Mostrando entradas con la etiqueta Gertud Stein. Mostrar todas las entradas
Mostrando entradas con la etiqueta Gertud Stein. Mostrar todas las entradas

29.4.13

Edgar Degas. Bailarina basculando (Bailarina verde)


Edgar Degas. Bailarina basculando (Bailarina verde) 1877-1879
Pastel y gouache sobre papel. 64 x 36 cm
Museo Thyssen-Bornemisza, Madrid. Nº INV. 515 (1971.2)  © Museo Thyssen-Bornemisza, Madrid

15.4.13

El MET de Nueva York recibe una valiosa colección de arte cubista

En una de las donaciones más significativas en la historia del Metropolitan Museum of Art (Met), el magnate de los cosméticos Leonard A. Lauder prometió a la institución su colección de 78 pinturas, dibujos y esculturas cubistas.

El tesoro de obras emblemáticas, que incluye 33 Picasso, 17 Braque, 14 Léger y 14 trabajos de Gris, está valuado en más de US$1.000 millones. Eleva a Lauder, que durante años ha sido uno de los mecenas del arte más influyentes de la ciudad, a una clase en la que se encuentran contribuyentes fundamentales del museo como Michael C. Rockefeller, Walter Annenberg, Henry Osborne Havemeyer y Robert Lehman.

Para los académicos, se trata de una de las mejores colecciones del mundo, igualmente buena, si no mejor, que los renombrados dibujos, pinturas y esculturas cubistas que se encuentran en instituciones como el Museo de Arte Moderno de Nueva York, el Museo del Hermitage en San Petersburgo y el Centro Pompidou en París. Cuentan, en su conjunto, la historia de un movimiento que revolucionó el arte Moderno y llenan un vacío flagrante en la colección del Met. La colección, que Lauder comenzó a formar hace más de 40 años, es producto del gusto y de la oportunidad. “En aquel momento, había mucho todavía disponible, porque nadie lo quería en realidad”, dijo. Y era relativamente barato porque estaban de moda el Impresionismo y el Post-impresionismo. Explicó que “No se puede reunir una buena colección si no se mantiene un objetivo, una disciplina, una tenacidad y una voluntad de pagar más de lo que uno puede permitirse. Desde el primer momento, decidí que la formaría como una colección de museo”.

Por eso, una buena parte de sus obras proviene de las colecciones más afamadas del mundo, como las de Gertrude Stein, el banquero suizo Raoul La Roche y el historiador británico de arte Douglas Cooper.

La mayoría de las obras de la colección de Lauder tienen una significación histórica particular.

Molino de aceite, de Picasso, de 1909, fue la primera pintura cubista que se vio en Italia. Otra de sus obras, El abanico (L’Indépendant), de 1911, es una de las primeras obras en las que Picasso experimentó con la tipografía.

Plato de frutas y vaso de Braque, de 1912, es el primer collage cubista.

Mujer en un sillón (Eva) de Picasso, imagen de la amante de la artista en 1913-14, Eva Gouel, donde tradujo el cuerpo femenino a su lenguaje cubista.

La colección de Lauder ocupará “el lugar de honor” en las galerías de arte moderno y contemporáneo que serán remodeladas próximamente en el edificio principal del Met. Lauder enfatizó que esta donación no significa que no coleccionará más: “Seguiré comprando y sumando obras a la colección del Met”, dijo. Y agregó: “Pero sólo si aparecen cosas buenas”.

 “Mujer en un sillón”, 1913. De Pablo Picasso. THE NEW YORK TIMES.

16.9.12

Shanah Tovah, 2012

Tonight marks the beginning of Rosh Hashanah.
Best wishes to all for a healthy, happy and prosperous New Year.  L’Shanah Tovah!

Esta noche marca el comienzo de Rosh Hashaná.
Mis mejores deseos a todos para un nuevo año saludable, feliz y próspero.  L'Shanah Tovah!


Shaná Tová UMetuká 5773


Shanah Tovah

8.5.12

The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde



Henri Matisse (French, 1869–1954)
Woman with a Hat, 1905 - Oil on canvas
31 3/4 x 23 1/2 in. (80.7 x 59.7 cm)
San Francisco Museum of Modern Art, Bequest of Elise S. Haas
© 2012 Succession H. Matisse / Artists Rights Society (ARS), New York


February 28 – June 3, 2012

Exhibition Location: The Tisch Galleries

The Stein siblings—Gertrude, Leo, Michael, and his wife Sarah—were important patrons of modern art in Paris during the first years of the 20th century. This American family collected hundreds of artworks by a group of relatively unknown artists with whom they became close friends. The Steins opened their apartments on Saturday evenings to anyone who arrived with a reference in hand. At these salons, scores of international artists, collectors, and dealers passed through their doors in order to see and discuss the latest artistic developments, long before they were on view in museums. Ultimately, the Steins’ enthusiasm for avant-garde art—particularly the work of Henri Matisse and Pablo Picasso—had an indelible impact on its development for decades to come.

The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde—at The Metropolitan Museum of Art from February 28 through June 3, 2012—unites some 200 works of art to demonstrate the significant impact the Steins’ patronage had on the artists of their day and the way in which the family disseminated a new standard of taste for modern art. The exhibition traces the evolution of the Steins’ collections and examines the close relationships that formed between individual members of the family and their artist friends. While focusing on paintings by Matisse and Picasso, the exhibition will also include paintings, sculpture, and works on paper by Pierre Bonnard, Maurice Denis, Juan Gris, Marie Laurencin, Jacques Lipchitz, Henri Manguin, André Masson, Elie Nadelman, Francis Picabia, and others.

The exhibition is made possible by The Philip and Janice Levin Foundation and the Janice H. Levin Fund.

Additional support provided by The Daniel and Estrellita Brodsky Foundation.
The exhibition was organized by The Metropolitan Museum of Art, New York, the San Francisco Museum of Modern Art, and the Réunion des Musées Nationaux-Grand Palais, Paris.
It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Leo Stein was a collector by nature. Once he settled in Paris in early 1903, he was amazed to discover that he could afford to purchase contemporary oil paintings. He was most attracted to colorful figurative work, traditional subject matter rendered in innovative ways. Leo’s youngest sister Gertrude joined him in the fall of 1903. Their eldest brother, Michael, together with his family, followed from California in January 1904. Leo was the driving force of the collection during these early years. After realizing that his plan to build a collection of paintings by Paul Cézanne, Edgar Degas, Édouard Manet, and Auguste Renoir was beyond his means, Leo changed strategies and instead began to purchase inexpensive paintings by relatively unknown younger artists. In 1905 he bought his first pictures by Picasso and Matisse.

 Pablo Picasso
Melancholy Woman, 1902 - Oil on canvas
39 3/8 x 27 ¼ in. (100 x 69.2 cm)
Detroit Institute of Arts, bequest of Robert H. Tannahill
© 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Following Leo’s lead, Sarah and Michael began purchasing fairly inexpensive pictures by Cézanne, Gauguin, Manguin, Picasso, and Vallotton. They became close friends with Matisse after Leo introduced them in late 1905. Within three years, the walls of their apartment were filled with colorful canvases. With the exception of Matisse’s own studio, there was no better place to see his recent work.

The Steins had close bonds with the emerging artists whose works they collected. They went horseback riding and swimming with Henri Matisse and arranged for their friends from San Francisco, Harriet Lane Levy and Alice Toklas, to take French lessons from Picasso’s girlfriend, Fernande Olivier. It was not uncommon for Leo to have lunch with Matisse and dinner with Picasso in a single day. Both artists sent the Steins sketches and reports of their work in progress.

The Steins were natural networkers. They famously introduced Matisse to Picasso and made the art of the Parisian avant-garde available to hundreds of people who might not have had a chance to see it otherwise. The first documented visitors to 27, rue de Fleurus were Leo’s artist friends, who often found him pacing the studio or reclining on a daybed while extolling the individual merits of the pictures. As word of the Steins’ collections spread, they were overwhelmed with requests for visits. A decision was made to consolidate the visits and open both Leo and Gertrude’s atelier and Sarah and Michael’s apartment on Saturday evenings to anyone who arrived with a reference. Artists, writers, musicians, and collectors convened to discuss the latest artistic developments. Visitors from the United States, Europe, and Russia spread news of what they had seen. By opening their homes and making their collections accessible, the Steins did more to support avant-garde painting than any other collectors or institutions during the first decade of the 20th century.

By late 1910, the modest two-bedroom apartment at 27, rue de Fleurus that Leo had initially rented for himself was home to three occupants: Leo, Gertrude, and her companion, Alice Toklas. Leo’s increasing deafness led him to distance himself from the Saturday evening salons, and by 1913 he recognized that it was time for him to leave rue de Fleurus altogether. Leo and Gertrude divided their collection. Gertrude kept the Picasso paintings, and Leo took 16 Renoirs. “Rather an amusing baggage for a leader in the great modern fight,” he conceded. Leo was relieved to live a quieter, simpler life with Nina Auzias, whom he married in 1921. He spent the rest of his years in Italy, France, and the United States, painting, writing and lecturing about aesthetics.

Meanwhile, Gertrude and Alice renovated the atelier and removed the frames from most of the paintings, which accentuated her more orderly display. Gertrude took her writing quite seriously, and friends noted that in books such as Tender Buttons (1914 ) and The Making of Americans (1925), Gertrude was “doing the same thing in literature that Matisse & Picasso [were] doing in art.”

World War I had a particularly devastating impact on Sarah and Michael’s collection. At Matisse’s request, they lent 19 of their largest and most important paintings by him to a July 1914 gallery exhibition in Berlin. When Germany declared war on France in early August, the paintings were trapped. After years of legal negotiations, Michael and Sarah opted to sell them to the Norwegian shipowner Tryggve Sagen and the Danish collector Christian Tetzen-Lund. Matisse regretted the turn of events and painted portraits of Sarah and Michael (1916; San Francisco Museum of Modern Art), the only portrait pendants he is known to have made. In the mid-1920s, the couple commissioned a villa from Le Corbusier. “After having been in the vanguard of the modern movement in painting in the early years of the century, we are now doing the same for modern architecture,” Michael said.

Of all the Steins, only Gertrude managed to keep the bulk of her collection together. She could no longer afford to buy paintings by the artists she had once supported. Most new acquisitions were gifts or acquired through trade, such as the last Picasso painting she added to her collection, Still Life (1922; The Art Institute of Chicago). Younger artists such as Louis Marcoussis, André Masson, Francis Rose, and Pavel Tchelitchew gravitated to Gertrude, flattered by her interest in them. She and Alice retreated to their country home at Bilignin during World War II, ignoring repeated warnings from the American Embassy to leave. It was probably Bernard Fäy, a close friend, translator of many of Gertrude’s writings, and influential Vichy collaborator, who protected her.

In the mid-1930s, Gertrude reminded her readers that the art of Matisse and Picasso was once scorned. “It is very difficult now that everybody is accustomed to everything to give some idea of the uneasiness once felt when one first looked at all these pictures on the walls.”

The Steins Collect; Matisse, Picasso, and the Parisian Avant-Garde revisits this decisive moment. It is the story of one American family residing in Paris who shaped the development of modern art for decades to come.

Highlights from the exhibition include Matisse’s Woman with a Hat (San Francisco Museum of Modern Art), purchased by Leo Stein from the famous “fauve” Salon d’Automne of 1905, and Picasso’s painting of Gertrude Stein (The Metropolitan Museum of Art), which will be presented alongside additional portraits of the Stein family by Matisse, Picasso, and Vallotton.

Life-size photographic enlargements of the Steins’ Parisian apartments will be displayed throughout the exhibition to show how the art was installed in the Steins’ residences. Additional themes covered in the exhibition include Sarah and Michael Stein’s role in the formation of the Académie Matisse, the influential art school that operated from 1908 to 1911; their commission of a villa from Le Corbusier; and Gertrude’s later friendships and collaborations with Juan Gris, Elie Lascaux, Francis Rose, and Virgil Thomson.

Exhibition Credits and Catalogue
The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde is organized by Janet Bishop, curator of painting and sculpture at SFMOMA; Cécile Debray, curator of historical collections at the Musée National d’Art Moderne, Centre Pompidou, Paris; and Rebecca Rabinow, Curator in the Metropolitan Museum’s Department of Modern and Contemporary Art.

 Paul Cézanne
Bathers, ca. 1892
Oil on canvas, 8 11/16 x 13 in. (22 x 33 cm)
Musée d’Orsay, Paris on deposit at the Musée des Beaux-Arts, Lyon

9.4.12

The Steins Collect

 
 Sarah Stein (1916)  by Henri Matisse, via The San Francisco Museum of Modern Art
 

Matisse, Picasso, and the Parisian Avant-Garde
February 28–June 3, 2012
The Metropolitan Museum of Art

Gertrude Stein, her brothers Leo and Michael, and Michael's wife Sarah were important patrons of modern art in Paris during the first decades of the twentieth century. This exhibition unites some two hundred works of art to demonstrate the significant impact the Steins' patronage had on the artists of their day and the way in which the family disseminated a new standard of taste for modern art. The Steins' Saturday evening salons introduced a generation of visitors to recent developments in art, particularly the work of their close friends Henri Matisse and Pablo Picasso, long before it was on view in museums.

Beginning with the art that Leo Stein collected when he arrived in Paris in 1903—including paintings and prints by Paul Cézanne, Edgar Degas, Paul Gauguin, Henri de Toulouse-Lautrec, Édouard Manet, and Auguste Renoir—the exhibition traces the evolution of the Steins' taste and examines the close relationships formed between individual members of the family and their artist friends. While focusing on works by Matisse and Picasso, the exhibition also includes paintings, sculpture, and works on paper by Pierre Bonnard, Maurice Denis, Juan Gris, Marie Laurencin, Jacques Lipchitz, Henri Manguin, André Masson, Elie Nadelman, Francis Picabia, and others.

Gertrude Stein (1905-1906) by Pablo Picasso, via The Metropolitan Museum of Art

1.6.11

Cézanne, Matisse, Picasso. La aventura de los Stein

La pasión de los Stein por el arte toma forma de exposición en París y EEUU. Con el título "Cézanne, Matisse, Picasso. La aventura de los Stein", la muestra reunirá en el Grand Palais alrededor de 200 cuadros, esculturas, dibujos y estampas de esos tres grandes artistas y de algunos de sus más grandes contemporáneos.

Todos ellos reconocidos e impulsados desde el primer momento por la escritora estadounidense Gertrude Stein, por sus hermanos Leo y Michael y por la esposa de éste último, Sarah Stein, gran amiga de Matisse, a quien sugirió abrir una academia de arte en la que ella misma estudió.

Leo Stein (1872-1947) y la también vanguardista autora Gertrude Stein (1874-1946), que mantendría con Picasso una profunda amistad y reflexiones de fondo sobre el arte, el objeto y la realidad, fueron los primeros en visitar París con ocasión de la Exposición Universal de 1900. También los primeros en instalarse en la ciudad, Leo en 1902 y dos años después su hermana, con quien compartió su pronto visitado apartamento de la rue de Fleurus, en la llamada "rive gauche" (orilla izquierda del Sena), por donde pasaron las vanguardias artísticas de la época.

Michael y Sarah Stein siguieron sus pasos en 1904 y convirtieron igualmente su vivienda, en la vecina rue Madamme, en otro popular salón donde se dieron cita los artistas que décadas después se convertirían en los más celebrados de su tiempo.

La exposición, que intenta plasmar en forma de obras maestras esta fructífera y visionaria pasión familiar, ha sido organizada por la Reunión de Museos Nacionales de Francia (RMN), el Museo de Arte Moderno de San Francisco, donde puede verse del 21 de mayo al 10 de septiembre próximo, y el Museo Metropolitano de Arte de Nueva York, donde permanecerá del 12 de febrero al 3 de junio de 2012.

En París podrá contemplarse en la Galerías nacionales del Grand Palais del 5 de octubre al 16 de enero de 2012, informaron sus organizadores.

Fuentes de la RMN precisaron que, si bien las tres exhibiciones comparten inspiración y el mismo eje central, las obras que presentarán no serán exactamente las mismas. 


Leo Stein
Autoportrait, 1906
collection Particulière Photo@RMN / Droits réservés
huile sur toile 79,5 x 44,5 cm

17.8.10

Vienne 1900 : Klimt, Kokochka, Moser, Schiele

Gustav Klimt (1862-1918)Rosales debajo de los árbolesHacia 1905Óleo sobre lienzoAlt.110; Anch.110 cm.París, museo de Orsay© photo RMN

La capital del Imperio Austro-húngaro conoce fecundas metamorfosis artísticas desde fines del siglo XIX hasta el inicio de la Primera Guerra Mundial. El año 1918 está marcado por la desaparición de Klimt, Schiele y Moser. Durante esos dos decenios principalmente, se produce la transición sin rupturas del simbolismo al expresionismo. Pese a la persistencia de género y codificaciones bien establecidos, surgen nuevas estéticas en el retrato, el paisaje e incluso la alegoría. Estas nuevas formas toman a veces un giro deliberadamente decorativo. La descripción naturalista evoluciona así hacia un recomposición estilizada de la realidad, que conduce a reconsiderar los puntos de vista, los principios de la composición y la función del color.

Valérie Manuel presenta el movimiento artístico al que pertenecieron Klimt, Schiele, Kokoschka y Moser, describiendo la época y el clima social en el que nació. La película lleva al telespectador a Viena, entre 1897 y 1918. Viena, una ciudad en plena decadencia, donde el arte es el patrimonio de la aristocracia, y donde los artistas, sometidos a la censura, están al servicio del Estado. En un contexto, limitado y poco permisivo, algunos de ellos intentan encontrar una nueva vía y shokean a la burguesía local.