1.
Mario Botta
–
Mario Botta is a Swiss architect. He studied at the Liceo Artistico in Milan and the IUAV in Venice and his ideas were influenced by Le Corbusier, Carlo Scarpa, Louis Kahn. He opened his own practice in 1970 in Lugano, Botta designed his first buildings at age 16, a two-family house at Morbio Superiore in Ticino. His designs tend to include a sense of geometry, often being based on very simple shapes. His buildings are made of brick, yet his use of material is wide, varied. He also designed the Europa-Park Dome, which many major events at the Europa-Park theme park resort in Germany. “A church is the place, par excellence, of architecture, “When you enter a church, you already are part of what has transpired and will transpire there. The church is a house that puts a believer in a dimension where he or she is the protagonist, the sacred directly lives in the collective. Man becomes a participant in a church, even if he never says anything. ”In 1998, he designed the new bus station for Vimercate and he worked at La Scalas theatre renovation, which proved controversial as preservationists feared that historic details would be lost. In 2004, he designed Museum One of the Leeum, Samsung Museum of Art in Seoul, on January 1,2006 he received the Grand Officer award from President of the Italian Republic Carlo Azeglio Ciampi. In 2006 he designed his first ever spa, the Bergoase Spa in Arosa, the spa opened in December 2006 and cost an estimated CHF35 million. Mario Botta participated in the Stock Exchange of Visions project in 2007 and he was a member of the Jury of the Global Holcim Awards in 2012. Markus Breitschmid, Architecture and the Ambient – Mario Botta, architectura et Ars Series, Volume 2, Virginia Tech Architecture Publications,2013. ISBN 978-0-9893936-5-2 Publications by and about Mario Botta in the catalogue Helveticat of the Swiss National Library Official website Mario Botta at the archINFORM database, theaterlexikon der Schweiz / Dictionnaire du théâtre en Suisse / Dizionario Teatrale Svizzero / Lexicon da teater svizzer
Mario Botta
–
Mario Botta at
Swiss Embassy in
New Delhi in 2010
Mario Botta
–
Swisscom telecommunication headquarters in
Bellinzona
Mario Botta
–
Harting Technologiegruppe headquarters in
Minden
Mario Botta
–
La Fortezza building,
Maastricht, the Netherlands
2.
San Francisco
–
San Francisco, officially the City and County of San Francisco, is the cultural, commercial, and financial center of Northern California. It is the birthplace of the United Nations, the California Gold Rush of 1849 brought rapid growth, making it the largest city on the West Coast at the time. San Francisco became a consolidated city-county in 1856, after three-quarters of the city was destroyed by the 1906 earthquake and fire, San Francisco was quickly rebuilt, hosting the Panama-Pacific International Exposition nine years later. In World War II, San Francisco was a port of embarkation for service members shipping out to the Pacific Theater. Politically, the city votes strongly along liberal Democratic Party lines, San Francisco is also the headquarters of five major banking institutions and various other companies such as Levi Strauss & Co. Dolby, Airbnb, Weebly, Pacific Gas and Electric Company, Yelp, Pinterest, Twitter, Uber, Lyft, Mozilla, Wikimedia Foundation, as of 2016, San Francisco is ranked high on world liveability rankings. The earliest archaeological evidence of habitation of the territory of the city of San Francisco dates to 3000 BC. Upon independence from Spain in 1821, the became part of Mexico. Under Mexican rule, the system gradually ended, and its lands became privatized. In 1835, Englishman William Richardson erected the first independent homestead, together with Alcalde Francisco de Haro, he laid out a street plan for the expanded settlement, and the town, named Yerba Buena, began to attract American settlers. Commodore John D. Sloat claimed California for the United States on July 7,1846, during the Mexican–American War, montgomery arrived to claim Yerba Buena two days later. Yerba Buena was renamed San Francisco on January 30 of the next year, despite its attractive location as a port and naval base, San Francisco was still a small settlement with inhospitable geography. The California Gold Rush brought a flood of treasure seekers, with their sourdough bread in tow, prospectors accumulated in San Francisco over rival Benicia, raising the population from 1,000 in 1848 to 25,000 by December 1849. The promise of fabulous riches was so strong that crews on arriving vessels deserted and rushed off to the gold fields, leaving behind a forest of masts in San Francisco harbor. Some of these approximately 500 abandoned ships were used at times as storeships, saloons and hotels, many were left to rot, by 1851 the harbor was extended out into the bay by wharves while buildings were erected on piles among the ships. By 1870 Yerba Buena Cove had been filled to create new land, buried ships are occasionally exposed when foundations are dug for new buildings. California was quickly granted statehood in 1850 and the U. S. military built Fort Point at the Golden Gate, silver discoveries, including the Comstock Lode in Nevada in 1859, further drove rapid population growth. With hordes of fortune seekers streaming through the city, lawlessness was common, and the Barbary Coast section of town gained notoriety as a haven for criminals, prostitution, entrepreneurs sought to capitalize on the wealth generated by the Gold Rush
San Francisco
–
San Francisco and the
Golden Gate Bridge from
Marin Headlands
San Francisco
–
Mission San Francisco de Asís (Mission Dolores)
San Francisco
–
1853
United States Coast Survey Map
San Francisco
–
Francis Samuel Marryat, Hilltop of San Francisco, California, Looking toward the Bay, 1849. M.& N. Hanhart Chromolithograph
3.
California
–
California is the most populous state in the United States and the third most extensive by area. Located on the western coast of the U. S, California is bordered by the other U. S. states of Oregon, Nevada, and Arizona and shares an international border with the Mexican state of Baja California. Los Angeles is Californias most populous city, and the second largest after New York City. The Los Angeles Area and the San Francisco Bay Area are the nations second- and fifth-most populous urban regions, California also has the nations most populous county, Los Angeles County, and its largest county by area, San Bernardino County. The Central Valley, an agricultural area, dominates the states center. What is now California was first settled by various Native American tribes before being explored by a number of European expeditions during the 16th and 17th centuries, the Spanish Empire then claimed it as part of Alta California in their New Spain colony. The area became a part of Mexico in 1821 following its war for independence. The western portion of Alta California then was organized as the State of California, the California Gold Rush starting in 1848 led to dramatic social and demographic changes, with large-scale emigration from the east and abroad with an accompanying economic boom. If it were a country, California would be the 6th largest economy in the world, fifty-eight percent of the states economy is centered on finance, government, real estate services, technology, and professional, scientific and technical business services. Although it accounts for only 1.5 percent of the states economy, the story of Calafia is recorded in a 1510 work The Adventures of Esplandián, written as a sequel to Amadis de Gaula by Spanish adventure writer Garci Rodríguez de Montalvo. The kingdom of Queen Calafia, according to Montalvo, was said to be a land inhabited by griffins and other strange beasts. This conventional wisdom that California was an island, with maps drawn to reflect this belief, shortened forms of the states name include CA, Cal. Calif. and US-CA. Settled by successive waves of arrivals during the last 10,000 years, various estimates of the native population range from 100,000 to 300,000. The Indigenous peoples of California included more than 70 distinct groups of Native Americans, ranging from large, settled populations living on the coast to groups in the interior. California groups also were diverse in their organization with bands, tribes, villages. Trade, intermarriage and military alliances fostered many social and economic relationships among the diverse groups, the first European effort to explore the coast as far north as the Russian River was a Spanish sailing expedition, led by Portuguese captain Juan Rodríguez Cabrillo, in 1542. Some 37 years later English explorer Francis Drake also explored and claimed a portion of the California coast in 1579. Spanish traders made unintended visits with the Manila galleons on their trips from the Philippines beginning in 1565
California
–
A forest of redwood trees in
Redwood National Park
California
–
Flag
California
–
Mount Shasta
California
–
Aerial view of the
California Central Valley
4.
Geographic coordinate system
–
A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
Geographic coordinate system
–
Longitude lines are perpendicular and latitude lines are parallel to the equator.
5.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Modern art
–
Pablo Picasso, Dejeuner sur l'Herbe
Modern art
–
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
–
Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
–
Paul Cézanne,
The Large Bathers, 1898–1905
6.
Museum
–
Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. Museums have varying aims, ranging from serving researchers and specialists to serving the general public, the goal of serving researchers is increasingly shifting to serving the general public. There are many types of museums, including art museums, natural history museums, science museums, war museums, the city with the largest number of museums is Mexico City with over 128 museums. According to The World Museum Community, there are more than 55,000 museums in 202 countries, the English museum comes from the Latin word, and is pluralized as museums. The first museum/library is considered to be the one of Plato in Athens, however, Pausanias gives another place called Museum, namely a small hill in Classical Athens opposite to the Akropolis. The hill was called Mouseion after Mousaious, a man who used to sing on the hill, the purpose of modern museums is to collect, preserve, interpret, and display items of artistic, cultural, or scientific significance for the education of the public. The purpose can also depend on ones point of view, to a family looking for entertainment on a Sunday afternoon, a trip to a local history museum or large city art museum could be a fun, and enlightening way to spend the day. To city leaders, a healthy museum community can be seen as a gauge of the health of a city. To a museum professional, a museum might be seen as a way to educate the public about the museums mission, Museums are, above all, storehouses of knowledge. In 1829, James Smithsons bequest, that would fund the Smithsonian Institution, stated he wanted to establish an institution for the increase, Museums of natural history in the late 19th century exemplified the Victorian desire for consumption and for order. Gathering all examples of classification of a field of knowledge for research. As American colleges grew in the 19th century, they developed their own natural history collections for the use of their students, while many large museums, such as the Smithsonian Institution, are still respected as research centers, research is no longer a main purpose of most museums. While there is a debate about the purposes of interpretation of a museums collection, there has been a consistent mission to protect. Much care, expertise, and expense is invested in efforts to retard decomposition in aging documents, artifacts, artworks. All museums display objects that are important to a culture, as historian Steven Conn writes, To see the thing itself, with ones own eyes and in a public place, surrounded by other people having some version of the same experience can be enchanting. Museum purposes vary from institution to institution, some favor education over conservation, or vice versa. For example, in the 1970s, the Canada Science and Technology Museum favored education over preservation of their objects and they displayed objects as well as their functions. One exhibit featured a printing press that a staff member used for visitors to create museum memorabilia
Museum
–
The
Louvre Museum in
Paris (
France), one of the largest and most famous museums in the world.
Museum
–
The
Uffizi Gallery, the most visited museum in
Italy and an important museum in the world. View toward the
Palazzo Vecchio, in
Florence.
Museum
–
The
Museum Island in
Berlin.
Museum
–
The
British Museum in
London.
7.
20th-century art
–
20th-century art—and what it became as modern art—began with modernism in the late 19th century. Nineteenth-century movements of Post-Impressionism, Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France, Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism, another German group was Der Blaue Reiter, led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of abstract art, cubism, generated by Picasso, Braque, Metzinger, Gleizes and others rejected the plastic norms of the Renaissance by introducing multiple perspectives into a two-dimensional image. Futurism incorporated the depiction of movement and machine age imagery, parallel movements in Russia were Suprematism, where Kasimir Malevich also created non-representational work, notably a black canvas. The Jack of Diamonds group with Mikhail Larionov was expressionist in nature, dadaism preceded Surrealism, where the theories of Freudian psychology led to the depiction of the dream and the unconscious in art in work by Salvador Dalí. Detachment from the world of imagery was reversed in the 1960s by the Pop Art movement, notably Andy Warhol, Warhol also minimised the role of the artist, often employing assistants to make his work and using mechanical means of production, such as silkscreen printing. This marked a change from Modernism to Post-Modernism, photorealism evolved from Pop Art and as a counter to Abstract Expressionists. Media related to Modern art at Wikimedia Commons
20th-century art
–
Jackson Pollock,
No. 5, 1948
20th-century art
–
Henri Matisse,
Woman with a Hat, 1905
20th-century art
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907
20th-century art
–
Georges Braque, Le Viaduc de L'Estaque (Viaduct at L'Estaque), 1908
8.
Van Ness Avenue (San Francisco)
–
Van Ness Avenue is a north-south thoroughfare in San Francisco, California, running from Market St north to the Bay. Originally named Marlette Street, the street was renamed Van Ness Avenue in honor of the seventh mayor. Van Ness Avenue begins at Market Street near the Civic Center, of the more striking landmarks along the route are the San Francisco City Hall, the War Memorial Opera House, and Louise M. Davies Symphony Hall. South Van Ness Avenue is the portion of Van Ness south of Market Street, continuing through the citys South of Market and it was formerly a continuation of Howard Street, having been renamed by resolution of the Board of Supervisors on August 22,1932. The route is designated US101 from the Central Freeway at the convergence of South Van Ness, Howard Street, and 13th Street, north to Lombard Street. Originally a quiet neighborhood of mansions, the street was used as a firebreak by the U. S. Army during the 1906 earthquake. Many of the buildings were dynamited along the street by soldiers in a successful attempt to prevent the firestorm from spreading west to the entire city. It still remains an upscale area with large and grand apartment buildings, restaurants. Streetcar service started on Van Ness in 1915 for the opening of the Panama–Pacific International Exposition, the rail lines were removed in the 1950s and replaced with a tree-lined median. The entire route is within the borders of the City and County of San Francisco
Van Ness Avenue (San Francisco)
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Intersection of Van Ness Avenue and Clay Street.
Van Ness Avenue (San Francisco)
–
Intersection of Van Ness Avenue and Bay Street.
Galileo Academy of Science and Technology is in the background.
Van Ness Avenue (San Francisco)
–
Numbered streets
9.
Civic Center, San Francisco
–
It has two large plazas and a number of buildings in classical architectural style. The Bill Graham Civic Auditorium, the United Nations Charter was signed in the War Memorial Veterans Buildings Herbst Theatre in 1945 and it is also where the 1951 Treaty of San Francisco was signed. The San Francisco Civic Center was designated a National Historic Landmark in 1987, the Civic Center is bounded by Market Street on the south, Franklin Street on the west, Turk Street on the north, and Leavenworth and Seventh streets on the east. The Civic Center was built in the early 20th century after a city hall was destroyed in the 1906 earthquake. Although the noted architect and urban planner Daniel Burnham had provided the city plans for a neo-classical Civic Center shortly before the 1906 earthquake. A temporary city hall was put up on Market Street, but planning for a permanent structure. The current civic center was planned by a group of local architects, the current City Hall was completed in 1915, in time for the Panama-Pacific Exposition. The War Memorial Opera House and its twin, the War Memorial Veterans Building, the Main Library. During World War II, Army barracks and Victory gardens were constructed in the plaza in front of City Hall. The Louise M. Davies Symphony Hall and Harold L. Zellerbach Rehearsal Hall were added in 1980, the 1990s saw the construction of a new Main Library with the conversion of the old Main Library building into the Asian Art Museum, and the removal of all public benches. In 1998, the city officially renamed part of the plaza the Joseph L. Alioto Performing Arts Piazza after the former mayor. Its central location, vast open space, and the collection of government buildings have made and it has been the scene of massive anti-war protests and rallies since the Korean War. It was also the scene of major moments of the Gay Rights Movement, activist Harvey Milk held rallies and gave speeches there. After his assassination on November 27,1978, a candlelight vigil was held there. Later, it was the scene of the White Night Riots in response to the lenient sentencing of Dan White, recently, Civic Center was the center point of the Gay Marriage activism, as Mayor Gavin Newsom married couples there. The centerpiece of the Civic Center is the City Hall, which heads the complex, the section of the street in front of the building was renamed for Dr. Carlton B. Goodlett, a local African American activist, across the street on McAllister Street is the headquarters of the Supreme Court of California. Across from that building is the Asian Art Museum, opened in 2004 in the building of the San Francisco Library which is now in a newer building constructed in 1995
Civic Center, San Francisco
–
Graham Auditorium &
Fox Plaza.
Civic Center, San Francisco
–
Civic Center UN Plaza
Civic Center, San Francisco
–
270° panorama.
Civic Center, San Francisco
–
City Hall
10.
Diego Rivera
–
Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera was a prominent Mexican painter. His large frescoes helped establish the Mexican mural movement in Mexican art, between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a exhibition of his works was held at the Museum of Modern Art in New York. Rivera had a marriage with fellow Mexican artist Frida Kahlo. Rivera was born in Guanajuato, Mexico, to a well-to-do family, Diego had a twin brother named Carlos, who died two years after they were born. Rivera was said to have Converso ancestry, Rivera wrote in 1935, My Jewishness is the dominant element in my life. Rivera began drawing at the age of three, a year after his brothers death. He had been drawing on the walls. His parents, rather than punishing him, installed chalkboards and canvas on the walls, as an adult, he married Angelina Beloff in 1911, and she gave birth to a son, Diego. Maria Vorobieff-Stebelska gave birth to a daughter named Marika in 1918 or 1919 when Rivera was married to Angelina and he married his second wife, Guadalupe Marín, in June 1922, with whom he had two daughters, Ruth and Guadalupe. He was still married when he met art student Frida Kahlo and they married on August 21,1929 when he was 42 and she was 22. Their mutual infidelities and his violent temper led to divorce in 1939, Rivera later married Emma Hurtado, his agent since 1946, on July 29,1955, one year after Kahlos death. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign which read and this work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years – until Rivera agreed to remove the inscription. He stated, To affirm God does not exist, I do not have to hide behind Don Ignacio Ramírez, I am an atheist, from the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to study in Europe by Teodoro A. Dehesa Méndez. In those years, Paris was witnessing the beginning of Cubism in paintings by such eminent painters as Pablo Picasso, Georges Braque, from 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézannes paintings, Rivera shifted toward Post-Impressionism with simple forms and his paintings began to attract attention, and he was able to display them at several exhibitions
Diego Rivera
–
Diego Rivera with a
xoloitzcuintle, photo taken at the
Casa Azul
Diego Rivera
–
Diego Rivera, Maternidad, Angelina y el niño Diego (Motherhood, Angelina and the Child Diego), circa August 1916, oil on canvas, 134.5 x 88.5 cm, Museo de Arte Carrillo Gil. This work forms part of Rivera's
Crystal Cubist period
Diego Rivera
–
Frida Kahlo and Diego Rivera in 1932, Photo by:
Carl Van Vechten.
Diego Rivera
–
Diego Rivera's mural depicting Mexico's history at the
National Palace in Mexico City
11.
Henri Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Henri Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Henri Matisse
–
Henri and Amélie Matisse, 1898
Henri Matisse
–
Woman Reading, 1894, Museum of Modern Art, Paris
Henri Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
12.
United Nations Charter
–
The Charter of the United Nations of 1945 is the foundational treaty of the United Nations, an intergovernmental organization. It was signed at the San Francisco War Memorial and Performing Arts Center in San Francisco, United States, on 26 June 1945, as a charter, it is a constituent treaty, and all members are bound by its articles. Furthermore, Article 103 of the Charter states that obligations to the United Nations prevail over all other treaty obligations, most countries in the world have now ratified the Charter. The Charter consists of a preamble and a series of articles grouped into chapters, the preamble consists of two principal parts. The first part contains a call for the maintenance of peace and international security. Chapter I sets forth the purposes of the United Nations, including the important provisions of the maintenance of international peace, Chapter II defines the criteria for membership in the United Nations. Chapters III–XV, the bulk of the document, describe the organs and institutions of the UN, Chapters XVI and Chapter XVII describe arrangements for integrating the UN with established international law. Chapters XVIII and Chapter XIX provide for amendment and ratification of the Charter, all Members, in order to ensure to all of them the rights and benefits resulting from membership, shall fulfill in good faith the obligations assumed by them in accordance with the present Charter. All Members shall settle their disputes by peaceful means in such a manner that international peace and security. Such subsidiary organs as may be found necessary may be established in accordance with the present Charter, the Security Council shall consist of fifteen Members of the United Nations. The non-permanent members of the Security Council shall be elected for a term of two years, a retiring member shall not be eligible for immediate re-election. Each member of the Security Council shall have one representative, FUNCTIONS and POWERS Article 241. In discharging these duties the Security Council shall act in accordance with the Purposes and Principles of the United Nations, the specific powers granted to the Security Council for the discharge of these duties are laid down in Chapters VI, VII, VIII, and XII. The Security Council shall submit annual and, when necessary, special reports to the General Assembly for its consideration, Article 25 The Members of the United Nations agree to accept and carry out the decisions of the Security Council in accordance with the present Charter. Each member of the Security Council shall have one vote, decisions of the Security Council on procedural matters shall be made by an affirmative vote of nine members. The Security Council shall be so organized as to be able to function continuously, each member of the Security Council shall for this purpose be represented at all times at the seat of the Organization. The Security Council may hold meetings at places other than the seat of the Organization as in its judgment will best facilitate its work. Article 29 The Security Council may establish such subsidiary organs as it deems necessary for the performance of its functions, Article 30 The Security Council shall adopt its own rules of procedure, including the method of selecting its President
United Nations Charter
–
Atlantic Charter
United Nations Charter
–
World War II poster from the United States on the UNITED NATIONS – PREAMBLE TO THE CHARTER OF THE UNITED NATIONS
13.
Jackson Pollock
–
Paul Jackson Pollock, known professionally as Jackson Pollock, was an American painter and a major figure in the abstract expressionist movement. He was well known for his style of drip painting. During his lifetime, Pollock enjoyed considerable fame and notoriety, he was a major artist of his generation, regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career, Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In December 1956, four months after his death, Pollock was given a retrospective exhibition at the Museum of Modern Art in New York City. A larger, more comprehensive exhibition of his work was held there in 1967, in 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London. Pollock was born in Cody, Wyoming, in 1912, the youngest of five sons and his parents, Stella May and LeRoy Pollock, were born and grew up in Tingley, Iowa and were educated at Tingley High School. Pollocks mother is interred at Tingley Cemetery, Ringgold County, Iowa and his father had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other. Stella and LeRoy Pollock were Presbyterian, they were of Irish and Scots-Irish descent, LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs. Stella, proud of her familys heritage as weavers, made, in November 1912, Stella took her sons to San Diego, Jackson was just 10 months old and would never return to Cody. He subsequently grew up in Arizona and Chico, California, while living in Echo Park, California, he enrolled at Los Angeles Manual Arts High School, from which he was expelled. He had already been expelled in 1928 from another high school, during his early life, Pollock explored Native American culture while on surveying trips with his father. In 1930, following his older brother Charles Pollock, he moved to New York City, bentons rural American subject matter had little influence on Pollocks work, but his rhythmic use of paint and his fierce independence were more lasting. In the early 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, an art student. Pollock was introduced to the use of paint in 1936 at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of techniques on canvases of the early 1940s, such as Male and Female. After his move to Springs, he began painting with his canvases laid out on the studio floor, from 1938 to 1942 Pollock worked for the WPA Federal Art Project. Henderson engaged him through his art, encouraging Pollock to make drawings, jungian concepts and archetypes were expressed in his paintings
Jackson Pollock
–
Photographer
Hans Namuth extensively documented Pollock's unique painting techniques.
Jackson Pollock
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No. 5, 1948
Jackson Pollock
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Pollock's studio in
Springs, New York
Jackson Pollock
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Jackson Pollock's grave in the rear with Lee Krasner's grave in front in the
Green River Cemetery
14.
Jeff Koons
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He lives and works in both New York City and his hometown of York, Pennsylvania. His works have sold for substantial sums, including at least one world record price for a work by a living artist. Balloon Dog was one of the first of the Balloon dogs to be fabricated, critics are sharply divided in their views of Koons. Some view his work as pioneering and of major art-historical importance, others dismiss his work as kitsch, crass, and based on cynical self-merchandising. Koons has stated there are no hidden meanings in his works. Koons was born in York, Pennsylvania, to Henry and Gloria Koons and his father was a furniture dealer and interior decorator, his mother was a seamstress. When he was nine years old, his father would place old-master paintings copied and signed by his son in the window of his shop in an attempt to attract visitors, as a child he went door to door after school selling gift-wrapping paper and candy to earn pocket money. As a teenager he revered Salvador Dalí so much that he visited him at the St. Regis Hotel in New York City, Koons studied painting at the School of the Art Institute of Chicago and the Maryland Institute College of Art in Baltimore. While a visiting student at the Art Institute, Koons met the artist Ed Paschke and he lived in Lakeview, and then in the Pilsen neighborhood at Halsted Street and 19th Street. After college, Koons moved to New York in 1977 and worked at the desk of the Museum of Modern Art while establishing himself as an artist. During this time, he dyed his hair red and would often cultivate a pencil mustache, in 1980, he got licensed to sell mutual funds and stocks and began working as a Wall Street commodities broker at First Investors Corporation. After a summer with his parents in Sarasota, Florida, he returned to New York and found a new career as a broker, first at Clayton Brokerage Company. He did this job when he encountered the problem of financing his first series, and I would always know that I didnt need the art market. Jeff Koons rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era. He gained recognition in the 1980s and subsequently set up a studio in a SoHo loft on the corner of Houston Street. It was staffed with over 30 assistants, each assigned to a different aspect of producing his work—in a similar mode as Andy Warhols Factory. Today, he has a 1,500 m2 factory near the old Hudson rail yards in Chelsea, Koons developed a color-by-numbers system, so that each of his assistants could execute his canvases and sculptures as if they had been done by a single hand. I think art takes you outside yourself, takes you past yourself, I believe that my journey has really been to remove my own anxiety
Jeff Koons
–
Koons, December 2014
Jeff Koons
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Puppy in
Bilbao
Jeff Koons
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Tulips in Bilbao
Jeff Koons
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Balloon Dog (Magenta), 1994–2000, mirror-polished stainless steel with transparent color coating, 121 × 143 × 45 in. (307.3 × 363.2 × 114.3 cm), François Pinault Foundation. One of five unique versions (Blue, Magenta, Orange, Red, Yellow). The Orange version was sold in 2013 for a record price for a living sculptor.
15.
Sigmar Polke
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Sigmar Polke was a German painter and photographer. Polke experimented with a range of styles, subject matters. In the 1970s, he concentrated on photography, returning to paint in the 1980s, in the last 20 years of his life, he produced paintings focused on historical events and perceptions of them. Polke, the seventh in a family of eight children, was born in Oels in Lower Silesia and he fled with his family to Thuringia in 1945, during the expulsion of Germans after World War II. His family escaped from the Communist regime in East Germany in 1953, traveling first to West Berlin, from 1961 to 1967 he studied at the Düsseldorf Arts Academy under Karl Otto Götz, Gerhard Hoehme and deeply influenced by his teacher Joseph Beuys. He began his creative output during a time of social, cultural. During the 1960s, Düsseldorf, in particular, was a prosperous, commercial city, in the early 1970s Polke lived at the Gaspelhof, an artists commune. From 1977–1991, he was a professor at the Academy of Fine Arts and his students included, among others, Georg Herold. He settled in Cologne 1978, where he continued to live, in 1963, Polke founded the painting movement Kapitalistischer Realismus with Gerhard Richter and Konrad Fischer. It is an anti-style of art, appropriating the pictorial shorthand of advertising and he also participated in Demonstrative Ausstellung, a store-front exhibition in Düsseldorf with Manfred Kuttner, Lueg, and Richter. Essentially a self-taught photographer, Polke spent the three years painting, experimenting with filmmaking and performance art. In 1966-68, during his most conceptual period, Polke used a Rollei camera to capture ephemeral arrangements of objects in his home and studio. In 1968, the year after he left the art academy, Polke published these images as a portfolio of 14 photographs of sculptures he had made from odds and ends—buttons, balloons. From 1968 to 1971, he completed several films and took thousands of photographs, most of which he could not afford to print. In 1973 he visited the U. S. with artist James Lee Byars in search of the other America and he combined both negatives and positives with images that had both vertical and horizontal orientations. The resulting collage-like compositions take advantage of under- and overexposure and negative and positive printing to create enigmatic narratives, with the negative in his enlarger, the artist developed large sheets selectively, pouring on photographic solutions and repeatedly creasing and folding the wet paper. Polke’s early work has often been characterised as European Pop art for its depiction of everyday subject matter—sausages, bread and he imitated the dotted effect of commercial newsprint by painstakingly painting each dot with the rubber at the end of a pencil. In works such as Carl Andre in Delft or, later, Protective Custody Polke used a canvas made of furnishing fabric, embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions
Sigmar Polke
–
Sigmar Polke (right) with his friend Dieter Frowein-Lyasso
16.
Willem de Kooning
–
Willem de Kooning was a Dutch-American abstract expressionist artist who was born in Rotterdam, Netherlands, and moved to New York in 1927. Willem de Kooning was born in Rotterdam, the Netherlands, on April 24,1904 and his parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and de Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists, until 1924 he attended evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen, now the Willem de Kooning Academie. In 1926 de Kooning travelled to the United States as a stowaway on the Shelley, a British freighter bound for Argentina and he stayed at the Dutch Seamens Home in Hoboken, New Jersey, and found work as a house-painter. In 1927 he moved to Manhattan, where he had a studio on West Forty-fourth Street and he supported himself with jobs in carpentry, house-painting and commercial art. De Kooning began painting in his time and in 1928 he joined the art colony at Woodstock. He also began to some of the modernist artists active in Manhattan. None of them were executed, but a sketch for one was included in New Horizons in American Art at the Museum of Modern Art, De Kooning met his wife, Elaine Fried, at the American Artists School in New York. She was 14 years his junior, thus was to begin a lifelong partnership affected by alcoholism, lack of money, love affairs, quarrels and separations. They were married on December 9,1943, at this time, de Koonings work borrowed strongly from Gorkys surrealist imagery and was influenced by Picasso. This only changed when de Kooning met the younger painter Franz Kline, Kline died young and he was one of de Koonings closest artist friends. Klines influence is evident in de Koonings calligraphic black images of this period, in the late 1950s, de Koonings work shifted away from the figurative work of the women and began to display an interest in more abstract, less representational imagery. He became a US citizen in 1961 and moved to East Hampton in 1963 and this became his primary residence and he remained there until the end of his life. On Long Island de Kooning, in addition to his painting, inspired in part by the work of Henry Moore, de Kooning created highly abstracted figurative sculpture very reminicent of his figurative paintings. It was revealed toward the end of his life that de Kooning began losing his memory in the late 1980s and had been suffering from Alzheimers disease for some time. This revelation has initiated considerable debate among scholars and critics about how responsible de Kooning was for the creation of his late work, succumbing to the progress of his disease, William de Kooning painted his final works in 1991. He passed away in 1997 at the age of 92, upon death William de Kooning was cremated. His final place of rest is publicly unknown, De Koonings paintings of the 1930s and early 1940s are abstract still-lifes characterised by geometric or biomorphic shapes and strong colours
Willem de Kooning
–
De Kooning in his studio in 1961
Willem de Kooning
–
Willem de Kooning, Woman V (1952–53),
National Gallery of Australia
Willem de Kooning
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Woman III, (1953), private collection
Willem de Kooning
–
Willem de Kooning (1968)
17.
Museum of Contemporary Art, Los Angeles
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The Museum of Contemporary Art, Los Angeles is a contemporary art museum with three locations in greater Los Angeles, California. The main branch is located on Grand Avenue in Downtown Los Angeles, MOCAs original space, initially intended as a temporary exhibit space while the main facility was built, is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles. The Pacific Design Center facility is in West Hollywood, the museums exhibits consist primarily of American and European contemporary art created after 1940. Since the museums inception, MOCAs programming has been defined by its approach to contemporary art. Throughout the evening, Weisman passionately discussed the citys need for an art museum. In the following weeks, the Mayors Museum Advisory Committee was organized, the committee, led by William A. Norris, set about creating a museum from scratch, including locating funds, trustees, directors, curators, a gallery, and most importantly an art collection. The following year, the fledgling Museum of Contemporary Art was operating out of an office on Boyd Street, many of MOCAs initial donors were young and supporting the arts for the first time, a substantial number joined up at the $10,000 founder minimum. Making up well over 90% of the works, gifts from several major private collectors form the cornerstones of MOCAs permanent collection of nearly 6,000 works. Much of it has come from members who donated or bequeathed key works or entire collections. In 1985, the museum accepted Michael Heizers earthwork Double Negative in Nevada desert, in 1991, Hollywood screenwriter Scott Spiegel donated works by Jean-Michel Basquiat, Mark Innerst, Robert Longo, Susan Rothenberg, David Salle, among others. Over the years, major donations of art collections have come from the Lannan Foundation, in 2000, MOCA received gifts from artists themselves, including major pieces by sculptor and performance artist Paul McCarthy, video artist Doug Aitken and photographer Andreas Gursky. Los Angeles-based artist Ed Moses made a gift of his work to the museum in 1995. As the Los Angeles Times declared, There isn’t a city in America—not New York, not Chicago, not Houston, not San Francisco—where a more impressive museum collection of contemporary art can be seen. Art as Object, 1958-1968, Reconsidering the Object of Art, 1965-1975, Hall of Mirrors, Art and Film since 1945, Out of Actions, Between Performance and the Object, 1949-1979, WACK. Art and the Feminist Revolution, Art in the Streets, Under the Big Black Sun, California Art 1974–1981, and Ends of the Earth, Land Art to 1974. The museum also organized the first major museum retrospectives of the work of Allen Ruppersberg, John Baldessari, Ad Reinhardt, Jeff Wall, Barbara Kruger, and Takashi Murakami. In addition there were also monographic shows like an ambitious installation by Robert Gober in 1997, of all solo shows on view over the period between January 2008 and December 2012, only about 28% were devoted to female artists. Besides artists retrospectives and art historical investigations, under chief curator Paul Schimmel, public Offerings, in 2001, explored the phenomenon of youthful creative energy in an overheated art world where stars are created before they leave art school
Museum of Contemporary Art, Los Angeles
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The Museum of Contemporary Art, Los Angeles
Museum of Contemporary Art, Los Angeles
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MOCA Grand Avenue
Museum of Contemporary Art, Los Angeles
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MOCA downtown buildings and Mark Thompson's Airplane Parts sculpture
Museum of Contemporary Art, Los Angeles
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MOCA at the
Pacific Design Center
18.
Los Angeles County Museum of Art
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The Los Angeles County Museum of Art is an art museum located on Wilshire Boulevard in the Miracle Mile vicinity of Los Angeles. LACMA is on Museum Row, adjacent to the La Brea Tar Pits, LACMA is the largest art museum in the western United States. It attracts nearly a million visitors annually and it holds more than 150,000 works spanning the history of art from ancient times to the present. In addition to art exhibits, the museum features film and concert series, the Los Angeles County Museum of Art was established as a museum in 1961. Prior to this, LACMA was part of the Los Angeles Museum of History, Science and Art, howard F. Ahmanson, Sr. Anna Bing Arnold and Bart Lytton were the first principal patrons of the museum. Ahmanson made the donation of $2 million, convincing the museum board that sufficient funds could be raised to establish the new museum. In 1965 the museum moved to a new Wilshire Boulevard complex as an independent, art-focused institution, the largest new museum to be built in the United States after the National Gallery of Art. The museum, built in a similar to Lincoln Center. The board selected LA architect William Pereira over the recommendation of Ludwig Mies van der Rohe for the buildings. According to a 1965 Los Angeles Times story, the total cost of the three buildings was $11.5 million, at the time, the Los Angeles Music Center and LACMA were concurrent large civic projects which vied for attention and donors in Los Angeles. When the museum opened, the buildings were surrounded by reflecting pools, in the far-reaching expansion, museum-goers henceforth entered through the new partially roofed central court, nearly an acre of space bounded by the museums four buildings. The museums Pavilion for Japanese Art, designed by maverick architect Bruce Goff, opened in 1988, gerald Cantor Sculpture Garden of Rodin bronzes. In 1999, the Hancock Park Improvement Project was complete, kohlhaas edged out French architect Jean Nouvel, who would have added a major building while renovating the older facilities. The list of candidates had narrowed to five in May 2001, Koolhaas, Nouvel, Steven Holl, Daniel Libeskind. However, the project stalled after the museum failed to secure funding. In 2004 LACMAs Board of Trustees unanimously approved plans to transform the museum, the planned transformation consisted of three phases. Phase I started in 2004 and was completed in February 2008, the renovations required demolishing the parking structure on Ogden Avenue and with it LACMA-commissioned graffiti art by street artists Margaret Kilgallen and Barry McGee. The entry pavilion is a key point in architect Renzo Pianos plan to unify LACMAs sprawling, the BP Grand Entrance and the adjacent Broad Contemporary Art Museum comprise the $191 million first phase of the three-part expansion and renovation campaign
Los Angeles County Museum of Art
–
Los Angeles County Museum of Art (LACMA)
Los Angeles County Museum of Art
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Wilshire Boulevard and the Art Museum in 1965.
Los Angeles County Museum of Art
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LACMA West, the
former May Company building on the corner of
Wilshire Boulevard and
Fairfax Avenue, future home of
The Academy Museum of Motion Pictures
Los Angeles County Museum of Art
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Former
LACMA parking garage mural by
Barry McGee
19.
Yerba Buena Gardens
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Yerba Buena Gardens is the name for two blocks of public parks located between Third and Fourth, Mission and Folsom Streets in downtown San Francisco, California. The first block bordered by Mission and Howard Streets was opened on October 11,1993, the second block, between Howard and Folsom Streets, was opened in 1998, with a dedication to Martin Luther King, Jr. by Mayor Willie Brown. A pedestrian bridge over Howard Street connects the two blocks, sitting on top of part of the Moscone Center convention center. Yerba Buena was the name of the town in the Mexican territory of Alta California that became the city of San Francisco, California, in 1999 the Yerba Buena Gardens received the Gold Medal of the biannual Rudy Bruner Award for Urban Excellence. Furthermore, the jury applauded the evolution of the development process to an inclusive model involving multiple constituencies. Even during the design stages there were struggles regarding the building program. But what about the kids of the central city, a Redevelopment Agency that hands out free land for art museums for the wealthy in Yerba Buena but cant find funding for a bowling center too has no moral values. Consequently, the SFRA backed down from its plan and the alley was re-included. The original block opened in 1993 contains several art installations. The Martin Luther King, Jr. Memorial is located behind a waterfall, the entire memorial was a collaborative project between Sculptor Houston Conwill, Poet Estella Majoza and Architect Joseph De Pace. In the sculptors words, The Memorial is “a sacred space … meant to be experienced as a cultural pilgrimage, an ice skating rink, a bowling alley, and a restored 1905 carousel originally located at Playland-at-the-Beach can also be found in the South block. Eateries within the gardens include the B Restaurant and Grill and the Samovar Tea Lounge on the North blocks terrace, Mos Grill on the South blocks upper walkway, and a snack shop by the carousel. Nearby museums include, San Francisco Museum of Modern Art, Contemporary Jewish Museum, Museum of the African Diaspora, Childrens Creativity Museum, other exhibiting institutions nearby include SF Planning and Urban Research Association and California Historical Society. The Mexican Museum is planned to be built across Mission Street as part the 53-story Yerba Buena tower, the project is planned to cost $500 million and will complete the Yerba Buena district redevelopment area, which apart from the Yerba Buena Gardens includes the Metreon and Moscone Center. Located within two blocks of Yerba Buena Gardens are many hotels, museums, and retail centers, the St. Regis Museum Tower, W Hotel San Francisco, San Francisco Marriott, Four Seasons, and InterContinental Hotel San Francisco are some of the largest hotels in the area. Retail in the include the Metreon bordering the North block. Moscone Center South of Market, San Francisco, California Yerba Buena Center for the Arts Yerba Buena page maintained by the management of gardens
Yerba Buena Gardens
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Yerba Buena Gardens
Yerba Buena Gardens
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Walkways in Yerba Buena Gardens (with
SFMOMA in the background)
Yerba Buena Gardens
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Martin Luther King, Jr. Memorial
Yerba Buena Gardens
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The Yerba Buena Carousel
20.
South of Market, San Francisco, California
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SoMa is home to many of the citys museums, to the headquarters of several major software and Internet companies, and to the Moscone Conference Center. The areas boundaries are Market Street to the northwest, San Francisco Bay to the northeast, Mission Creek to the southeast and it is the part of the city in which the street grid runs parallel and perpendicular to Market Street. As with many neighborhoods, the boundaries of the South of Market area are fuzzy. From 1848 until the construction of the Central Freeway in the 1950s, since the 1950s, the boundary has been either 10th Street, 11th Street, or the Central Freeway. Similarly, the entire Mission Bay neighborhood may or may not be counted as part of SoMa, redevelopment agencies, social service agencies, and community activists frequently exclude the more prosperous areas between the waterfront and 3rd Street. Some social service agencies and nonprofits count the economically distressed area around 6th, 7th, the terms South of Market and SoMa refer to both a comparatively large district of the city as well as a much smaller neighborhood. Before being called South of Market this area was called South of the Slot, while the cable cars have long since disappeared from Market Street, some old timers still refer to this area as South of the Slot. Since 1847, the name of the South of Market area has been the 100 Vara Survey or simply 100 Vara for short. Since the mid-20th century, the name has been gradually forgotten, and today is found mainly in history books, legal documents, title deeds. At the time, the streets of San Francisco were aligned approximately with the points, running north to south. Each block was divided into six lots 50 varas on a side. e, northeast to southwest, and northwest to southeast. He also decided to make the new blocks twice as long and twice as wide, finally, OFarrell created a grand promenade linking the old pueblo with the new subdivision, Market Street. Since then, downtown San Francisco north of Lower Market Street has been known as 50 Vara. Rincon Hill became an enclave for the wealthy, while nearby South Park became an enclave for the middle class. The neighborhood became a largely working-class and lower-middle-class community of recent European immigrants, sweatshops, power stations, flophouses, the 1906 earthquake completely destroyed the area, and many of the quakes fatalities occurred there. Following the quake, the area was rebuilt with wider than usual streets, the construction of the Bay Bridge and U. S. Route 101 during the 1930s saw large swaths of the area demolished, including most of the original Rincon Hill. The waterfront redevelopment of the Embarcadero in the 1950s pushed a new population into this area in the 1960s, the incipient gay community, and the leather community in particular. From 1962 until 1982, the gay community grew and thrived throughout South of Market, most visibly along Folsom Street
South of Market, San Francisco, California
–
Buildings in the South of Market neighborhood
South of Market, San Francisco, California
–
The
Moscone Center.
South of Market, San Francisco, California
–
The South Beach Section of SOMA as well as
AT&T Park
South of Market, San Francisco, California
–
South Park in the SOMA District
21.
Canton Ticino
–
Ticino /tᵻˈtʃiːnoʊ/, formally the Republic and Canton of Ticino is the southernmost canton of Switzerland. The land now occupied by the canton was annexed from Italian cities in the 15th century by various Swiss forces in the last transalpine campaigns of the Old Swiss Confederacy, in the Helvetic Republic, established 1798, it was divided between the two new cantons of Bellinzona and Lugano. The creation of the Swiss Confederation in 1803 saw these two cantons combine to form the canton of Ticino. The name Ticino was chosen for the newly established canton in 1803, known as Ticinus in Roman times, the river appears on the Tabula Peutingeriana as Ticenum. Johann Kaspar Zeuss attributed Celtic origins to the name, tracing it to the Celtic tek, itself from an Indo-European root tak, in ancient times, the area of what is today Ticino was settled by the Lepontii, a Celtic tribe. Later, probably around the rule of Augustus, it part of the Roman Empire. After the fall of the Western Empire, was ruled by the Ostrogoths, the Lombards, around 1100 it was the centre of struggle between the free communes of Milan and Como, in the 14th century it was acquired by the Visconti, Dukes of Milan. In the fifteenth century the Swiss Confederates conquered the south of the Alps in three separate conquests. Between 1403 and 1422 some of these lands were annexed by forces from the Canton of Uri. Uri conquered the Leventina Valley in 1440, in a second conquest Uri, Schwyz and Nidwalden gained the town of Bellinzona and the Riviera in 1500. Some of the land and Bellinzona itself were previously annexed by Uri in 1419, the third conquest was fought by troops from the entire Confederation. In 1512 Locarno, the Maggia Valley, Lugano and Mendrisio were annexed, subsequently, the upper valley of the Ticino River, from the St. Gotthard to the town of Biasca was part of Uri. The remaining territory was administered by the Twelve Cantons and these districts were governed by bailiffs holding office for two years and purchasing it from the members of the League. The lands of the canton of Ticino are the last lands to be conquered by the Swiss Confederation, the Confederation gave up any further conquests after their defeat at the battle of Marignano in 1515 by Francis I of France. The Val Leventina revolted unsuccessfully against Uri in 1755, in February 1798 an attempt of annexation by the Cisalpine Republic was repelled by a volunteer militia in Lugano. During the Napoleonic Wars, many Ticinesi served in Swiss military units allied with the French, the canton minted its own currency, the Ticinese franco, between 1813 and 1850, when it began use of the Swiss franc. In the early 19th century, the contemporary Franco-Danish scholar Conrad Malte-Brun stated that, “The canton of Tesino is the poorest, until 1878 the three largest cities, Bellinzona, Lugano and Locarno, alternated as capital of the canton. In 1878, however, Bellinzona became the only and permanent capital, the current cantonal constitution dates from 1997
Canton Ticino
–
Ticinese franco, currency of Ticino until the introduction of the
Swiss franc in 1850.
Canton Ticino
–
Location in Switzerland
Canton Ticino
–
Stone house in
Valle Verzasca
Canton Ticino
–
Hamlet of Brunescio on the left flank of
Vallemaggia
22.
Eva Hesse
–
Eva Hesse, was a Jewish German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics. She is one of the artists who ushered in the art movement in the 1960s. Hesse was born into a family of observant Jews in Hamburg, Germany, when Hesse was two years old in December 1938, her parents, hoping to flee from Nazi Germany, sent Hesse and her older sister, Helen Hesse Charash, to the Netherlands via Kindertransport. After almost six months of separation, the family moved to England and then, in 1939, emigrated to New York City. In 1944, Hesses parents separated, her father remarried in 1945, in 1962, she met and married sculptor Tom Doyle, they divorced in 1966. In October 1969, she was diagnosed with a brain tumor and her death, after three operations within a year, at age 34 ended a career spanning only 10 years. Hesse graduated from New Yorks School of Industrial Art at the age of 16 and she dropped out only a year later. Then, from 1954-1957 she studied at Cooper Union and in 1959 she received her BA from Yale University, while at Yale, Hesse studied under Josef Albers and was heavily influenced by Abstract Expressionism. After Yale, Eva returned to New York, where she became friends with other young minimalist artists, including Sol LeWitt, Donald Judd, Yayoi Kusama. Her close friendship with Sol LeWitt remained until the end of her life, the two frequently wrote to one another, and in 1965 Sol famously counseled a young doubting Eva to Stop and just DO. Sol and Eva went on to two of the most influential artists of the 1960s, and their friendship aided in the artistic development of each of their works. In 1962, Eva married fellow sculptor Tom Doyle, and in 1965, Hesse and Doyle, whose marriage was coming apart, lived and worked in an abandoned textile mill in the Ruhr region of Germany for about a year. Their studio was set up in a part of Friedrich Arnhard Scheidt’s textile factory in Kettwig-on-the-Ruhr near Essen. Hesse was not happy to be back in Germany, but began sculpting with materials that had left behind in the abandoned factory. Her first sculpture, a relief titled Ring Around Arosie featured cloth-covered cord, electrical wire and this year in Germany marked a turning point in Hesses career. From this point on she would continue to make sculptures, which became the focus in her work. Returning to New York City in 1965, she began working in the materials that would become characteristic of her work, latex, fiberglass, and plastics. From 1968 to until her death in 1970, Hesse taught at the School of Visual Arts, New York, while continuing to make, when Hesse was 18 years-old, she interned at Seventeen magazine
Eva Hesse
–
Eva Hesse in her studio in 1965.
Eva Hesse
–
Repetition 19, III, 1968, fiberglass and polyester resin, 19 units each 19 to 20 1/4" (48 to 51 cm) x 11 to 12 3/4" (27.8 to 32.2 cm) in diameter,
Museum of Modern Art, New York
23.
Wayne Thiebaud
–
Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work. Thiebaud was born to Mormon parents in Mesa, Arizona, United States and his family moved to Long Beach, California when he was six months old. One summer during his school years he apprenticed at Walt Disney Studios drawing in-betweens of Goofy, Pinocchio. The next summer he studied at the Frank Wiggins Trade School in Los Angeles, from 1938 to 1949, he worked as a cartoonist and designer in California and New York. He served as an artist in the First Motion Picture Unit of the United States Army Air Forces from 1942 to 1945. In 1949, he enrolled at San Jose State College before transferring to Sacramento State College, where he earned a degree in 1951. Thiebaud subsequently began teaching at Sacramento City College, in 1960, he became assistant professor at the University of California, Davis, where he remained through 1991 and influenced numerous art students. He continues to hold a Professor Emeritus title there, occasionally, he gave pro bono lectures at U. C. During this time, he began a series of small paintings based on images of food displayed in windows. Returning to California, he pursued this matter and style, isolating triangles, circles, squares. He also co-founded the Artists Cooperative gallery, now Artists Contemporary Gallery, in 1960, he had his first solo show in San Francisco at the San Francisco Museum of Modern Art, and shows in New York City at the Staempfli and Tanager galleries. In 1961, Thiebaud met and became friends with art dealer Allan Stone, Stone was Thiebauds dealer until Stones death in 2006. Thiebauds dedication to painting and his pursuit of excellence inspire all who are lucky enough to come in contact with him and he is a very special man. After Stones death, Thiebauds son Paul Thiebaud took over as his dealer, Paul Thiebaud was a successful art dealer in his own right and had eponymous galleries in Manhattan and San Francisco, he died June 19,2010. This exhibition is considered one of the first Pop Art exhibitions in America. These painters were part of a new movement, in a time of social unrest, which shocked America, in 1963, he turned increasingly to figure painting, wooden and rigid, with each detail sharply emphasized. In 1964, he made his first prints at Crown Point Press, in 1967, his work was shown at the Biennale Internationale. Wayne Thiebaud has been married twice, with his first wife, Patricia Patterson, he produced two children, one of whom is the model and writer Twinka Thiebaud
Wayne Thiebaud
–
Three Machines, 1963,
De Young Museum,
San Francisco
24.
Whitney Museum
–
The Whitney Museum of American Art – known informally as the Whitney – is an art museum located in Manhattan. It was founded in 1931 by Gertrude Vanderbilt Whitney, a wealthy and prominent American socialite, the Whitney focuses on 20th- and 21st-century American art. Its permanent collection more than 21,000 paintings, sculptures, drawings, prints, photographs, films, videos. The museums Annual and Biennial exhibitions have long been a venue for younger, from 1966 to 2014, the Whitney was located at 945 Madison Avenue at East 75th Street in Manhattans Upper East Side. Gertrude Vanderbilt Whitney, the namesake and founder, was herself a well-regarded sculptor as well as a serious art collector. With the aid of her assistant, Juliana R. Force, in 1929, she offered to donate over 500 works of art to the Metropolitan Museum of Art, but the museum declined the gift. This, along with the apparent preference for European modernism at the recently opened Museum of Modern Art, led Whitney to start her own museum, exclusively for American art, in 1929. Force became the first director of the museum, and under her guidance, in 1954, the museum left its original location and moved to a small structure on 54th Street connected to and behind the Museum of Modern Art on 53rd Street. On April 15,1958, a fire on the floor of MOMA that killed one person forced the evacuation of paintings. Among the paintings moved in the evacuation was A Sunday Afternoon on the Island of La Grande Jatte which had been on loan from the Art Institute of Chicago, in 1961, the museum began seeking a site for a larger building. The Whitney settled in 1966 at the southeast corner of Madison Avenue at 75th Street in Manhattans Upper East Side, in 1967, Mauricio Lasansky showed The Nazi Drawings. The exhibition traveled to the Whitney Museum of American Art in New York, the institution grappled with space problems for decades. From 1973 to 1983 the Whitney operated its first branch at 55 Water Street, in 1983 Philip Morris installed a Whitney branch in the lobby of its Park Avenue headquarters. In 1981 the museum opened a space in Stamford, Connecticut. Each museum had its own director, and all plans were to be approved by a Whitney committee, but each time the effort was abandoned, either because of the cost or the design or both. In order to secure space for the museums collections, then-director Thomas N. Armstrong III developed plans for a 10-story. The proposed addition, designed by Michael Graves and announced in 1985, Graves had proposed demolishing the flanking brownstones down to the East 74th Street corner for a complementary addition. After the project gradually lost the support of many of the museum’s trustees, between 1995 and 1998, the building underwent a renovation and addition by Richard Gluckman
Whitney Museum
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Gansevoort Street location under construction, late 2014
Whitney Museum
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The Whitney's original location, at 8–12
West 8th Street, between
Fifth Avenue and
MacDougal Street in
Greenwich Village
Whitney Museum
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The Whitney Museum of American Art's former (1966-2014) home on Madison Avenue. The
Marcel Breuer -designed building will be leased by the
Metropolitan Museum of Art beginning in 2015.
Whitney Museum
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Gansevoort Street location under construction, 2014
25.
Ellsworth Kelly
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Ellsworth Kelly was an American painter, sculptor, and printmaker associated with hard-edge painting, Color Field painting and minimalism. His works demonstrate unassuming techniques emphasizing simplicity of form, similar to the work of John McLaughlin and he lived and worked in Spencertown, New York. Kelly was born the son of three to Allan Howe Kelly and Florence Bithens Kelly in Newburgh, New York, approximately 60 miles north of New York City. His father was a company executive of Scots-Irish and German descent. His mother was a schoolteacher of Welsh and Pennsylvania-German stock. His family moved from Newburgh to Oradell, New Jersey, a town of nearly 7,500 people and his family lived near the Oradell Reservoir, where his paternal grandmother introduced him to ornithology when he was eight or nine years old. There he developed his passion for form and color, John James Audubon had a particularly strong influence on Kellys work throughout his career. Kelly has said he was alone as a young boy. He had a stutter that persisted into his teenage years. Kelly attended public school, where art classes stressed materials and sought to develop the artistic imagination, although his parents were reluctant to support Kellys art training, a school teacher encouraged him to go further. As his parents would pay only for training, Kelly studied first at Pratt Institute in Brooklyn. Upon entering U. S military service in 1943 Kelly requested to be assigned to the 603rd Engineers Camouflage Battalion and he was inducted at Fort Dix, New Jersey and sent to Camp Hale, Colorado, where he trained with mountain ski troops. Six to eight weeks later, he was transferred to Fort Meade, during World War II, he served with other artists and designers in a deception unit known as The Ghost Army. The Ghost soldiers used inflatable tanks, trucks, and other elements of subterfuge to mislead the Axis forces about the direction and disposition of Allied forces and his exposure to military camouflage during the time he served became part of his basic art training. Kelly served with the unit from 1943 until the end of the European phase of the war. Bill to study from 1946-47 at the School of the Museum of Fine Arts, Boston, where he took advantage of the museums collections, while in Paris Kelly established his aesthetic. There in the City of Lights he attended classes infrequently, and he had heard a lecture by Max Beckmann on the French artist Paul Cézanne in 1948 and moved to Paris that year. The experience of visiting artists such as Alberto Magnelli, Francis Picabia, Alberto Giacometti, after being abroad for six years, Kelly decided to return to America in 1954
Ellsworth Kelly
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Ellsworth Kelly arrives at LACMA’s gala opening of the Broad Contemporary Art Museum on February 9, 2008 in Los Angeles
Ellsworth Kelly
–
Ellsworth Kelly, The Meschers, 1951, oil on canvas, 59 x 59 inches,
Museum of Modern Art. Kelly was a pioneer of
hard-edge painting in the 1940s and 1950s
Ellsworth Kelly
–
White Curves (2002), made of white aluminium, in the garden of the
Fondation Beyeler in
Riehen, Switzerland
26.
Robert Rauschenberg
–
Milton Ernest Robert Rauschenberg was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his Combines of the 1950s, in which non-traditional materials, Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993 and he became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking. Rauschenberg lived and worked in New York City as well as on Captiva Island, Rauschenberg was born as Milton Ernest Rauschenberg in Port Arthur, Texas, the son of Dora Carolina and Ernest R. Rauschenberg. His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent, at 16, Rauschenberg was admitted to the University of Texas where he began studying pharmacy. He was drafted into the United States Navy in 1943, based in California, he served as a mental hospital technician until his discharge in 1945. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, in 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina. Josef Albers, a founder of the Bauhaus, became Rauschenbergs painting instructor at Black Mountain, Albers preliminary courses relied on strict discipline that did not allow for any uninfluenced experimentation. Rauschenberg described Albers as influencing him to do exactly the reverse of what he was being taught, from 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York, where he met fellow artists Knox Martin and Cy Twombly. Rauschenberg married Susan Weil in the summer of 1950 at the Weil family home in Outer Island and their only child, Christopher, was born July 16,1951. The two separated in June 1952 and divorced in 1953, according to a 1987 oral history by the composer Morton Feldman, after the end of his marriage, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns. An article by Jonathan D. Katz states that Rauschenbergs affair with Twombly began during his marriage to Susan Weil, Rauschenberg died on May 12,2008, on Captiva Island, Florida. He died of heart failure after a decision to go off life support. Rauschenberg is survived by his partner of 25 years, artist Darryl Pottorf, Rauschenberg is also survived by his son, photographer Christopher Rauschenberg, and his sister, Janet Begneaud. Rauschenbergs approach was sometimes called Neo Dadaist, a label he shared with the painter Jasper Johns, at the same time, Johns paintings of numerals, flags, and the like, were reprising Duchamps message of the role of the observer in creating arts meaning. Alternatively, in 1961, Rauschenberg took a step in what could be considered the direction by championing the role of creator in creating arts meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, Rauschenbergs submission consisted of a telegram sent to the gallery declaring This is a portrait of Iris Clert if I say so. From the fall of 1952 to the spring of 1953 Rauschenberg traveled through Europe and North Africa with his fellow artist, in Morocco, he created collages and boxes out of trash
Robert Rauschenberg
–
Robert Rauschenberg (1968)
Robert Rauschenberg
–
Canyon (1959)
Robert Rauschenberg
–
Robert Rauschenberg, Riding Bikes,
Berlin, Germany, 1998.
Robert Rauschenberg
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Robert Rauschenberg, untitled "combine," 1963.
27.
Piet Mondrian
–
Pieter Cornelis Piet Mondriaan, after 1906 Mondrian, was a Dutch painter. Mondrian was a contributor to the De Stijl art movement and group and he evolved a non-representational form which he termed neoplasticism. This consisted of ground, upon which he painted a grid of vertical and horizontal black lines. Mondrians arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change and he encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an a from the Dutch spelling of his name. Mondrian was born in Amersfoort in the Netherlands, the second of his parents children and he was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk in the east of the country when his father, Pieter Cornelius Mondriaan, was appointed Head Teacher at a primary school. Mondrian was introduced to art from a early age. His father was a drawing teacher, and, with his uncle, Fritz Mondriaan. After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam and he already was qualified as a teacher. He began his career as a teacher in primary education, most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These paintings are most definitely representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism, on display in the Gemeentemuseum Den Haag are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening, depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors. Mondrians earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of trees and houses reflected in still water. Mondrians art was related to his spiritual and philosophical studies. In 1908, he interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. The work of Blavatsky and a spiritual movement, Rudolf Steiners Anthroposophy. In 1918, he wrote I got everything from the Secret Doctrine, in 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was the art of the foreseeable future for all true Anthroposophists and Theosophists. He remained a committed Theosophist in subsequent years, although he believed that his own artistic current, neoplasticism, would eventually become part of a larger
Piet Mondrian
–
Mondrian in 1899
Piet Mondrian
–
Mondrian's birthplace in
Amersfoort, Netherlands, now
The Mondriaan House, a museum
Piet Mondrian
–
In this house, now the Villa Mondriaan, in
Winterswijk, Piet Mondrian lived from 1880 to 1892
Piet Mondrian
–
Willow Grove: Impression of Light and Shadow, c. 1905, oil on canvas, 35 × 45 cm,
Dallas Museum of Art
28.
Marcel Duchamp
–
Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
Marcel Duchamp
–
Portrait of Marcel Duchamp, 1920-21, by
Man Ray, Yale University Art Gallery
Marcel Duchamp
Marcel Duchamp
–
Three Duchamp brothers, left to right: Marcel Duchamp,
Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Marcel Duchamp
29.
Fountain (Duchamp)
–
Fountain is a 1917 work produced by Marcel Duchamp. The piece was a urinal, which was signed R. Mutt. Fountain was displayed and photographed at Alfred Stieglitzs studio, and the published in The Blind Man. The work is regarded by art historians and theorists of the avant-garde, such as Peter Bürger,17 replicas commissioned by Duchamp in the 1960s now exist. Marcel Duchamp arrived in the United States less than two prior to the creation of Fountain and had become involved with Dada, an anti-rational, anti-art cultural movement. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it to a position 90 degrees from its position of use. According to another version, Duchamp did not create Fountain, at the time Duchamp was a board member of the Society of Independent Artists. After much debate by the members about whether the piece was or was not art. Duchamp resigned from the Board in protest and he took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object. In defense of the work being art, Wood also wrote, The only works of art America has given are her plumbing, Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation. Menno Hubregtse argues that Duchamp may have chosen Fountain as a readymade because it parodied Robert J. Coadys exaltation of industrial machines as pure forms of American art. Coady, who championed his call for American art in his publication The Soil, Hubregtse notes that Duchamps urinal may have been a clever response to Coadys comparison of Crottis sculpture with the absolute expression of a—plumber. Shortly after its exhibition, Fountain was lost. According to Duchamp biographer Calvin Tomkins, the best guess is that it was out as rubbish by Stieglitz. The edition of eight was manufactured from glazed earthenware painted to resemble the original porcelain, the artwork is not a special object—it was mass-produced in a factory. The experience of art is not exciting and ennobling—at best it is puzzling, but over and above that, Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear, Art is something you piss on, since the photograph taken by Stieglitz is the only image of the original sculpture, there are some interpretations of Fountain by looking not only at reproductions but this particular photograph. The use of the word Dada for the art movement, the meaning and it is not clear whether Duchamp or Freytag-Lorinhoven had in mind the German Armut, or possibly Urmutter
Fountain (Duchamp)
–
The original Fountain by
Marcel Duchamp photographed by
Alfred Stieglitz at the
291 (Art Gallery) after the 1917
Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by
Marsden Hartley to photograph the urinal. The entry tag is clearly visible.
Fountain (Duchamp)
–
'Fountain' replica,
Scottish National Gallery of Modern Art.
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