We started by talking about the structure of the Museum of Philadelphia.
There are various levels: Saturday, June 2, 2007
What Do Spanish People Think About Tattoos
Lecture May 31
We started by talking about the structure of the Museum of Philadelphia. There are various levels:
The second floor, first floor and then levels: a. Offices restuaro b. operating offices and c. the entrance to the works and machinery. We started by talking about the structure of the Museum of Philadelphia.
There are various levels: With the enlargement will have to reconsider this policy because most likely the plane c. normally come where the works will be ushered visitors and perhaps there will be the works of contemporary art.
In preparing the projects we have to consider that the building will become vertical and Analysis in the Collection should do some sort of selection of the work, why can not all be exposed.
We mentioned to Cezanne, who painted, but painted the same painting.
The speech is then moved to Barr and Dorner:
An incredible story upon arrival at the MoMa
white square on a white background. Given the controls in Germany on projects considered of degenerate art, there was a very capable solution for able to take away this wonderful work: Dorner's wife put the umbrella of the canvas so Barr was greeted at the MoMa
; only at the end of the Second World War was written from the real. The spirit of social democracy was to break the space of the bourgeoisie, but for practical purposes as regards the art was just a reverse trend with the consequent promotion of this social class.
1913,
Armory Show, the first exhibition of modern art in the United States.
In 1927, Gallatin and Katherine Dreyer founded the Gallery of Living Art, which changed name in 1936, Museum of Living Art.
In 1929 he inaugurated the MoMa, here are three images
Historical Museum
:
We talked about the Philips Collection: The shock, for Philips, arrived in 1911. During a trip to Europe, the young and wealthy American discovered the paintings of Renoir, Monet and other Impressionists: I was completely captivated, and conceived the idea of \u200b\u200bestablishing an "American Prado". Duncan Philips built his collection in 1918, in Washington DC, and the opening to the public in 1921. But this collection also covers many masterpieces of Renaissance art.
The American model was that of formalism: the art show to believe, on the other hand Hitler came to power in Germany in 1933 and had clear aims to expose and promote the art Degenerate Art the Good Nazi.
On 15 November 1933 the Minister of Nazi Propaganda Joseph Goebbels formed the Reich Chamber of Culture (Reichskulturkammer), which actually determine which artists could work and what might show to the public: a strict censorship forced the few artists in any position in Germany remained silent.
In the 20s and 30s, Germany had produced writers, painters and historians of all persuasions, but the main targets of the scheme were those who were responsible for the visual arts. This is because the Nazis had immediately understood the importance and the fascination exerted on the mass images, so as to exploit them intensively in its propaganda, Hitler wanted the population was surrounded by symbols of power. Similarly it was necessary to destroy the works send messages that do not comply with Nazi ideology. The movements of modern art, without exception, were soon called "degenerate" and "corrupt." The Nazis wanted to demonstrate that contemporary abstract painters and expressionist conveys values \u200b\u200bthat would hinder the return of Germany's supremacy in Europe, polluted with their revolutionary technical solutions and the alleged physical and spiritual beauty of the true German. According to Hitler, who considered himself an artist, the bold use of color and surreal images by these artists was a distortion of nature.
In October 1936, the modern art section of the Nationalgalerie in Berlin was closed, a court was established to purge the galleries and museums around the country. It is estimated about 16,000 in the number of paintings, drawings, sculptures that ended in the category of 'degenerate art', the majority of German Expressionist and modern painters, although there were large foreign works including Picasso, Van Gogh, Cézanne. The best were auctioned in Lucerne, while several thousand were burned in the courtyard of the headquarters of the Fire Brigade in Berlin in March 1939. Some works were saved, having been seized by the Marshal Hermann Göring himself, to masterpieces eager to upholster the walls of his residence. But
destroy the works of artists was not enough: it was necessary to mobilize public opinion against the artists themselves. In the summer of 1937, in Monaco were two exhibitions simultaneously. A exhibited the works of artists welcome the scheme, which is exalted heroism, dignity Aryan, muscles, pain and simple values \u200b\u200bof healthy and hardy working families with blond hair and blue eyes, and where above all they made countless displays of portraits of the Führer . Four hundred thousand people visited the exhibition.
The other took place in the new House of German art, which ended that year and designed by one of the most important architects of the Nazis, Paul Ludwig Troost. Inside was a grotesque exhibition, titled "Degenerate Art". There were exhibited over 650 works of avant-garde Twentieth century, with large concentration of those expressions, unframed and in total confusion. The titles were added by the organizers: a painting, depicting a group of farm workers, Farmers was entitled to a German visa yiddish. A leaflet is a guide, mainly in the conceptual sense: show the visitor what the "right" way to interpret the works on display products bringing them closer to amateur or mentally ill. A further condemnation of the works came from the fact that they belong to public institutions, had been purchased with money from the "German working people." Adolf Ziegler, which held the inauguration speech of the exhibition, the works on display called "products of insanity, impudence, and the inability of degeneration. " Two million visitors poured into the Art House.
Barr at MoMA wanted clarity instead. Think of "Cubism and Abstract Art" with his diagram on the cover of the catalog. Barr contemplated this diagram on the move, which cost him his job loss as he occupied.
Carlos Basualdo I quote: "The paintings were isolated, as ordinary people and as if the people themselves could become objects"
Barr was also an educator, but from the standpoint of communication, the most surprising thing was the 'use of text for the exhibition of degenerate art. The text was very important, the route of exposure eye-catching, dragging the viewer. Art in the MoMA seem tame, docile, the art that Hitler wanted to complain because it was set up could feel the danger. Effective, but at the same time destructive. 
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment