Picasso administration : OJO N°26

08/16/14 | by Vilém Stránský [mail] | Categories: osudy, ArtBohemia

Link: http://www.picasso.fr/us/picasso_page_video.php

We begin with an unprecedented journey to the heart of lithography in the company of the grandson of Fernand Mourlot, who initiated Picasso in the art of lithography, and in the presence of the Mourlot printing presses, which continue to run under the name of IDEM thanks to Patrice Forest. Next, we delve deep into a painting from Picasso's blue period, La vie, in a study by Reyes Jiménez from the Museu Picasso in Barcelona. And, last but not least, a few recent items of Picasso-related news.

Ruští agenti ukradli Gutenbergovu bibli, první tišt?nou knihu sv?ta

08. 06. 14 | by Vilém Stránský [mail] | Kategorie: osudy, ArtBohemia

Link: http://zpravy.idnes.cz/agenti-fsb-ukradli-gutenbergovu-bibl-dsd-/zahranicni.aspx?c=A140606_201214_zahranicni_mlb

Ruští agenti ukradli Gutenbergovu bibli, první tišt?nou knihu sv?ta

7. ?ervna 2014 8:18
Trojice agent? ruské tajné služby FSB ukradla z archivu moskevské univerzity bibli, která pochází p?ímo z dílny Johannese Gutenberga. Unikátní knihu z 15. století se poté snažili prodat sb?ratel?m. Od soudu ve ?tvrtek odešli s nepodmín?nými tresty.
První Gutenbergova bible vyšla v roce 1454. Má se za to, že celkem v díln? na

První Gutenbergova bible vyšla v roce 1454. Má se za to, že celkem v díln? na dvo?e Humbrecht vytiskli asi 180 exemplá??.| foto: Kevin Eng, CC-BY-SA, Creative Commons

 

Sergej Vediš?ev, Michail Lepkov a Viktor Puška v univerzitním areálu zodpovídali za bezpe?nost. Velitelé tajné služby FSB však záhy zjistilo, že d?ležitý úkol patrn? nesv??ili t?m pravým. Z depozitá?e Lomonosovy univerzity totiž nedávno zmizela dvousvazková bible obrovské hodnoty.

Jedna z prvních tišt?ných knih na sv?t?, kterou v polovin? patnáctého století v N?mecku vytvo?il samotný vynálezce knihtisku Johannes Gutenberg, by se podle odborník? dala prodat za 15 milion? eur, v p?epo?tu asi 412 milion? korun. Pokud by se však bible prodávala v aukci, její cena by mohla vystoupat ješt? mnohem výš.

"Tito pánové nebyli práv? odborníci naum?ní," rýpla si do trojice zlod?j? mluv?í moskevského soudu Irina žirnovová. Agenti FSB totiž vzácné knihy nabízeli za pouhých 40 milion? rubl?, tedy zhruba 23 milion? korun.

Agenti z bible vy?ízli kus listu

"Jeden z nich se k té vzácné knize zkrátka dostal a trojici poté napadlo, že by ji mohli zpen?žit," vylí?ila žirnovová pohnutky, kterézam?stnanceFSB ke krádeži vedly. O celé kauze informoval deník Kommersant.

Mimo?ádn? výhodnou nabídku od Vediš?eva dostalsb?ratelMark Treveljan. Nízká cena jej však zasko?ila a necht?l zpo?átku v?bec v??it, že jde skute?n? o originální výtisk z patnáctého století. Aby jej p?esv?d?ili, vy?ízli agenti z bible ?ást jednoho listu. Než se kniha vrátí do univerzitního depozitá?e, musí se jí chopit restauráto?i.

Plukovník Vediš?ev, který celou akci naplánoval, stráví podle ?tvrte?ního rozsudku t?i a p?l roku v trestanecké kolonii. Jeho komplic, major Michail Lepkov, dostal rok a dva m?síce. Kapitán Viktor Puška vyvázl s ro?ním trestem, soudní sí? však mohl rovnou opustit. Všichni t?i zlod?ji už totiž strávili rok ve vazebních celách.

 

Výstava Ne?ekané d?dictví je p?ehlídkou modernistických skvost?

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: pozvánka, z domova, ArtBohemia

Link: http://www.lidovky.cz/vystava-necekane-dedictvi-je-prehlidkou-modernistickych-skvostu-p9u-/kultura.aspx?c=A140529_123619_ln_kultura_hep

Toyen: Bramborové divadlo, 1941. Z výstavy Ne?ekané d?dictví | na serveru Lidovky.cz | aktuální zprávy
Unikátní soubor um?leckých d?l p?edevším tv?rc? ?eské moderny získala p?ed ?asem Národní galerie v Praze z odkazu léka?ky Aleny žižkové Lind. Kolekci d?l od autor?, mezi nimiž byli surrealisté Toyen a Jind?ich Štyrský, Josef Šíma, Jan Zrzavý, Rudolf Kremli?ka, František Tichý nebo František Muzika, ode dneška galerie p?edstavuje v Konírn? paláce Kinských na Starom?stském nám?stí.

Výstava se jmenuje Ne?ekané d?dictví, protože tak v roce 2010 NG více než 20 um?leckých d?l významných autor? moderny získala. Soubor pochází ze sbírky Aleny žižkové Lind (1926 až 2009), která jej p?vodn? cht?la odkázat anonymn?, ale na poradu p?átel se v poslední v?li k vlastnictví p?ihlásila. Dv? z d?l, surrealistická plátna malí?ky ToyenBramborové divadloz roku 1941 aNa zámku La Costez roku 1943, už NG p?ed dv?maletyvystavila ve Sbírce moderního a sou?asného um?ní ve Veletržním paláci.

Galerie oce?uje ušlechtilé mecenášské gesto

"O jejím úmyslu jsme se dozv?d?li až po její smrti p?i poz?stalostním ?ízení. Ušlechtilost takového po?inu nevídáme ?asto, proto se Národnígalerierozhodla celou sbírku vystavit nejen pro její ojedin?lost, ale také z respektu k mecenášskému gestu," ?íká kurátorka výstavy Zuzana Novotná ze Sbírky grafiky a kresby.

U n?kterých d?l z?stala poznámka o zajímavé provenienci nebo o jejich vystavení. Nap?íklad Preislerova kresba pocházela ze sbírky psychoanalytika a surrealisty Bohuslava Brouka, Kremli?kova kresba byla zmajetkubratra Václava Špály Rudolfa.

Veletržní palác vystavuje Šímovy grafické listy

NG také dnes zahajuje novou výstavu ve Veletržním paláci, která ukáže soubor p?ípravných kreseb a výsledných grafických list? Josefa Šímy k básnické sbírce Pierra Jeana Jouva Ztracený ráj. Šíma se ve svých 30 letech usadil ve Francii a po celý život m?l úzký vztah k poezii a p?átelil se s básníky. Tato p?átelství se v ?ad? p?ípad? prom?nila v tv?r?í spolupráci.

Ur?ující pro n?j bylo setkání s mladými básníky Rogerem Gilbertem Lecomtem a René Daumalem, s nimiž založil skupinu Vysoká hra. Pozd?ji v Šímov? život? sehráli d?ležitou úlohu další auto?i, mezi n?ž pat?il i práv? Francouz Pierre Jean Jouve. Ve 20. a 30. letech ilustroval Šíma n?kolik jeho knih a jejich spolupráce vyvrcholila v roce 1938 Šímovými kresbami k Jouvovým sbírkám Ztracený ráj a Kyrie.

?TK,Lidovky.cz

Zdroj:http://www.lidovky.cz/vystava-necekane-dedictvi-je-prehlidkou-modernistickych-skvostu-p9u-/kultura.aspx?c=A140529_123619_ln_kultura_hep

žeb?í?ek nejdráže prodaných obraz? na aukcích v ?R

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: z domova, aukce, ArtBohemia

Link: http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

žeb?í?ek nejdráže prodaných obraz? na aukcích v ?R

(ceny v korunách bez auk?ní p?irážky):
1. František Kupka  - Tvar modré  - 55,75 (2012)
2. František Kupka - Élévation (Výšky) - IV 22,1 (2007)
3. František Kupka - Zhroucení vertikál - 22 (2009)
4. František Kupka - Úsm?v O - 20,25 (2012)
5. Toyen - Spící - 20 2009
6. Oskar Kokoschka - London, Chelsea Reach - 19,5 (2008)
7. Emil Filla - Malí? - 17,5 (2013)
8. Emil Filla - Zátiší s lahví Cherry - 16,25 (2010)
9. Emil Filla - Hlava muže v cylindru - 16 (2012)
10. Bohumil Kubišta - Zátiší - 15,7 (2013)
11. Emil Filla - Ležící žena - 15,2 (2012)
12. František Kupka - L'Apothéose d'Héléne (Zbožšt?ní Heleny) - 15 (2012)
13. Josef Šíma - Léda s labutí - 14,6 (2008)
14. Emil Filla - Hlava muže s dýmkou - 14 (2014)
15. František Kupka - Abstraktní kompozice - 13,4 (2007)

Zdroj:http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

P?ehled deseti nejdražších obraz? Emila Filly prodaných na domácích aukcích

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: z domova, aukce, ArtBohemia

Link: http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

P?ehled deseti nejdražších obraz? Emila Filly prodaných na domácích aukcích

(ceny v korunách bez auk?ní p?irážky):

1. Malí? (r. 1921) 17,5 (2013)
2. Zátiší s lahví Cherry (r. 1914) 16,25 (2010)
3. Hlava muže v cylindru (r. 1914) 16 (2012)
4. Ležící žena (r. 1932) 15,2 (2012)
5. Hlava muže s dýmkou (r. 1915) 14 (2014)
6. Zátiší s dýmkou (r. 1934) 12 (2011)
7. Sklenice a noviny (r. 1914) 11,2 (2009)
8. Dívka s mandolínou (r. 1929) 11 (2008)
9. Ut?šitel (r. 1911) 10,8 (2011)
10. Zátiší s mandolínou (r. 1933) 9,1 (2009)

Zdroj:http://www.lidovky.cz/filla-byl-vydrazen-za-14-milionu-jake-jsou-nejdrazsi-ceske-obrazy-p8b-/kultura.aspx?c=A140526_111839_ln_kultura_hep

Kupk?v R?žový klobouk se v Berlín? prodal za 9,6 milionu korun Zdroj: http://www.lidovky.cz/kupkuv-ruzovy-klobouk-se-v-berline-prodal-za-9-6-milionu-korun-pt9-/kultura.aspx?c=A140530_095119_ln_kultura_hep#utm_source=email&utm_medium=text&utm_campaign=lido

30. 05. 14 | by Vilém Stránský [mail] | Kategorie: ze sv?ta, osudy, aukce, ArtBohemia

Link: http://www.lidovky.cz/kupkuv-ruzovy-klobouk-se-v-berline-prodal-za-9-6-milionu-korun-pt9-/kultura.aspx?c=A140530_095119_ln_kultura_hep#utm_source=email&utm_medium=text&utm_campaign=lidovky.directmail

František Kupka - R?žový klobouk | na serveru Lidovky.cz | aktuální zprávyfoto: Reprofoto

Kupk?v R?žový klobouk se v Berlín? prodal za 9,6 milionu korun

30. kv?tna 2014 10:00 | Lidovky.cz
Link


Za dvojnásobek odhadní ceny se v berlínské auk?ní síni Villa Grisebach prodal obraz ?eského malí?e Františka Kupky. Obraz R?žový klobouk z roku 1906 p?išel nového majitele na 350.000 eur (asi 9,6 milionu korun).

Kupkovo rané dílo, které zobrazuje sedící mladou ženu s r?žovým kloboukem hledící sm?rem k pozorovateli, bylo p?vodn? odhadnuto na 150.000 eur, licitátor dražbu zahájil na ?ástce 70.000. P?t zájemc? rychle dorovnalo na odhadnícenu, která se postupn? vyšplhala až na kone?ných 280.000 eur. Zbylých 70.000 ?iní provizeauk?ní sín?. Informoval o tom um?lecký server ART+.

František Kupka, kterého odborníci ozna?ují za prvního abstraktního malí?e, se narodil 23. zá?í 1871 v Opo?n?, zem?el v Puteaux u Pa?íže 24. ?ervna 1957. Jeho díla jsou sou?ástí sv?tových sbírek a mezi sb?rateli jsou velmi cen?ná.

?T?TE TAKÉ

Kupk?v obraz Tvar modré se v roce 2012 v Praze prodal za 55,75 milionu korun, a stal se tak nejdráže prodaným obrazem v ?eskýchaukcích. Díla Františka Kupky drží také druhé, t?etí a ?tvrté místo, až za ním následují um?lci jako Toyen, Emil Filla nebo Bohumil Kubišta. Kupkovi se však da?í i na zahrani?ních trzích. V ?ervnu 2013 se jeho Studie na ?erveném pozadí prodala v auk?ní síni Sotheby's za 2,26 milionu eur (62 milion? korun).

Lidovky.cz,?TK

Zdroj:http://www.lidovky.cz/kupkuv-ruzovy-klobouk-se-v-berline-prodal-za-9-6-milionu-korun-pt9-/kultura.aspx?c=A140530_095119_ln_kultura_hep#utm_source=email&utm_medium=text&utm_campaign=lidovky.directmail

THE INVESTMENT AND ASSET POTENTIAL OF ART© JIANPING MEI AND MICHAEL MOSES CO-FOUNDERS OF BEAUTIFUL ASSET ADVISORS®LLC

05/10/14 | by Vilém Stránský [mail] | Categories: aukce, ArtBohemia

Link: http://www.artasanasset.com/main/artinvesting.php

HE INVESTMENT AND ASSET POTENTIAL OF ART© JIANPING MEI AND MICHAEL MOSES CO-FOUNDERS OF BEAUTIFUL ASSET ADVISORS®LLC The Mei Moses® family of fine art indexes is used on this website to study the historical performance of art as an investment and asset class based on auction transactions. The indexes have been developed from a proprietary database, collected over the past 20 years, of over 30,000 purchase and sale price pairs for objects that have sold at public auction more than once. To measure relative performance these indexes are compared to equities, government bonds gold, cash, real estate etc. In particular return, risk and correlation among the assets over many time periods and holding periods are analyzed in detail. The beauty and uniqueness of art as an asset class is that it gives individuals the opportunity of gaining pleasure and excitement from its ownership in three distinct ways. The first beauty of art is the obvious one of emotional appeal obtained from the visual image of the object. The second beauty of art is the enjoyment most individuals obtain from the process of its acquisition. This includes, but is not limited to, knowledge acquisition, socialization with like minded collectors and experts, excitement of the chase, meeting its maker, etc. The third beauty of art is its longevity and financial performance. Over the last three millennia there has never been a time when art was not important and appreciated. In general arts relative performance is based on the historical time period under consideration. For example over the last fifty years the Mei MosesR world all art index and the S&P 500 total return stock index have had approximately equal compound annual returns. The art index has underperformed the equity index for the last 25 years. Over the last five and ten year periods art has significantly outperformed equities. For many of these time periods art also has equivalent volatility however it has much lower liquidity than most other financial assets. However art has low correlation with other assets and thus may play a role in portfolio diversification. We have created Beautiful Asset Advisors® LLC to concentrate on arts third beauty. We ignore the first two not since we feel that they are unimportant but that there are others more qualified to address these issues than ourselves. On this website, artasanasset.com, we will address the topics that might be of interest to neophytes and sophisticates alike about the financial characteristics of the art asset class relative to other assets. Thus this site deals only with financial performance and all derivatives based on these facts rather than individual or summary information on all art auction market transactions. Since we are comparing arts results to those of financial products we must insure that the data we use is transparent, unbiased and based on same object transactions. We thus base all our findings on a proprietary database of objects that have sold more than once on a world wide basis at public auction. This database now comprises over 30,000 repeat sale pairs. We currently build our database from the analysis of seven individual collecting categories: old master and 19th century, impressionist and modern, American before 1950, post war and contemporary, Latin American, British painting after 1950 and traditional Chinese works of art. This information allows for the creation of annual indexes for each of these collecting categories as well as the world all art index. The data also allows us to develop insights into the factors that drive returns for individual or groups of objects. We also use the indexes to undertake asset allocation studies that include art as well as making available an on line "mark to market" art valuation service. In 2009 we introduced a new feature that will allow for the generation of graphs that plot true return versus purchase date for all the pairs in our database for the most important and highly traded artists. All this information is provided as a service for individuals and institutions that are interested in participating in the art market. It should in no way be construed as a recommendation of art as an investment. Investment decisions should be based on the risk tolerance and planning horizon of the investor. Please contact your investment adviser for assistance. Art market participants must understand that past performance is also not a guarantee or predictor of future results. It should also be understood that since art trades infrequently and each piece is unique there is no guarantee that individual portfolios of art objects will yield that same returns as the indexes presented on this website.

Important Ceramics by Pablo Picasso

05/03/14 | by Vilém Stránský [mail] | Categories: ze sv?ta, aukce, ArtBohemia

Link: http://www.sothebys.com/en/auctions/2014/important-ceramics-by-pablo-picasso-l14162.html

Picasso in earth

LONDON ? Picasso discovered a great passion for ceramics in the later part of his life, when he left Paris to go live definitely in Southern France, at the end of World War II. He cultivated this passion until his death. It was also his interest in ceramics that helped him met his last companion, Jacqueline Roque. She worked at her cousins?, the Ramié family, the owners in Vallauris of what would become the famous Madoura house. Owls, doves, goats, picadors and bullfights were his favorite subjects. A multiple work by Picasso can cost as much as a single work of art by other artists. A pitcher Visage aux yeux rieurs, made in 1969 and produced in 350 copies, is estimated at ?12,000. With a budget of approximately ?1000 ?, a buyer will have to make do with an exhibition poster.
? Important Ceramics by Picasso at Sotheby?s on 7 May 2014.

LONDON - Renowned expert in Pablo Picasso’s ceramic works Harald Theil gave his insight into the significance of this important body of work, which will be the subject of a lecture atSotheby’s London to co-incide with the sale Important Ceramics by Pablo Picasso on 7 May.


A photo taken on October 22, 1961 shows Spanish artist Pablo Picasso painting a potery at the Madoura studio in Vallauris. ANDRE VILLERS/AFP/Getty Images.


What drew Picasso to the
Madoura Pottery in Southern France and does his work from there coincide with a particular period of his personal life?

Ceramic materials and techniques offered Picasso a new expressive potential and the daily life of the artisan attracted him greatly. In ceramics he discovered an authentic medium with a long tradition, specific techniques, like the work with slips and glazes, the transformations of colour and materials by the firing process and specific utilitarian forms which he liked to deconstruct and reassemble to create animal or human shapes. It coincides with Picasso’s move to the Mediterranean with his young mistress Françoise Gilot and their son Claude, born in May 1947, as well as his desire for a renewal of life and art after the dark war years he spent in Paris. This is reflected in his ceramics through a lightening of the colours, by the using and transforming of vessel bodies with the inherent symbolism of fertility and rebirth as well as by narrative scenes with themes inspired by Greek mythology.

How do Picasso’s ceramics tie into his work in other media?

There are connections concerning his working methods in series and variations, concerning his approach to formal design such as the use of preparatory drawings as well as in technical, thematic and conceptual aspects. There are connections to be made with his work of the Cubist and Surrealistic period as for example the interrelation of volume and painting, the use of polychromy in sculpture, the transformation of found objects into works of art or sculptural assemblages.

Picasso, however, respected the inherent properties of the ceramic medium using genuine ceramic techniques and possibilities, such as incisions, engraved or relief designs or specific adapted painting methods. He was working with plaster dies and molds in order to create multiple ceramic art works in series. He then transferred these experiences in other media. Thus there are many connections between Picasso’s ceramics and etchings, linocuts as well as with his metalwork and sculptures he made in the 1950s and 1960s in parallel, or after, his main ceramic experiences.


A selection of the ceramics in the Important Ceramics by Pablo Picasso sale. Estimates range from £1,500 to £80,000.

Are there any particular motifs or themes that Picasso uses in his ceramics and how do they develop over time?

Picasso ceramics are reflecting the thematic reorientation his art underwent since the paintingLa joie de Vivre of November 1946 in Antibes. Arcadian and Dionysian themes such as fauns, centaurs, nymphs, goats, bulls, birds, woman vases mostly representing Françoise Gilot and the fish motif as well as still lifes are predominant in the beginning of his ceramic work. In the 1950s and 1960s his preferred themes are his second wife Jaqueline, owls, jesters, masks, bullfights and many other narrative scenes corresponding to Picasso’s iconography in other medias.

Is there any particular work in this sale that has a personal appeal for you?

My preferred work is the Chouette, the owl, a shape designed by Picasso in a series of sketches in 1947 of which four differently painted versions are in this sale (lots 223352353 and 354) and which he used for representing the head of Jaqueline as well (lot 221). The ceramic owl’s body is shaped by a vase assembled in an oblique way standing on a vase neck representing the feet and a second vase neck signifies the head. Picasso owned an owl after 1946, which he found in his studio one night and identified with because of the piercing glance corresponding with his own famous eyes.

Petra Kwan is a specialist in the the Old Master, Modern & Contemporary Prints department, Sotheby’s London.

Harald Theil will be giving a lecture on Picasso’s ceramics at 2pm on 4 May. To attend please email: amy.bubb@sothebys.com

Important Ceramics by Pablo Picasso
London, 7 May 2014
+44 (0)207 293 6416

TAGS: PRINTSAUCTIONSARTISTLONDON

The World of Toulouse-Lautrec

05/03/14 | by Vilém Stránský [mail] | Categories: pozvánka, ArtBohemia

Link: http://www.szepmuveszeti.hu/exhibitions/the-world-of-toulouse-lautrec-1262

The World of Toulouse-Lautrec

Lithographs (1891?1901) in the Museum of Fine Arts

30 April 2014 - 24 August 2014


The exhibition opening in the spring to mark the occasion of the 150th anniversary of Henri de Toulouse-Lautrec (1864-1901) will showcase a rich selection from the collection of the Museum of Fine Arts’ Department of Prints and Drawings. In the last ten years of his life the French artist made lithographs, which will be exhibited alongside?These Ladies in the Refectory, a painting in the museum’s ownership. A special feature of the exhibition is that such a large segment of the Budapest Lautrec collection ? some one hundred and seventy works ? has thus far only been displayed on one occasion in the last fifty years at the Museum of Fine Arts, in 1964. In addition to Lautrec’s works and contemporaneous photographs, the Paris of the late-19th-century “belle époque” will be evoked by such rarities as motion pictures and sound recordings from around 1900, in which the characters known from Lautrec’s art come alive.

?

Henri de Toulouse-Lautrec-Monfa was born 150 years ago in 1864 into one of the most important and oldest aristocratic families in France, in the southern town of Albi. The artist, who suffered from a rare genetic disorder, demonstrated his talent for drawing at a very early age, thus allowing him to study at the Parisian studio of Fernand Cormon, ?a noted painter of the day, along with fellow students ?mile Bernard, Loius Anquetin and Vincent van Gogh. In 1884 he moved to?Montmartre, the bustling world of which became both his home and the chief inspiration for his works. He had no desire for prizes or recognition but he did regard it as important that his works should be accessible to as many people as possible and was, therefore, happy to have them published in newspapers, and enthusiastically threw himself into a genre that had just then come into being; the world of advertising posters.

He was brought true recognition with precisely such a poster in?1891, which he designed for the Moulin Rouge. (This poster ?lent by the Albertina, Vienna ? can also be seen at the exhibition now to open in Budapest.)?From this point on he passionately made lithographs, producing some 360 pieces, of which thirty were posters. Although the technique for making lithographs was not unknown prior to this time, in the 1890s it enjoyed a second golden age. For Lautrec his paintings and lithographs were of equal importance: at his exhibitions he almost always displayed his paintings, posters, lithographs and drawings together, thus communicating that all of the works that he produced using various techniques were of the same rank. He devoted great care to the execution of his lithographs and implemented every detail with utmost care.

The Museum of Fine Arts’ Department of Prints and Drawings can boast of over one hundred thousand works, allowing an insight into virtually complete oeuvres of numerous artists, including that of Lautrec Most?of the works preserved here by the French artist came into the possession of the institution through purchases and donations in a remarkably short period in the first half of the 1910s, not long after the artist’s death. The museum has around 240 works by Lautrec; such comparably rich holdings are only found in Europe ?in the Bibliothéque Nationale in Paris, the Gerstenberg collection in Berlin as well as the public collections of prints and drawings in Berlin and Dresden. The Museum of Fine Arts’ famous Lautrec painting,?These Ladies in the Refectory , entered the collection in 1913.?The collection of the Department of Prints and Drawings provides a comprehensive survey of Toulouse-Lautrec’s graphic oeuvre in regard to both their functions (posters, illustrations for books and periodicals, cover designs, theatre programmes and cast lists and covers for sheet music)?and themes. In addition to two drawings, the department treasures over 200 lithographs in its collection ? among them many printed in limited impressions ?(12-25), numbered and signed, some even inscribed by the artist ? as well as 10 large posters, which will be?displayed together with five posters on loan from the Albertina in Vienna.

The works in the exhibition will be arranged in eight thematic groups. The first section will present?the characteristic figures and stars of the Parisian nights, evoking the most important locations of the entertainment industry from the end of the 19th century ? music cafés, dance halls and cabarets ? as well as the most popular stars (Aristide Bruant, Jane Avril, Yvette Guilbert). A separate chapter will be devoted to works linked to the?theatre: posters, cast lists, as well as scenes depicting the stage and the audience. The theme of?brothels will also form an independent unit, with?These Ladies in the Refectory , the museum’s only oil painting by Lautrec, at its centre. Included in this section is a series of lithographs from 1896 depicting intimate moments from the world of the brothel with unusual empathy, titled?Elles (Girls), counted among the artist’s most significant works. Lautrec’s?music covers andhorse race themed sheets will be placed in one thematic group, while works he executed on commission from his friends or which have more personal inspirations are allocated a place in the section titled among friends. The final part of the exhibition will present the?history of the Museum of Fine Arts’ Lautrec?collection partly through documents and partly through highlighting sheets in an especially small number of copies that entered the collection, thus paying tribute to the extraordinarily deliberate and painstaking efforts of the museum experts of the time to enrich the collection.

The exhibition is curated by?Zsuzsa Gonda and co-curated by?Kata Bodor, art historians of the Department of Prints and Drawings.

Restitu?ní spor o Koh-i-noor kon?í, Ústavní soud zamítl nárok d?dic?

03. 05. 14 | by Vilém Stránský [mail] | Kategorie: osudy, ArtBohemia

Link: http://ekonomika.idnes.cz/restitucni-spor-o-koh-i-noor-d1x-/ekoakcie.aspx?c=A140502_100643_ekoakcie_spi

2. kv?tna 2014 10:06
Vlekl? restitu?ní spor o polovinu vr?ovick?ch nemovitostí a sbírky obraz? spole?nosti Koh-i-noor definitivn? kon?í. D?dicové úsp??né ?eské továrny se náhrady za znárodn?n? majetek nedo?kají. Jejich stí?nost odmítl ?stavní soud. Vypl?vá to z databáze soudu.

Slavn? obraz Dívka s patentkou (1912) namaloval Franti?ek Kupka podle fotografie po?ízené továrníkem a mecená?em Jind?ichem Waldesem na zaoceánské lodi, na které se plavil do Ameriky ve spole?nosti p?íjemné mladé dívky Elisabeth Coyensové.| foto:?archiv iDNES.cz

P?vodní majitelé p?i?li o prosperující firmu, která p?ed druhou sv?tovou válkou nesla název Waldes a spol., podle Bene?ov?ch dekret?, proto nemají nárok na restituci.

Soudní spor trval od roku 1995. P?vodn? to vypadalo, ?e d?dicové polovinu historického majetku získají, ale v roce 2010 zasáhl v jejich neprosp?ch práv? ?stavní soud (?S). Justice poté ?aloby d?dic? zamítla, co? p?edloni potvrdil Nejvy??í soud a nyní také znovu ?S. D?dicové se domáhali toho, aby soud sv?j p?vodní postoj p?ehodnotil.

"Neuvedli nicmén? ?ádné argumenty, které by ji? nebyly d?íve vzneseny ?i které by nebyly ?S v dob? jeho rozhodování známy. ?S proto neshledal d?vod záv?ry, k nim? dosp?l v citovaném nálezu, jakkoliv m?nit," stojí vusnesení zpravodajky Michaely ?idlické.

Jind?ichovi a Zikmundovi Waldesov?m továrnu nejprve zabavili nacisté za druhé sv?tové války. Po válce podnik p?ejmenovan? na Koh-i-noor p?evzal ?eskoslovensk? stát na základ? dekretu o znárodn?ní dol? a n?kter?ch pr?myslov?ch podnik?. Dekrety dopadly na ?adu továren, bank, dol? a podnik? ve strategick?ch odv?tvích, které cht?l p?ímo kontrolovat stát. Waldesovi tehdy nezískali ?ádnou pen??ní náhradu.

Akciová spole?nost Koh-i-noor existuje dodnes, vyrábí nap?íklad slavné patentky, tedy stiskací knoflíky, dále ?pendlíky, zipy, n?ty a dal?í galanterii a drobné kovové zbo?í. Produkci vyvá?í do celého sv?ta.

?S u? v roce 2010 vyjád?il politování, ?e "rodina byla perzekvována jak nacistick?m, tak komunistick?m re?imem". Restituce v?ak p?ipadají v úvahu jen v p?ípad? spln?ní zákonn?ch podmínek. Potomci Waldesov?ch podle zákona nárok na vydání majetku nemají a soudy to podle ?S nemohou obcházet vlastní interpretací. "Zmír?ování k?ivd je kompetencí zákonodárc?, nikoliv soudu," uvedl tehdy soudce zpravodaj Pavel Rychetsk?.

V kolekci bezmála 20 obraz?, které rodina cht?la zp?t, je nap?íklad znám? obraz Franti?ka Kupky Dívka s patentkou. Podle Kupkovy olejomalby z roku 1912 pozd?ji vzniklo logo spole?nosti. Dal?í obrazy mají mén? známé autory, v?t?ina z nich zachycuje tovární budovy, p?ípadn? krajiny a m?stská panoramata.

Auto?i: , ?TK

Zdroj:http://ekonomika.idnes.cz/restitucni-spor-o-koh-i-noor-d1x-/ekoakcie.aspx?c=A140502_100643_ekoakcie_spi

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