Bücher: Finden. Vergleichen. Kaufen.

1995, ISBN: 0810968150

ID: 30129380000

[EAN: 9780810968158], Gebraucht, guter Zustand, [PU: HARRY N ABRAMS INC], Although little known today, Florine Stettheimer (1871-1944), as both artist and patron, played a significant role in the development of modernism in 20th-century American art. Her paintings produced between the end of WWI and her death have been described as 'rococo subversive.' In this Whitney Museum catalogue, her accomplishments are brightly reevaluated. Fortunately, these excellent volumes appear within a short time of each other, coinciding with a major retrospective of Stettheimer's (1871-1944) work at the Whitney Museum of American Art in New York City. They make widely available the comprehensive monographic and analytical treatment necessary to understand this little known but major visionary painter. Bloemink's study originates from doctoral research. Academically thoroughgoing, it is, nonetheless, especially well-written. Bloemink clearly displays her admiration and insight, defining the paintings as narrative, psuedo- or neoprimitive, jazzy but sophisticated, and childlike. There is commentary on saturated colors, diaphanous 'cellophane' effects?imitating Florine's bedroom and studio decor?gilded and raised painted objects, etc. Duchamp's term multiplication virtuelle and Carl Van Vechten's importance to the artist are discussed. Paragraphs of less critical exegesis are found in lengthy end notes. It suffers a little from a lack of a bibliography, and, though the colorplates are abundant, much of the witty detail is lost due to the large scale of the paintings. The Whitney catalog is also fascinating, but with smaller reproductions. Sussman posits the impact of gender issues, asserting that Stettheimer's 'artificiality, stylization, eccentric elegance, and sexual ambiguities' offered 'an American female version of camp and dandyism that appealed to many gay admirers.' Bloemink writes here on the artist's sense of temporality, indeterminate space, and adds that 'the voyage of life and love is made up of isolated episodes, arranged in our memory like miniature versions of a Mozart or Rossini opera.' The book concludes with Nochlin's 1980 seminal essay 'Florine Stettheimer: Rococo Subversive.' Highest recommendation. Biblio., chronology, list of works. 70 illus, 35 in full color. 144p.

2010, ISBN: 9780810968158

ID: 1150948909

Whitney Museum of Art, 1995. Florine Stettheimer (August 29, 1871 – May 11, 1944) was an American painter, designer, Jazz Age saloniste and poet. With her sisters, Carrie and Ettie, she hosted a salon for modernists in Manhattan, which included Marcel Duchamp, Henry McBride, Carl Van Vechten, Georgia O'Keeffe, as well as many of the most influential modernist writers, actors, poets, artists, singers and thinkers of the time. By 1917, she had developed a uniquely innovative, modernist, and feminine, style based on the theatrical stage productions of the Ballets Russes she saw earlier in Paris, and the costume designs and figures she designed for her ballet, Orphée of the Quat-z-arts, ca. 1912. During her lifetime, Stettheimer exhibited her paintings at over 46 of the most important museum exhibitions and Salons in New York and Paris. Despite the regular requests by major gallerists including Alfred Stieglitz to join their Galleries, Stettheimer either refused or priced her paintings at such exorbitant prices no one could afford them as she was wealthy and preferred to keep her paintings. As she regularly received positive critical reviews and exhibited in exhibitions, including the first Whitney Biennial and many of the early exhibitions at MOMA and the Paris Salon, she was confident of her work and intended to keep it and leave it when she died to a museum. In the mid-1930s, Stettheimer won international acclaim for her costume and set designs (using the innovative material cellophane), for Virgil Thomson and Gertrude Stein's avant-garde opera, Four Saints in Three Acts. Following her death in 1944, her friend Marcel Duchamp curated a Retrospective Exhibition of her work at the Museum of Modern Art in 1946 that travelled to major crowds at the San Francisco Legion of Honor Museum and the Arts Club of Chicago. In addition to her many paintings and costume and set designs, Stettheimer designed unique frames for her paintings and matching furniture, and wrote humorous, often biting poetry.[2] A book of her poetry, Crystal Flowers, was published privately and posthumously by her sister Ettie Stettheimer in 1949. It was reissued to acclaim in 2010.. Not Indicated. Soft Cover. Fine. Illus. by Color Plates., Whitney Museum of Art, 1995

1995, ISBN: 0810968150

ID: 30102227551

[EAN: 9780810968158], Gebraucht, guter Zustand, [PU: Whitney Museum of Art], FLORINE STETTHEIMER, ART, Florine Stettheimer (August 29, 1871 – May 11, 1944) was an American painter, designer, Jazz Age saloniste and poet. With her sisters, Carrie and Ettie, she hosted a salon for modernists in Manhattan, which included Marcel Duchamp, Henry McBride, Carl Van Vechten, Georgia O'Keeffe, as well as many of the most influential modernist writers, actors, poets, artists, singers and thinkers of the time. By 1917, she had developed a uniquely innovative, modernist, and feminine, style based on the theatrical stage productions of the Ballets Russes she saw earlier in Paris, and the costume designs and figures she designed for her ballet, Orphée of the Quat-z-arts, ca. 1912. During her lifetime, Stettheimer exhibited her paintings at over 46 of the most important museum exhibitions and Salons in New York and Paris. Despite the regular requests by major gallerists including Alfred Stieglitz to join their Galleries, Stettheimer either refused or priced her paintings at such exorbitant prices no one could afford them as she was wealthy and preferred to keep her paintings. As she regularly received positive critical reviews and exhibited in exhibitions, including the first Whitney Biennial and many of the early exhibitions at MOMA and the Paris Salon, she was confident of her work and intended to keep it and leave it when she died to a museum. In the mid-1930s, Stettheimer won international acclaim for her costume and set designs (using the innovative material cellophane), for Virgil Thomson and Gertrude Stein's avant-garde opera, Four Saints in Three Acts. Following her death in 1944, her friend Marcel Duchamp curated a Retrospective Exhibition of her work at the Museum of Modern Art in 1946 that travelled to major crowds at the San Francisco Legion of Honor Museum and the Arts Club of Chicago. In addition to her many paintings and costume and set designs, Stettheimer designed unique frames for her paintings and matching furniture, and wrote humorous, often biting poetry.[2] A book of her poetry, Crystal Flowers, was published privately and posthumously by her sister Ettie Stettheimer in 1949. It was reissued to acclaim in 2010.

1995, ISBN: 0810968150

ID: 30102227551

[EAN: 9780810968158], Gebraucht, guter Zustand, [PU: Whitney Museum of Art], FLORINE STETTHEIMER, ART, Florine Stettheimer (August 29, 1871 – May 11, 1944) was an American painter, designer, Jazz Age saloniste and poet. With her sisters, Carrie and Ettie, she hosted a salon for modernists in Manhattan, which included Marcel Duchamp, Henry McBride, Carl Van Vechten, Georgia O'Keeffe, as well as many of the most influential modernist writers, actors, poets, artists, singers and thinkers of the time. By 1917, she had developed a uniquely innovative, modernist, and feminine, style based on the theatrical stage productions of the Ballets Russes she saw earlier in Paris, and the costume designs and figures she designed for her ballet, Orphée of the Quat-z-arts, ca. 1912. During her lifetime, Stettheimer exhibited her paintings at over 46 of the most important museum exhibitions and Salons in New York and Paris. Despite the regular requests by major gallerists including Alfred Stieglitz to join their Galleries, Stettheimer either refused or priced her paintings at such exorbitant prices no one could afford them as she was wealthy and preferred to keep her paintings. As she regularly received positive critical reviews and exhibited in exhibitions, including the first Whitney Biennial and many of the early exhibitions at MOMA and the Paris Salon, she was confident of her work and intended to keep it and leave it when she died to a museum. In the mid-1930s, Stettheimer won international acclaim for her costume and set designs (using the innovative material cellophane), for Virgil Thomson and Gertrude Stein's avant-garde opera, Four Saints in Three Acts. Following her death in 1944, her friend Marcel Duchamp curated a Retrospective Exhibition of her work at the Museum of Modern Art in 1946 that travelled to major crowds at the San Francisco Legion of Honor Museum and the Arts Club of Chicago. In addition to her many paintings and costume and set designs, Stettheimer designed unique frames for her paintings and matching furniture, and wrote humorous, often biting poetry.[2] A book of her poetry, Crystal Flowers, was published privately and posthumously by her sister Ettie Stettheimer in 1949. It was reissued to acclaim in 2010.

ISBN: 9780810968158

ID: 3379525

The American artist Florine Stettheimer. although little known today, is considered to have had a significant influence on the development of modernism in 20th-century American art. The paintings she produced after World War I and before her death in 1944, have been described by art historian Linda Nochlin as rococo subversive. In elegant, refined images, Stettheimer developed a vanguard approach not only to such traditional genres as portraiture, but to fundamental concepts of time-space continuity. Florine Stettheimer: Manhattan Fantastica Sussman, Elisabeth / Whitney Museum of American Art / Nochlin, Linda, ABRAMS