he won the Academy’s first prize. At the end of the year he set out on a lengthy journey to Germany, the Netherlands, Belgium, France and Italy. He became absorbed in the Old Masters, especially Rembrandt. His own style passed from Post-Impressionism to a more expressive dominance of colour. In 1907 he took part in the first exhibition of The Eight (see Eight, the) with a programme painting, the Reader of Dostoyevsky (Prague, N.G., Trade Fair Pal.), partly influenced by the Munch exhibition in Prague in 1905. At the same time the picture is a very personal manifesto reflecting the Angst and scepticism of his generation. At the second exhibition of The Eight in ...

Article

Deborah Cullen

[MoMA] (New York)

The Museum of Modern Art (MoMA) was founded in 1929 by patrons Lillie P(lummer) Bliss, Cornelius J. Sullivan and Rockefeller family §(1) to establish an institution devoted to modern art. Over the next ten years the Museum moved three times and in 1939 settled in the Early Modern style building (1938–9) designed by Philip S. Goodwin and Edward Durell Stone that it still occupies at 11 West 53 Street. Subsequent renovations and expansions occurred in the 1950s and 1960s by Philip Johnson, in 1984 by Cesar Pelli and in 2002–4 by Yoshirō Taniguchi (b 1937). MoMA QNS, the temporary headquarters during this project, was subsequently used to provide art storage. In 2000, MoMA and the contemporary art space, P.S.1, Long Island City, Queens, announced their affiliation. Recent projects are shown at P.S.1 in Queens in a renovated public school building.

According to founding director, Alfred H(amilton) Barr...

Article

Francine Koslow Miller

(b Warsaw, Feb 20, 1882; d Riverdale, NY, Dec 28, 1946).

American sculptor, draughtsman, and collector of Polish birth. After studying briefly in Warsaw he visited Munich in 1902, where he became interested in the Classical antiquities at the Glyptothek. He lived in Paris from 1904 to 1914 and was closely involved there with the avant-garde, exhibiting at the Salon des Indépendants and at the Salon d’Automne from 1905 to 1908. At his first one-man exhibition at the Galerie Druet, Paris, in 1909 he exhibited a large series of plaster and bronze classical female heads and full-length standing nudes, as well as somewhat mannered Cubist drawings; a number of the latter were purchased by Stein family, §2, who had brought Pablo Picasso to Nadelman’s studio in 1908. During this period Nadelman also benefited from the patronage of the Natanson brothers. By the time he left Paris for New York at the outbreak of World War I, Nadelman had already produced groups of works in a variety of styles, including generalizations from the Antique, tubular nudes, and primitive animals, inspired by a visit to the cave paintings in Dordogne in ...

Article

Louisa Buck

(b London, Oct 14, 1900; d Chiddingly, E. Sussex, April 23, 1984).

English patron, poet, painter, sculptor and collagist. After completing his BA at Queens’ College, Cambridge, in 1922, he worked as a painter in France from 1922 to 1935 and through Max Ernst became closely involved with the Surrealist group in Paris. On his return to England, he established the British Surrealist Group and in 1936 organized the first International Surrealist Exhibition at the New Burlington Galleries in London, which provided Britain’s first full-scale exposure to the movement. He took part in most of the group’s activities and was secretary and treasurer of its showcase, the London Gallery, as well as co-editor of its publication, the London Gallery Bulletin.

Penrose began collecting art in the early 1930s and in 1938 bought Paul Eluard’s collection of Surrealist, African and other art. This included 40 major works by Max Ernst, including the Elephant Celebes (1921; London, Tate), several paintings by Giorgio De Chirico, most notably the ...