circles in circle art print, wassily kandinsky artworks, wassily kandinsky, abstract art prints, abstract expressionism, theme rooms, decorative art prints, cafe decoration, american art, multicolor abstract
Boston, DANIELSON COLLECTION: “St. John in the Wilderness.”
Boston, GARDNER COLLECTION: “Portrait of Philip IV,”"Portrait of Pope Innocent IX” (attributed).
Boston, MUSEUM OF FINE ARTS: “Portrait of Don Baltasar Carlos with a Dwarf,”Portrait of a Man,”"Portrait of Philip IV,” “Portrait of the Infanta Maria Teresa” (attributed).
Chicago, ART INSTITUTE: “Job,” “The Kitchen Maid.”
Chicago, EPSTEIN COLLECTION: “Portrait of Isabel of Bourbon.”
Cincinnati, MUSEUM ASSOCIATION: “Portrait of Philip IV.”
Detroit, INSTITUTE OF ARTS: “Portrait of a Man.”
London, NATIONAL GALLERY: “Portrait of Philip IV,” “Venus and Cupid,” “Christ at the Column.”
London, WALLACE COLLECTION: “Portrait of a Young Girl,” “Portrait of Prince Baltasar Carlos,”"A Boar Hunt.”
Madrid, PRADO: “The Spinners,” “Las Meniñas,” “The Dwarf,” “The Surrender of Breda,” “The Topers.”
Montreal, VAN HORNE COLLECTION: “Portrait of a Young Man.”
New York, FRICK COLLECTION: “Portrait of Philip IV.”
New York, HISPANIC SOCIETY: “Portrait of the Count-Duke of Olivàrez,”"Portrait of a Young Girl,”"Portrait of Cardinal Pamphili,”"Portrait of Juan de Pareja.”
New York, METROPOLITAN MUSEUM OF ART: “Christ and the Pilgrims of Emmaus,” “Portrait of Philip IV,” “Portrait of Count Olivàrez,” “Portrait of a Man.”
New York, PRIVATE COLLECTION: Several examples.
Paris, LOUVRE: “Portrait of a Young Woman,” “Portrait of Princess Margarita Maria.”
Rome, DORIA GALLERY: “Portrait of Pope Innocent X.”
Rutherford, N. J., WARRINGTON COLLECTION: “Angelica and Medoro.”
San Francisco, CALIFORNIA PALACE OF THE LEGION OF HONOR: “Self-Portrait.”
Toledo, WILLYS COLLECTION: “Portrait of a Girl.”
Washington, UNITED STATES NATIONAL GALLERY OF ART: “Portrait of Pope Innocent X.”
Of the “shattered visage” of one Ozymandias who had held himself to be the “king of kings” Shelley wrote
…whose frown and wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on those lifeless things,
The hand that mocked them and the heart that fed…
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.
Read into these lines imperial Spain, the Spain of Charles V, of Philip II and his Armada, the Spain of the Hapsburgs and the Bourbons; all, by the grace of time, growth, progress, by the grace of God are gone. And Philip IV, well-meaning, pleasure-loving, weak, by virtue of the arts which flourished on the decaying refuse heap of a great empire, by the penetration of a master painter’s mind who served and knew him well, Philip lives on.
At thirteen the young Velasquez was a pupil of the Spanish painter and fanatical tyrant, Francisco Herrera the elder. Surviving this, he went a year later to study under the polished and scholarly Francisco Pacheco. Here, privileged no doubt to mingle with the nobles and intellectuals who frequented Pacheco’s house, he remained for five years, winning from his master the first recognition of an original and personal talent.
Probably less through instruction than by natural tendency Velasquez was a realist, his conviction that art must follow nature deepening as his life advanced. The apparent similarity of Velasquez’s manner of painting to that of his slightly older contemporary, Ribera, has led some authorities to term imitation what was in fact a spiritual likeness between the two. Velasquez, a great master of realism, came to have a profound influence on European art of the succeeding centuries.
In 1618 Velasquez married his master’s daughter, Juana; and four years later, being already the father of two daughters, the family accompanied by Pacheco himself journeyed to Madrid. Here but for two journeys to Italy he was to spend his life. Under the royal patronage and favor he rose to that high rank of Grand Marshal of the Palace which, through the obligations and restraints that it imposed, was to curtail the painter’s output at the very height of his powers. It was in the fatiguing performance of his distinguished official duties that he died.
Berlin, MUSEUM: “Christ in the Temple.”
Boston, GARDNER COLLECTION: “Madonna and Child.”
Brooklyn, MUSEUM: “Virgin and Child with a Donor,” “Portrait of a Young Man.”
Cambridge, FOGG ART MUSEUM: “The Madonna and Child” (two versions).
Chicago, ART INSTITUTE: “Madonna and Child.”
Detroit, INSTITUTE OF ARTS: “Madonna and Child.”
Grosse Pointe, Mich., BOOTH COLLECTION: “Madonna and Child.”
Indianapolis, THOMPSON COLLECTION: “Madonna and Child Enthroned.”
London, NATIONAL GALLERY: “Madonna,” “Portrait of the Doge Loredano.”
Milan, BRERA GALLERY: “Madonna and Child,”
New York, FRICK COLLECTION: “St Francis.”
New York, METROPOLITAN MUSEUM OF ART: “The Madonna and Child” (two versions).
New York, PRIVATE COLLECTIONS AND SALES GALLERIES: Many examples.
Ottawa, NATIONAL GALLERY OF CANADA: “Christ Blessing.”
Paris, LOUVRE: “The Holy Family.”
Philadelphia, PRIVATE COLLECTIONS: Several examples.
San Marino, HUNTINGTON COLLECTION: “Madonna and Child.”
Venice, ACADEMY: “Madonna,” “Madonna with Choir of Angels.”
Venice, DUCAL PALACE: “Pietà.”
Venice, SANTA MARIA DEL ORTO: “Madonna.”
Washington, UNITED STATES NATIONAL GALLERY OF ART: “The Flight to Egypt,” “Bust of a Young Man.”
Worcester, ART MUSEUM: “Madonna and Child.”
Boston, MUSEUM OF FINE ARTS: “The Assumption.”
Cincinnati, MUSEUM ASSOCIATION: “St. Thomas of Villanueva Dividing His Clothing Among the Beggar Boys.”
Detroit, INSTITUTE OF ARTS: “The Immaculate Conception.” br /Glasgow, GALLERY: “The Infant St. John Playing with a Lamb.”
Guadalajara, Mexico, CATHEDRAL: “Assumption of the Blessed Virgin.”
Jenkintown, Pa., FISHER COLLECTION: “The Holy Family.”
Kansas City, NELSON GALLERY: “The Little Conception.”
London, NATIONAL GALLERY: “St. John and the Lamb,” “The Holy Family.”
Los Angeles, FISHER COLLECTION: “Our Lady Kneeling.”
Madrid, PRADO: “The Adoration of the Shepherds,” “St. John the Baptist.”
Minneapolis, INSTITUTE OF ARTS: “The Pilferer Alarmed.”
Montreal, VAN HORNE COLLECTION: “Portrait of a Cavalier.”
New York, HISPANIC SOCIETY OF AMERICA: “St. Francis of Assisi.”
New York, METROPOLITAN MUSEUM OF ART: “Portrait of Don Andres de Andrade y Col.”
New York, PRIVATE COLLECTIONS: Several examples.
Pride’s Crossing, Mass., FRICK COLLECTION: “Self-Portrait.”
Paris, LOUVRE: “The Immaculate Conception,” “The Young Beggar.” br /Philadelphia, PRIVATE COLLECTIONS: Some examples.
Riverside, Calif., HUTCHINGS COLLECTION: “Immaculate Conception with a Mirror.”
St. Louis, CITY ART MUSEUM: “Portrait of a Man.”
San Diego, MUSEUM: “Penitent Magdalen.”
San Francisco, STERN COLLECTION: “A Girl with a Basket of Chickens.”
Seville, CATHEDRAL: “St. Anthony of Padua Visited by the Infant Savior.”
Youngstown, WARNER COLLECTION: “Madonna and Child.”
la vie parisienne covers, la vie parisienne art print, magazine covers, vintage magazines, retro decorating, retro style art prints, fashion posters, vintage art posters, illustration posters
Dadaism and Dada Movement
Dada, according to its adherents, had no meaning. It was dedicated to “pure” and “absolute” art. “Art,” the Dada Manifesto read, “is a private matter; the artist does it for himself; any work of art that can be understood is the product of a journalist.”
The Dada Movement developed between 1913 and 1915, between the dispersal of Cubism — from which it borrowed, and generalized for its own ends, the technique of papiers collés — and the advent of Surrealism, which succeeded and for which it constituted a preparatory though negative phase. Dada made its first appearance almost simultaneously in Zurich, New York and Paris, before reaching Germany and then concentrating in Paris. Switzerland’s neutrality during the war had made it a refuge for all kinds of political exiles and agitators. Lenin was there, rubbing shoulders with dissident elements and anarchists from almost every country.
Among the latter were the Rumanian poet Tristan Tzara, the German writers Hugo Ball and Richard Hülsenbeck, and the Alsatian painter and sculptor Hans Arp. In February 1916 they founded the Cabaret Voltaire, a literary club, exhibition gallery, and theatre hall all in one; the name is a clear indication of its sarcastic and critical intentions. A dictionary, opened at random (this appeal to chance was to become systematic) furnished the name of the movement: Dada. Learned lectures on Klee, or Lao-tse, alternated with scandalizing or mystifying entertainments, designed to undermine by every possible means the traditional bases of culture and social order. Works by Arp, Chirico, Max Ernst, Feininger, Kandinsky, Klee, Kokoschka, Marc, Modigliani and Picasso were exhibited in a very eclectic manner at the Dada gallery in 1917. The typical artist of the movement was Arp, illustrator of Hülsenbeck and Tzan, who, with his coloured papers, his woodcuts and his sculptures, organized the so-called ‘formes libres’ (free forms), born of fantasy and the unconscious (vide Arp).
The real precursor of the Dada spirit in its destructive sense was the painter Marcel Duchamp, a man of implacable logic and exceptional gifts, who sacrified his career as an artist to the principles of inversion, negation and antiaestheticism. He settled in New York in 1915, where his famous ‘ready-mades’ (mass-produced objects arbitrarily raised to the level of works of art) created a sensation, and became the central figure of the Stieglitz group and the review ’291′ (Man Ray, Picabia, de Zayas, Arensberg), an antiartistic movement parallel to the Dada movement of Zurich. Picabia, a painter of Spanish origin, had visited New York in 1915. He went to Barcelona and founded the ’391′ review there in January 1917. He turned up in Switzerland in 1918 and contacted the Dads group.
Two numbers of Dadd, the review edited by Tzara, were published in 1917. Dada III, in which Picabia collaborated, appeared in December 1918, and contained the Dada Manifesto, in which the meaning and destructive force of the movement were confirmed. The Dada Anthology (number 4-5 of the review) appeared in April 1919 (vide Duchamp, Picabia). Tristan Tzara then settled in Paris, and was enthusiastically received by the group of the review Littérature (March 1919), run by the poets Breton, Aragon, Soupault, Eluard, Ribemont-Dessaignes and Péret. A Dada salon opened at the Montaigne Gallery on June 6th, 1922, but the Parisian movement was more literary and, after a summer demonstration in the Tyrol, it dissolved in internal disputes in the autumn of 1922 (vide also Breton, Tzara).