Preamble
For you convenience I have listed below posts on this blogspot that featured Museums and Galleries.
When Rainforests Ruled
Some Textiles@The Powerhouse Museum
Textile Museum in Tilburg (The Netherlands)
Eden Gardens
Maschen (Mesh) Museum@Tailfingen
Museum Lace Factory@Horst(The Netherlands)
Expressing Australia – Art in Parliament House
TextielLab & TextielMuseum – 2013
The Last Exhibition @ Galerie ’t Haentje te Paart
Paste Modernism 4 @ aMBUSH Gallery & The Living Mal
El Anatsui – Five Decades@Carriageworks
The Australian Museum of Clothing and Textiles
Louisiana Museum of Modern Art
Nordiska Museet (The Nordic Museum)
Tarndwarncoort (Tarndie)
Egyptian Museum Cairo - Part I
Egyptian Museum Cairo - Part II
Masterpieces of the Israel Museum
Masterpieces of the Israel Museum - The Billy Rose Sculpture Garden[1]
The calcareous stone of Jerusalem provides the link and the harmony between past and present in a city comprising of many architectural styles. This very stone was selected by American sculptor and landscape artist, Isamu Noguchim to build five terraces that dominate the Billy Rose Sculpture Garden.
Broad view of the Billy Rose Sculpture Garden.
As visitors walk up the pathway to the museum's main entrance, they discover to their right, a wide open space looking out toward the infinte western hills of the city. The sculptures are placed in harmony with the terraces, making the garden a work of art in its own right. Such artists as Rodin, Bourdellem Maillol, Archipenk, Zadkine, Lipchitz, Moore, Picasso, Marini, Wotruba, Vasarely, Arman and Tinguely are presented in this collection dedicated exclusively to contemporary sculpture.
The Patio of the Sculpture Garden
In order to present small-sized sculpture, requiring an intimate environment, Noguchi designed a succession of spaces limited by architectural elements, such as the rectangle set off against a triangular wall, rising like a symbol in the open space of the garden. The pathway leading to the Jacques Lipchitz Pavilion hides surprises around every corner. This partial view of the patio captures three bronze sculptures: "The Study for Balzac" by Rodin (1893), Germaine Richier's "Diabolo Player" (1950), and "Khmer" by Noguchi (1962).
The Patio of the Sculpture Garden.
Otto Freundlich (1878-1943) - The Ascension
Freundlich, a painter and sculptor, was one of the younger members of the pioneering generation of abstract artists. Along with his senior colleagues, Kandinsky, Malevitch and Mondrian, he believed in an artistic language that is intimately linked by its purely spiritual essence to the advent of an ideal society.
"Non-representation," he wrote, "is the expression of a collective will, the artist carring out the will of a new reality." However, the Europe of two World Wars and totalitarian regimes ignored this message and Fruendlich, who was born in Pomerania, raised in Germany and lived in Paris from 1924 until his deportation in 1943, was forced to continue his efforts and proclaim his faith in solitude.
The Ascension (1929) is one of the two large-scale sculptures, which he managed to create. The combined effect of its curved forms express his vision of the curves as the "...result of the substance that deploys its strength in one or more directions." "The path of profundity:" he also wrote, "justifies the third dimension and should have another possibility, besides manfesting itself to the observer, of incorporating itself into the universal unity." In fact, Freundlich considered abstract forms to be intermediaries between nature and man.
The Ascension, Otto Freundlich (1878-1943).
Henry Moore (1898-1986) - Vertebrae: Sculpture in Three Elements
Woman, goddess of fertility or sublime mother, solemnly harmonious body or subject of frivolous luxury: she has a place in the history of sculpture since day one. Woman is also a key theme in this work by the English sculptor Henry Moore, and the pretext for working the most diverse transformations. Prone woman, woman is space, woman in landscape - she ends up becoming a woman-landscape. The shapes and curves of her limbs, even when pushed to the verge of abstraction, maintain and often highlight an erotic undertone through the modelling of her powerful volumes.
After World War II, Moore was able to realize his dream of creating monumental forms. He succeeded not only in orienting his research to exterior shape, but also in focusing on the interior structure of the body. In this exceptionally large broze (nearly 7.5 m high) from 1968-1969, Moore expresses his intentions through the title itself: Vertebrae. He set out to arrange and entangle the elements in such a way as to suggest the idea of a spinal column, but also to metaphorically evoke the organic elements of a landscape.
Vertebrae: Sculpture in Three Elements, Henry Moore (1898-1986).
Pablo Picasso (1881-1973) - Profiles
The last great period of Picasso, the sculptor, began in 1960. First in Cannes, then in Mougins, the artist created dozens of busts, figures, masks, birds, and a variety of animals in cut, painted sheet metal. These were small-sized works that later served as models for larger sculptures.
Profiles begins as a flat image folded into apparently equal parts from which two female 'profiles' have been cut. The idea dates back to 1961, when Picasso tended to paint women and female busts using juxtaposed planes.
During this period, the 'betogravure' technique perfected by Norwegian architect, Reling Viksjö and engineer Sverre Lystad was being put to practical use by the sculptor Carl Nesjar.. Nesjar worked together with PIcasso to transform some models into sculptures.
'Profiles' was executed in 1964 at the Collége Sud of Marseilles, and was reworked on a larger scale (nearly 6 m high) by Nesjar in 1967 for the Israel Museum.
Picasso himself chose the setting for the work with the help of photographs of the Billy Rose Sculpture Garden.
Profiles, Pablo Picasso (1881-1973).
David Smith (1906-1965) - Cubi VI
At the end of the cypress- and olive-lined path that leads to the Sculpture Garden and the main entrance of the Museum, Cubi VI springs into view like a latterday totem pole or, as Frank O'Hara put it - 'like a traffic light climbing into the air with the seeming effortlessness and spontaneity of a masterful drawing.'
Its author, the American sculptor, David Smith, conceived it for an outside location. It is impressive, not only because of its size (almost 3 m high), but also because of its polished stainless steel surface literally absorbs the light of day, the sky and the trees. Cubi VI is a part of the Cubi series Smith worked on from 1962 to 1965, and is generally considered to be his masterpiece. The title 'Cubi' seems to refer to the influential role that cubism played in his early career as an artist. Smith returned to Cubism towards the end of his life, after going through several phases during which he experimented with surrealism and expressionism. However, this reference is limited to shapes alone (inspired by Cézanne's works), which Smith revoked to create geometric relationships within an infinite space.
Cubi VI, David Smith (1906 - 1965).
Jean Tinguely (1925 - 1991) - Eos X
In 1965 in Jerusalem, Jean Tinguely built this large (over 4 m high) mobile for the Billy Rose Sculpture Garden; sheer size makes it the most important of a series of scultptures that he completed that year. In it, Tinguely puts to work a vertical rail, creating a form generating movement in space.
Tinguely began experimenting with his first mobiles in 1951, installing adustable motors and creating works with irregular movements by using scrap materials and odds and ends. In 1960 he joined the Parisian Nouveau Realism movement, which he left in 1964 upon designing his black-painted 'machines'.
'Black,' he wrote, 'is a way of making profound objects disappear. It's a gesture "par excellence: against Nouveau Realism." At the same time, he replaced his irregular mobile movements with a monotonous rocking motion intended to recall 'the spirit of Sisyphus, the idea of being condemned to continually repeat the same thing.'
His previous oeuvre, full of joy, was succeeded by works expressing a degree of anguish, testimony to the degraded machine. Nonetheless, they were still imbued with humour: the perennial rocking motion represents a self-satisfied energy with no other purpose than to exist in a pure state.
Jean Tinguely (1925 - 1991).
Reference:
[1] Y. Fisher, Masterpieces of the Israel Museum, CASA EDITRICE BONECHI, Italy (1995).
For you convenience I have listed below posts on this blogspot that featured Museums and Galleries.
When Rainforests Ruled
Some Textiles@The Powerhouse Museum
Textile Museum in Tilburg (The Netherlands)
Eden Gardens
Maschen (Mesh) Museum@Tailfingen
Museum Lace Factory@Horst(The Netherlands)
Expressing Australia – Art in Parliament House
TextielLab & TextielMuseum – 2013
The Last Exhibition @ Galerie ’t Haentje te Paart
Paste Modernism 4 @ aMBUSH Gallery & The Living Mal
El Anatsui – Five Decades@Carriageworks
The Australian Museum of Clothing and Textiles
Louisiana Museum of Modern Art
Nordiska Museet (The Nordic Museum)
Tarndwarncoort (Tarndie)
Egyptian Museum Cairo - Part I
Egyptian Museum Cairo - Part II
Masterpieces of the Israel Museum
Masterpieces of the Israel Museum - The Billy Rose Sculpture Garden[1]
The calcareous stone of Jerusalem provides the link and the harmony between past and present in a city comprising of many architectural styles. This very stone was selected by American sculptor and landscape artist, Isamu Noguchim to build five terraces that dominate the Billy Rose Sculpture Garden.
As visitors walk up the pathway to the museum's main entrance, they discover to their right, a wide open space looking out toward the infinte western hills of the city. The sculptures are placed in harmony with the terraces, making the garden a work of art in its own right. Such artists as Rodin, Bourdellem Maillol, Archipenk, Zadkine, Lipchitz, Moore, Picasso, Marini, Wotruba, Vasarely, Arman and Tinguely are presented in this collection dedicated exclusively to contemporary sculpture.
The Patio of the Sculpture Garden
In order to present small-sized sculpture, requiring an intimate environment, Noguchi designed a succession of spaces limited by architectural elements, such as the rectangle set off against a triangular wall, rising like a symbol in the open space of the garden. The pathway leading to the Jacques Lipchitz Pavilion hides surprises around every corner. This partial view of the patio captures three bronze sculptures: "The Study for Balzac" by Rodin (1893), Germaine Richier's "Diabolo Player" (1950), and "Khmer" by Noguchi (1962).
Otto Freundlich (1878-1943) - The Ascension
Freundlich, a painter and sculptor, was one of the younger members of the pioneering generation of abstract artists. Along with his senior colleagues, Kandinsky, Malevitch and Mondrian, he believed in an artistic language that is intimately linked by its purely spiritual essence to the advent of an ideal society.
"Non-representation," he wrote, "is the expression of a collective will, the artist carring out the will of a new reality." However, the Europe of two World Wars and totalitarian regimes ignored this message and Fruendlich, who was born in Pomerania, raised in Germany and lived in Paris from 1924 until his deportation in 1943, was forced to continue his efforts and proclaim his faith in solitude.
The Ascension (1929) is one of the two large-scale sculptures, which he managed to create. The combined effect of its curved forms express his vision of the curves as the "...result of the substance that deploys its strength in one or more directions." "The path of profundity:" he also wrote, "justifies the third dimension and should have another possibility, besides manfesting itself to the observer, of incorporating itself into the universal unity." In fact, Freundlich considered abstract forms to be intermediaries between nature and man.
Henry Moore (1898-1986) - Vertebrae: Sculpture in Three Elements
Woman, goddess of fertility or sublime mother, solemnly harmonious body or subject of frivolous luxury: she has a place in the history of sculpture since day one. Woman is also a key theme in this work by the English sculptor Henry Moore, and the pretext for working the most diverse transformations. Prone woman, woman is space, woman in landscape - she ends up becoming a woman-landscape. The shapes and curves of her limbs, even when pushed to the verge of abstraction, maintain and often highlight an erotic undertone through the modelling of her powerful volumes.
After World War II, Moore was able to realize his dream of creating monumental forms. He succeeded not only in orienting his research to exterior shape, but also in focusing on the interior structure of the body. In this exceptionally large broze (nearly 7.5 m high) from 1968-1969, Moore expresses his intentions through the title itself: Vertebrae. He set out to arrange and entangle the elements in such a way as to suggest the idea of a spinal column, but also to metaphorically evoke the organic elements of a landscape.
Pablo Picasso (1881-1973) - Profiles
The last great period of Picasso, the sculptor, began in 1960. First in Cannes, then in Mougins, the artist created dozens of busts, figures, masks, birds, and a variety of animals in cut, painted sheet metal. These were small-sized works that later served as models for larger sculptures.
Profiles begins as a flat image folded into apparently equal parts from which two female 'profiles' have been cut. The idea dates back to 1961, when Picasso tended to paint women and female busts using juxtaposed planes.
During this period, the 'betogravure' technique perfected by Norwegian architect, Reling Viksjö and engineer Sverre Lystad was being put to practical use by the sculptor Carl Nesjar.. Nesjar worked together with PIcasso to transform some models into sculptures.
'Profiles' was executed in 1964 at the Collége Sud of Marseilles, and was reworked on a larger scale (nearly 6 m high) by Nesjar in 1967 for the Israel Museum.
Picasso himself chose the setting for the work with the help of photographs of the Billy Rose Sculpture Garden.
David Smith (1906-1965) - Cubi VI
At the end of the cypress- and olive-lined path that leads to the Sculpture Garden and the main entrance of the Museum, Cubi VI springs into view like a latterday totem pole or, as Frank O'Hara put it - 'like a traffic light climbing into the air with the seeming effortlessness and spontaneity of a masterful drawing.'
Its author, the American sculptor, David Smith, conceived it for an outside location. It is impressive, not only because of its size (almost 3 m high), but also because of its polished stainless steel surface literally absorbs the light of day, the sky and the trees. Cubi VI is a part of the Cubi series Smith worked on from 1962 to 1965, and is generally considered to be his masterpiece. The title 'Cubi' seems to refer to the influential role that cubism played in his early career as an artist. Smith returned to Cubism towards the end of his life, after going through several phases during which he experimented with surrealism and expressionism. However, this reference is limited to shapes alone (inspired by Cézanne's works), which Smith revoked to create geometric relationships within an infinite space.
Jean Tinguely (1925 - 1991) - Eos X
In 1965 in Jerusalem, Jean Tinguely built this large (over 4 m high) mobile for the Billy Rose Sculpture Garden; sheer size makes it the most important of a series of scultptures that he completed that year. In it, Tinguely puts to work a vertical rail, creating a form generating movement in space.
Tinguely began experimenting with his first mobiles in 1951, installing adustable motors and creating works with irregular movements by using scrap materials and odds and ends. In 1960 he joined the Parisian Nouveau Realism movement, which he left in 1964 upon designing his black-painted 'machines'.
'Black,' he wrote, 'is a way of making profound objects disappear. It's a gesture "par excellence: against Nouveau Realism." At the same time, he replaced his irregular mobile movements with a monotonous rocking motion intended to recall 'the spirit of Sisyphus, the idea of being condemned to continually repeat the same thing.'
His previous oeuvre, full of joy, was succeeded by works expressing a degree of anguish, testimony to the degraded machine. Nonetheless, they were still imbued with humour: the perennial rocking motion represents a self-satisfied energy with no other purpose than to exist in a pure state.
Reference:
[1] Y. Fisher, Masterpieces of the Israel Museum, CASA EDITRICE BONECHI, Italy (1995).
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