name	The Phillips Collection
established	1921
location	Dupont Circle, Washington, D.C., USA
type	Art museum
director	Dorothy M. Kosinski (since 2008)
website	http://www.phillipscollection.org/ }}

The Phillips Collection is an art museum founded by Duncan Phillips in 1921 as the Phillips Memorial Gallery located in the Dupont Circle neighborhood of Washington, D.C. Phillips was the grandson of James H. Laughlin, a banker and co-founder of the Jones and Laughlin Steel Company.

Among the artists represented in the collection are Pierre-Auguste Renoir, Gustave Courbet, El Greco, Vincent van Gogh, Henri Matisse, Claude Monet, Pablo Picasso, Georges Braque, Pierre Bonnard, Paul Klee, Arthur Dove, Winslow Homer, James McNeill Whistler, Jacob Lawrence, Augustus Vincent Tack, Georgia O'Keeffe, and Mark Rothko.

History

Duncan Phillips (1886–1966) played a seminal role in introducing America to modern art. Born in Pittsburgh—the grandson of James Laughlin, a banker and co-founder of the Jones and Laughlin Steel Company — Phillips and his family moved to Washington, D.C. in 1895. He, along with his mother, established The Phillips Memorial Gallery after the sudden, untimely deaths of his father, Duncan Clinch Phillips (1838 – 1917), a Pittsburgh window glass millionaire, and brother, James Laughlin Phillips (May 30, 1884 - 1918).

Beginning with a small family collection of paintings, Phillips, a published art critic, expanded the collection dramatically. A specially built room over the north wing of the family home provided a public gallery space. With the collection exceeding 600 works and facing public demand, the Phillips family moved to a new home in 1930, turning the entire 21st Street residence into an art museum.

Duncan Phillips married painter Marjorie Acker in 1921. With her assistance and advice, Phillips developed his collection "as a museum of modern art and its sources," believing strongly in the continuum of artists influencing their successors through the centuries. His focus on the continuous tradition of art was revolutionary at a time when America was largely critical of modernism, which was seen as a break with the past. Phillips collected works by masters such as El Greco, calling him the "first impassioned expressionist"; Jean-Baptiste-Siméon Chardin because he was "the first modern painter"; Francisco Goya because he was "the stepping stone between the Old Masters and the Great Moderns like Cézanne"; and Edouard Manet, a "significant link in a chain which began with Goya and which [led] to Gauguin and Matisse."

The Collection

The Phillips Collection, opened in 1921, is America’s first museum of modern art. Featuring a permanent collection of nearly 3,000 works by American and European impressionist and modern artists, the Phillips is recognized for both its art and its intimate atmosphere. It is housed in founder Duncan Phillips’ 1897 Georgian Revival home and two similarly scaled additions in Washington, D.C.’s Dupont Circle neighborhood.

The museum is noted for its broad representation of both impressionist and modern paintings, with works by European masters such as Gustave Courbet, Pierre Bonnard, Georges Braque, Jacques Villon, Paul Cézanne, Honoré Daumier, Edgar Degas, Vincent van Gogh, Paul Klee, Henri Matisse, Claude Monet, and Pablo Picasso. In 1923, Phillips purchased Pierre-Auguste Renoir's impressionist painting, ''Luncheon of the Boating Party'' (1880–81), the museum’s best-known work.

From the 1920s to the 1960s, Phillips would re-hang his galleries in installations that were non-chronological and non-traditional, reflecting the relationships he saw between various artistic expressions. He presented visual connections—between past and present, between classical form and romantic expression—as dialogues on the walls of the museum. Giving equal focus to American and European artists, Phillips juxtaposed works by Winslow Homer, Thomas Eakins, Maurice Prendergast, James Abbott McNeill Whistler, and Albert Pinkham Ryder with canvases by Pierre Bonnard, Peter Ilsted and Edouard Vuillard. He exhibited watercolors by John Marin with paintings by Cézanne, and works by van Gogh with El Greco’s ''The Repentant St. Peter'' (circa 1600–05). Phillips’ vision brought together "congenial spirits among the artists," and his ideas still guide the museum today.

The Phillips Collection is also known for its groups of works by artists who Phillips particularly favored. For example, he was overwhelmed by Bonnard’s expressive use of color, acquiring 17 paintings by the artist. Cubist pioneer Braque is represented by 13 paintings, including the monumental still-life ''The Round Table'' (1929). The collection has an equal number of works by Klee, such as ''Arab Song'' (1932) and ''Picture Album'' (1937), as well as seven pieces by abstract expressionist artist Mark Rothko. The Rothko Room, the first public space dedicated solely to the artist’s work, was designed by Phillips in keeping with Rothko’s expressed preference for exhibiting his large, luminous paintings in a small, intimate space, saturating the room with color and sensation. Throughout his lifetime, Phillips acquired paintings by many artists who were not fully recognized at the time, among them John Marin, Georgia O'Keeffe, Arthur Dove, Nicolas de Staël, Milton Avery and Augustus Vincent Tack. By purchasing works by such promising but unknown artists, Phillips provided them with the means to continue painting. He formed close bonds with and subsidized several artists who are prominently featured in the collection—Dove and Marin in particular—and consistently purchased works by artists and students for what he called his "encouragement collection." The museum also served as a visual haven for artists such as Richard Diebenkorn, Gene Davis, and Kenneth Noland. In a 1982 tribute to the museum, Noland acknowledged, "I’ve spent many hours of many days in this home of art. You can be with art in the Phillips as in no other place I know."

Building

The Phillips Collection is housed in a distinctive space in Washington's Dupont Circle neighborhood. From the beginning, Duncan Phillips exhibited his collection in special galleries at his home. A Georgian Revival house dating to 1897, the Phillips house now forms the southern section of the museum building.

Over time, the building was adapted to include more galleries and offices, particularly after the Phillips family moved out in 1930. In 1960, Phillips added a modernist wing. This addition was renovated and reconceived in 1989 with the aid of a $1.5 million gift from Japanese businessman Yasuhiro Goh. The addition, now known as the Goh Annex, is named in his honor.

2006 Renovation and Expansion Project

To accommodate its ever-growing collection of art, audiences, and activities, the Phillips completed a major building project in April 2006. With 65 percent of the added located below ground, the expansion preserves the intimate scale and residential quality that distinguishes The Phillips Collection, as well as respects the character of the Dupont Circle neighborhood. The new spaces, known as the Sant Building, incorporate expanded galleries, among them the first to accommodate larger-scale post-1950s work; a 180-seat auditorium for lectures, films, and events; an outdoor courtyard; and a new shop and café. The architect for the new building was Arthur Cotton Moore. Two of the most notable elements of the new structure are the winding white interior staircase and the external sculptural stone relief of a bird relating to Georges Braque's painting ''Bird'' from the museum's collection.

Center for the Study of Modern Art

The 2006 addition also made possible The Phillips Collection Center for the Study of Modern Art, a new museum-based educational model that brings together scholars from across academic fields in an ongoing forum for discussion, research, and publishing on modern art. This two-story building, formerly the carriage house, is the site of the lively programs and classes on modern and contemporary art and artists. A gathering place for scholars, artists, and the public, the Center presents lectures, seminars, and symposia, as well as informational conversations with artists. Through partnership with The George Washington University, the Center offers graduate and undergraduate level courses and programs.

Events and Programs

The Phillips Collection is deeply committed to offering lively programming for adults and children. From concerts to lectures to gallery talks, public programs are an integral part of the Phillips experience.

Education

Since the museum’s early years, when art classes were held on the third floor of the house, significant attention has been given to educational outreach. Today, the museum features an active schedule of lectures, gallery talks, classes, parent/child workshops, and teacher training programs. It also reaches out to the community through initiatives such as Art Links to Literacy, combining programs for underserved students at District of Columbia Public Schools and their parents and caregivers with professional development for their teachers. These and other ventures are facilitated by new exhibition spaces for student art, an art activity room for hands-on education projects, and an art technology lab for developing interactive resources based on the museum’s educational programs.

Programs

Phillips After 5 combines live jazz, gallery talks, modern art, and a cash bar on the first Thursday of every month from 5 to 8:30 pm.

Sunday Concerts, founded in 1941, offer classical chamber music in the intimacy of the museum's oak-paneled Music Room. The concerts have featured ensembles and soloists ranging from Glenn Gould, Jessye Norman, Jean-Yves Thibaudet, and Emmanuel Ax to some of the most talented young musicians performing today. Sunday Concerts are held from October through May. They begin promptly at 4 pm.

In December 2009, The Pink Line Project put together a multimedia evening called "Art is _____." Thought-DJs We Are Science! were invited to remix the definition of art, using Duncan Phillips's writings as source material. Guests were able to send text messages to a computer engineer who projected them onto a wall, creating a group art project.

Directors

When Duncan Phillips died in 1966, his wife Marjorie succeeded him as museum director. Their son, Laughlin, became director in 1972. He led The Phillips Collection through a multi-year program to ensure the physical and financial security of the collection, renovate and enlarge the museum buildings, expand and professionalize the staff, conduct research on the collection, and make the Phillips more accessible to the public. In 1992, Charles S. Moffett, a noted author and curator, was named director. Moffett was directly involved with the presentation of several ambitious exhibitions during his six-year tenure, including the memorable "Impressionists on the Seine: A Celebration of Renoir’s ''Luncheon of the Boating Party''" in 1996.

Jay Gates became director in 1998. Under his leadership, The Phillips Collection continued to grow and broaden its presence in Washington, D.C., across the country, and internationally. Dorothy M. Kosinski, previously a curator at the Dallas Museum of Art, took over as director in May 2008.

List of Directors

Dorothy Kosinski (2008–present)

Jay Gates (1998–2008)

Charles Moffett (1992–1998)

Laughlin Phillips (1972–1992), son of Duncan and Marjorie Phillips

Marjorie Acker (1966–1972), artist and wife of Duncan Phillips

Duncan Phillips (1921–1966), founder

Selected highlights

References

External links

Phillips Collection website

* American art in the collection

* Artist biographies

The Annex in the Washington Post

Category:Members of the Cultural Alliance of Greater Washington Category:American art collectors Category:Former private collections Category:Georgian Revival architecture in Washington, D.C. Category:Biographical museums in Washington, D.C. Category:Art museums in Washington, D.C. Category:Museums established in 1921 Category:Dupont Circle Category:1921 establishments in the United States

de:Phillips Collection es:Colección Phillips fr:The Phillips Collection it:Phillips Collection hu:Phillips Collection

William Grosvenor Congdon (April 15, 1912, Providence, Rhode Island – April 15, 1998, Milan) gained notoriety as an artist in New York City in the 1940s, but lived most of his life in Europe. In 2001, ''The Sabbath of History'', a book combining his works and the words of the future Pope Benedict XVI was published.

Biography

Congdon, William William Grosvenor Congdon was born April 15, 1912 in Providence, Rhode Island into a socially prominent family of New England industrialists.

After graduating from St. Mark's School, in 1930 he enrolled at Yale University where he received a B.A. in English in 1934. For four years he studied to become a sculptor in Philadelphia and Boston at one point under the guidance of George Demetrios.

With the U.S. entry into war, Congdon enlisted in the American Field Service and was attached to the British Eighth Army, going through battlefields in Egypt, Libya, Italy and Germany. It was in Germany where he participated in the liberation of the concentration camp Bergen Belsen; he was one of the first Americans to enter the camp and he made drawings which were later reproduced in a book.

After the war, Congdon returned to New York and began to paint, a change in medium for him; his methods were those of the emerging school of Abstract Expressionism such as Jackson Pollock, Willem De Kooning, Franz Kline and Mark Rothko.

In 1948 he moved back to Italy, ultimately settling in Milan after brief sojourns in Rome, Venice and Assisi. His first New York exhibition was in 1949, at the Betty Parsons Gallery; it sold out. He continued to exhibit with the Parsons Gallery until 1962.

It was during the 1950s in Europe, that his name began to become known and his landscapes deemed a success by critics who recognized his talent; many compared his views with those of J.M.W. Turner. He travelled widely, seeking inspiration for his landscapes to such varied places as Greece, Turkey, France, India and Ceylon.

In 1959, he converted to Catholicism in Assisi and he embarked upon a series of paintings using Old and New Testament themes. In 1964 he attended the Eucharistic Congress in Bombay, traveling there with Pope Paul VI. After the late 1960s, his landscape painting style became increasingly abstract.

In the 1970s he resumed his travels through India, America and the Near East, until he moved in 1979 to Cascinazza (Buccinasco) Benedictine monastery located in the lower Lombard, where he spent his last years, dying of a heart attack on the 15 April 1998; his 86th birthday. His paintings are in many collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Peggy Guggenheim Museum in Venice and the Benedictine Monastery in Subiaco, Italy.

Paintings :

''Naples Afternoon'' at the Museum of Fine Arts, Boston

''Canal '' at the The Phillips Collection

''Venice '' at the The Phillips Collection

''Destroyed City '' at the Addison Gallery

''Positano '' at the Addison Gallery

''Positano#1 '' at the Yale University Art Gallery

''Piazza San Marco '' at the Yale University Art Gallery

''Italian Moon '' at the Yale University Art Gallery

''Athens '' at the Moma

''Eiffel Tower #1, 1955 '' at the Memorial Art Gallery

''Piazza San Marco '' at the Kettle's Yard

''Guatemala #7 '' at the Kettle's Yard

''Canal from Giudecca '' at the Kettle's Yard

''Indian Temple '' at the Kettle's Yard

''Indian Temple 2 '' at the Kettle's Yard

''Moon Night Subiaco '' at the Kettle's Yard

''Moon Night Subiaco 2 '' at the Kettle's Yard

What People write about him:

Clement Greenberg: ''" Congdon’s subjects are just urban views and buildings and he, following Klee, does not scorn the monotony of their structure. But if the structure is monotonous, the effect is not so. This repetitive all-over composition, without beginning or end, has previously appeared in analytical cubism and more recently in the work of painters like Mark Tobey, Jackson Pollock, and Janet Sobel [...] I am anxious to see what Congdon will do now. My impression is that he is only at the start of the evolution that will decide who he is as a painter. "''

Peggy Guggenheim: ''"‘William Congdon is the only painter since Turner, who has understood Venice, its mystery, its poetry and its passion. He has a modern way of expressing himself, but his insight is as old as the city itself. He has been able to gather up the emotional essence of many centuries and has melted this vision into such a fantastic and beautiful dream that his paintings leave one breathless […] They are made of lava; they are blazing; they palpitate with the life and passion of all the Venetians who have long since gone to their final resting places." ''

Jacques Maritain : '' "When I met William Congdon in Paris, what most struck me about him was a strangely deep douceur, a defenseless candor, a vulnerability to any spiritual arrow, either the arrows of the distress of this world and of that beauty which wounds the senses, or the arrows of the supramundane shores. With him, as with Rouault… I felt that astonishing resemblance between the man and the work which is characteristic of genuinely great artists." ''

Mazzariol Giuseppe: '' "The story of a character of extraordinary opportunities, encounters and destiny is fascinating and in telling it the story itself, of a life intensely suffered and expressed, will necessarily affect us and convey to us moments of poetry, adventure, enlightenment and invention […] However […] it would be negligence to tell his story before that of his work as a painter, if only because his commitment to painting can be identified with his commitment to life and the forms of his painting themselves contain entire, true and direct, the charge of his existence." ''

Giulio Carlo Argan : '' "I believe Congdon has moved in the opposite direction to that of Gorky. He wanted to translate into our fundamentally – even pathetically - naturalistic European language, the anger of his original rebellion against the uniformity, the regularity, that brand of compulsory optimism which was imposed upon the American society. […] his contact with Europe, his way of communicating with the humanism of a suffering and moribund Europe, was not only an act of intellectual piety […] but also an opening toward the future. It was the sun at the end of a tunnel." ''

Testori Giovanni: ''" In Congdon’s Lombardy paintings there is the ability to close and open the liturgical sense and sound of life. […] And these paintings – for we are talking about painting – are “Longobard” also because they have the magnificence of those ancient jewels: their beauty is such that words should be switched off and one should linger in front of it, and learn from that tight, splendid, secret language of that unexpected and powerful goldsmith of our times that is the last Congdon" ''

Selz Peter: ''" Quite distant in space as well as in his mind, from the changing styles of the art world, he pursued his search and worked in a highly personal style. His recent paintings are no longer fields of action. Stripped of external appearances, Congdon’s paintings are now concise and silent representations whose sensuous surfaces cloak a transcendent presence." ''

Licht Fred: ''" The city as an expression of the totality of human aspirations and illusions, will be […] central to his art. […], the war revealed community and individual to have no protective shell. The ruins bore the whole spiritual, political, and biological history of the human race. The architectural motif, […] the ‘shell’ that humanity has built as a physical and spiritual refuge reveals itself not just as a protective wrapping […] , but also as a symbol of dignity and mystery." ''

Barbieri Giuseppe : "''Congdon knew how to ensure that each painting, actually each draft sketch, had an independent irreversible place of “birth”. His paintings are born, as he obsessively repeats, not created. The images are the result of a creatural, not creative, dimension of the artistic act." ''

Cacciari Massimo : '' "William Congdon […] can be properly understood only by reference to the theory and experience of the icon […] because the series of his crucifixes are icons, reversed icons on a black base and not on a gold base like the icons from the East. […] The oriental icon has always been one of triumph, of victory, a promise of a celestial Jerusalem. In contrast, Congdon’s icons start from black and one can feel it, the black table on the background: from the culmination of the kénosis, from the crucifixion itself, one draws out the color." ''

Museum Reference:

Andover MA., Addison Gallery OF AMERICAN ART

Atlanta GA, THE TEMPLE- HEBREW BENEVOLENT CONGREGATION.

Boston MA, Museum of Fine Arts.

Bristol RI, BRISTOL MUSEUM.

Cedar Falls IA, UNIVERSITY OF NORTHERN IOWA, LIBRARY.

Cleveland OH, CLEVELAND MUSEUM OF ART.

Detroit MI, Detroite Institute OF THE ARTS.

Hartford CT, Wadsworth Atheneum.

New Haven CT, YALE UNIVERSITY ART GALLERY.

Kansas City MO, COLLECTION HALLMARK CARDS INC.

Louisville KY, Speed Art Museum OF ART.

Metropolitan Museum OF ART.

Museum of Modern ArtMoMa.

Whitney museum of modern Art.

Memphis TN, MEMPHIS BROOKS MUSEUM OF ART.

New Brunswick NJ, JANE-VOORHEES-ZIMMERLI ART MUSEUM.

Pittsburgh PA, MUSEUM OF THE CARNEGIE INSTITUTE.

Portsmouth RI, PORTSMOUTH PRIORY.

RHODE ISLAND SCHOOL of DESIGN.

MUSEUM OF ART, R. I. S. D.

PROVIDENCE COLLEGE.

Rochester NY, Memorial Art Gallery.

Santa Barbara CA, SANTA BARBARA MUSEUM OF ART.

South Bend IN, THE SNITE MUSEUM, UNIVERSITY OF NOTRE DAME.

Southborough MA, ST. MARK’S COLLEGE PREPARATORY SCHOOL.

St. Louis MO, ST. LOUIS ART MUSEUM.

Syracuse NY, SYRACUSE UNIVERSITY ART COLLECTION, SIMS HALL.

Toledo OH, Toledo Museum.

Tulsa OK, Philbrook museum of Art.

Urbana-Champaign IL, KRANNERT ART MUSEUM.

Utica NY, MUNSON-WILLIAMS-PROCTOR INSTITUTE.

Phillips Collection (MODERN ART GAL.)

SMITHSONIAN: NATIONAL COLLECTION.

Assisi, Pro Civitate Christiana, Galleria D’Arte Moderna.

Cambridge, England, KETTLE’S YARD COLLECTION (University of Cambridge).

Rome, Italy: MINISTERO DELL’INDUSTRIA DEL COMMERCIO E DEL ARTIGIANATO.

CENTRO STUDI LAZIO.

COLLEZIONE VATICANA D’ARTE RELIGIOSA MODERNA.

Venice, Italy: THE Peggy Guggenheim COLLECTION.

Venezia MUSEO D’ARTE MODERNA.

Viterbo, Italy MUSEO D’ARTE MODERNA.

Category:1912 births Category:1998 deaths Category:Abstract painting Category:Action painting Categoty:Peggy Guggenheim

es:William Congdon it:William Congdon

bgcolour	#6495ED
name	Robert Ryman
birth date	May 30, 1930
nationality	American
field	Painting, Conceptual art
influenced by	Mark Rothko, Willem de Kooning, John McLaughlin, Clyfford Still, Jackson Pollock and Barnett Newman
awards	}}

Robert Ryman (born May 30, 1930) is an American painter identified with the movements of monochrome painting, minimalism, and conceptual art. He is best known for abstract, white-on-white paintings. He lives and works in New York.

Early life and career

Ryman was born in Nashville, Tennessee. After studying at the Tennessee Polytechnical Institute, Cookeville, between 1948 and 1949, and at the George Peabody College for Teachers between 1949 and 1950, Ryman enlisted in the United States army reserve corps and was assigned to an army reserve band during the Korean War. Ryman moved to New York City in 1953, intending to become a professional jazz saxophonist. He soon took a day job at the Museum of Modern Art as a security guard to make ends meet, and met the artists Sol LeWitt and Dan Flavin, who were co-workers with him at MoMA. He also met artist Roy Lichtenstein during this period of the 1950s.

Captivated by the newly acquired abstract expressionist works of Mark Rothko, Willem de Kooning, Clyfford Still, Jackson Pollock and Barnett Newman, Ryman became curious about the act of painting. He purchased some art supplies at local store and began experimenting in his apartment in 1955. That year, Ryman finished what he considers his earliest professional work, a largely monochrome painting titled ''Untitled (Orange Painting)'' (1955–59).

Ryman had a close relationship with the late conservator Orrin Riley, who would frequently give him advice on archival materials, many times testing the acidity of media the artist was interested in using. He has been interviewed by the television writer and producer Barbaralee Diamonstein twice. Once for the book and video production "Inside New York's Art World" in 1979 and again for "Inside the Art World" in 1993.

In 1961 the artist married art historian Lucy Lippard. They had a son together, Ethan Ryman, in 1964, who was a sound engineer and recently began making art. This marriage ended in divorce. He later married artist Merrill Wagner. Robert Ryman's sons, Cordy Ryman and Will Ryman are also artists and currently work in New York City.

Robert Ryman is represented by Pace Gallery in New York.

Work

Ryman is often classified as a minimalist, but he prefers to be known as a "realist" because he is not interested in creating illusions, but only in presenting the materials he has used in compositions at their face value. The majority of his works feature abstract expressionist-influenced brushwork in white or off-white paint on square canvas or metal surfaces. A lifelong experimenter with media, Ryman has painted and/or drawn on canvas, linen, steel, aluminum, plexiglas, lumasite, vinyl, fiberglass, corrugated paper, burlap, newsprint, wallpaper, jute sacking, fiberplate, gatorboard, feather board, handmade paper, and acrilivin. He has used painted and/or drawn with oil, acrylic, encaustic, Lascaux acrylic, casein, enamel, pastel, oil pastel, graphite, guache, and enamelac. Ryman has also experimented with printmaking, creating etchings, aquatints, lithographs, and silkscreens. His most famous quote is "There is never any question of ''what'' to paint only ''how'' to paint."

From 1975 until the late 1990s, Ryman affixed his paintings to the wall with metal brackets. He would design each set of brackets specifically for each piece and have them constructed by a local metals fabricator.

In 2009 he participated in the art project ''Find Me'', by Gema Alava, in company of artists Lawrence Weiner, Merrill Wagner and Paul Kos.

He has stated that his paintings' titles are meaningless, and that they only exist as a form of identification. Ryman actually prefers the term of "name" for a painting instead of a title because he is not creating a picture or making reference to anything except the paint and the materials. The "names" of paintings often come from the names of art supplies, companies, or are just general words that do not carry much connotation.

Exhibitions

Ryman had his first one man show at Paul Bianchini's gallery in 1967 at the age of 36. Two years later, Ryman was included in ''When Attitudes Become Form'', a seminal exhibition of works by Minimalist and Conceptual artists organized by the Kunsthalle Bern. His first one man show at a museum was in 1971 at the Guggenheim Museum in New York City. In the summer of 1972, Ryman was included in Documenta in Kassel. In 1992, a major touring retrospective of Ryman's paintings was mounted by the Museum of Modern Art and the Tate Gallery, including venues such as the Museo Nacional Centro de Arte Reina Sofia in Madrid, the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis. He has been a member of the American Academy of Arts and Letters since 1994. The Hallen für Neue Kunst, a contemporary art museum in Schaffhausen, Switzerland has the largest public collection of Ryman's work, permanently exhibiting 29 pieces created from 1959 to 2007.

Recognition

In 2005, Ryman was awarded the Praemium Imperiale.

References

External links

The Pace Gallery

Biography, interviews, essays, artwork images and video clips from PBS series ''Art:21 -- Art in the Twenty-First Century'' - Season 4 (2007).

Robert Ryman - the Guggenheim Museum

Robert Ryman at Xavier Hufkens, Brussels

Category:1930 births Category:Living people Category:Contemporary painters Category:American painters Category:American printmakers Category:Members of the American Academy of Arts and Letters Category:People from Nashville, Tennessee Category:Artists from Tennessee Category:Security guards

de:Robert Ryman es:Robert Ryman fr:Robert Ryman it:Robert Ryman ja:ロバート・ライマン ru:Риман, Роберт

bgcolour	#6495ED
name	Man Ray
birth name	Emmanuel Radnitzky
birth date	August 27, 1890
birth place	Philadelphia, Pennsylvania, United States
death date	November 18, 1976
death place	Paris, France
nationality	American
field	Painting, Photography, Assemblage, Collage, Film
movement	Surrealism, Dadaism
awards	}}

Man Ray (August 27, 1890 – November 18, 1976), born Emmanuel Radnitzky, was an American artist who spent most of his career in Paris, France. Perhaps best described simply as a modernist, he was a significant contributor to both the Dada and Surrealist movements, although his ties to each were informal. Best known in the art world for his avant-garde photography, Man Ray produced major works in a variety of media and considered himself a painter above all. He was also a renowned fashion and portrait photographer. He is noted for his photograms, which he renamed "rayographs" after himself.

While appreciation for Man Ray's work beyond his fashion and portrait photography was slow in coming during his lifetime, especially in his native United States, his reputation has grown steadily in the decades since.

In 1999, ARTnews magazine named him one of the 25 most influential artists of the 20th century, citing his groundbreaking photography as well as "his explorations of film, painting, sculpture, collage, assemblage, and prototypes of what would eventually be called performance art and conceptual art" and saying "Man Ray offered artists in all media an example of a creative intelligence that, in its 'pursuit of pleasure and liberty,'"—Man Ray's stated guiding principles—"unlocked every door it came to and walked freely where it would."

Life and career

Background and early life

From the time he began attracting attention as an artist until his death more than sixty years later, Man Ray allowed little of his early life or family background to be known to the public, even refusing to acknowledge that he ever had a name other than Man Ray.

Man Ray was born Emmanuel Radnitzky in South Philadelphia, Pennsylvania, USA in 1890, the eldest child of recent Russian Jewish immigrants. The family would eventually include another son and two daughters, the youngest born shortly after they settled in the Williamsburg section of Brooklyn, New York, in 1897. In early 1912, the Radnitzky family changed their surname to Ray, a name selected by Man Ray's brother, in reaction to the ethnic discrimination and anti-Semitism prevalent at that time. Emmanuel, who was called "Manny" as a nickname, changed his first name to Man at this time, and gradually began to use Man Ray as his combined single name.

Man Ray's father was a garment factory worker who also ran a small tailoring business out of the family home, enlisting his children from an early age. Man Ray's mother enjoyed making the family's clothes from her own designs and inventing patchwork items from scraps of fabric. Despite Man Ray's desire to disassociate himself from his family background, this experience left an enduring mark on his art. Tailor's dummies, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other items related to clothing and sewing appear at every stage of his work and in almost every medium. Art historians have also noted similarity in his collage and painting techniques to those used in making clothing.

Mason Klein, curator of an exhibition of Man Ray's work at the Jewish Museum entitled ''“Alias Man Ray: The Art of Reinvention,"'' suggests that Man Ray may have been ''"the first Jewish avant-garde artist."''

First artistic endeavors

Man Ray displayed artistic and mechanical ability from childhood. His education at Boys' High School from 1904 to 1908 provided him with a solid grounding in drafting and other basic art techniques. At the same time, he educated himself with frequent visits to the local art museums, where he studied the works of the Old Masters. After graduation from high school, he was offered a scholarship to study architecture but chose to pursue a career as an artist instead. However much this decision disappointed his parents' aspirations to upward mobility and assimilation, they nevertheless rearranged the family's modest living quarters so that Man Ray could use a room as his studio. He stayed for the next four years, working steadily toward being a professional painter, while earning money as a commercial artist and technical illustrator at several Manhattan companies.

From the surviving examples of his work from this period, it appears he attempted mostly paintings and drawings in 19th-century styles. He was already an avid admirer of avant-garde art of the time, such as the European modernists he saw at Alfred Stieglitz's "291" gallery and works by the Ashcan School, but, with a few exceptions, was not yet able to integrate these new trends into his own work. The art classes he sporadically attended—including stints at the National Academy of Design and the Art Students League—were of little apparent benefit to him, until he enrolled in the Ferrer School in the autumn of 1912, thus beginning a period of intense and rapid artistic development.

New York

Living in New York City, influenced by what he saw at the 1913 Armory Show and in galleries showing contemporary works from Europe, Man Ray's early paintings display facets of cubism. Upon befriending Marcel Duchamp who was interested in showing movement in static paintings, his works begin to depict movement of the figures, for example in the repetitive positions of the skirts of the dancer in ''The Rope Dancer Accompanies Herself with Shadows'' (1916).

In 1915, Man Ray had his first solo show of paintings and drawings. His first proto-Dada object, an assemblage titled ''Self-Portrait'', was exhibited the following year. He produced his first significant photographs in 1918.

Abandoning conventional painting, Man Ray involved himself with Dada, a radical anti-art movement, started making objects, and developed unique mechanical and photographic methods of making images. For the 1918 version of ''Rope Dancer'' he combined a spray-gun technique with a pen drawing. Again, like Duchamp, he made "readymades"—objects selected by the artist, sometimes modified and presented as art. His ''Gift'' readymade (1921) is a flatiron with metal tacks attached to the bottom, and ''Enigma of Isidore Ducasse'' is an unseen object (a sewing machine) wrapped in cloth and tied with cord. Another work from this period, ''Aerograph'' (1919), was done with airbrush on glass.

In 1920 Ray helped Duchamp make his first machine and one of the earliest examples of kinetic art, the ''Rotary Glass Plates'' composed of glass plates turned by a motor. That same year Man Ray, Katherine Dreier and Duchamp founded the Société Anonyme, an itinerant collection which in effect was the first museum of modern art in the U.S.

Ray teamed up with Duchamp to publish the one issue of ''New York Dada'' in 1920. Man Ray expressed that "dada’s experimentation was no match for the wild and chaotic streets of New York, and he wrote ''“Dada cannot live in New York. All New York is dada, and will not tolerate a rival.”'' Man Ray moved to Paris in 1921.

Man Ray met his first wife, the Belgian poet Adon Lacroix, in 1913 in New York. They married in 1914, separated in 1919, and were formally divorced in 1937.

Paris

In July 1921, Man Ray went to live and work in Paris, France, and soon settled in the Montparnasse quarter favored by many artists. Shortly after arriving in Paris, he met and fell in love with Kiki de Montparnasse (Alice Prin), an artists' model and celebrated character in Paris bohemian circles. Kiki was Man Ray's companion for most of the 1920s. She became the subject of some of his most famous photographic images and starred in his experimental films. In 1929 he began a love affair with the Surrealist photographer Lee Miller.

left|thumb|300px|Salvador Dalí and Man Ray in Paris, on June 16, 1934 making "wild eyes" for photographer Carl Van VechtenFor the next 20 years in Montparnasse, Man Ray made his mark on the art of photography. Significant members of the art world, such as James Joyce, Gertrude Stein, Jean Cocteau, Bridget Bate Tichenor, and Antonin Artaud posed for his camera.

With Jean Arp, Max Ernst, André Masson, Joan Miró, and Pablo Picasso, Man Ray was represented in the first Surrealist exhibition at the Galerie Pierre in Paris in 1925. Works from this period include a metronome with an eye, originally titled Object to Be Destroyed. Another important work from this part of Man Ray's life is the ''Violon d'Ingres,'' a stunning photograph of Kiki de Montparnasse, styled after the painter/musician, Ingres. This work is a popular example of how Man Ray could juxtapose disparate elements in his photography in order to generate meaning.

In 1934, surrealist artist Méret Oppenheim, known for her fur-covered teacup, posed nude for Man Ray in what became a well-known series of photographs depicting her standing next to a printing press.

Together with Lee Miller, who was his photography assistant and lover, Man Ray reinvented the photographic technique of solarization. He also created a technique using photograms he called rayographs, which he described as "pure dadaism".

Man Ray directed a number of influential avant-garde short films, known as ''Cinéma Pur'', such as ''Le Retour à la Raison'' (2 mins, 1923); ''Emak-Bakia'' (16 mins, 1926); ''L'Étoile de Mer'' (15 mins, 1928); and ''Les Mystères du Château de Dé'' (27 mins, 1929). Man Ray also assisted Marcel Duchamp with the cinematography of his film ''Anemic Cinema'' (1926), and personally manned the camera on Fernand Léger's ''Ballet Mécanique'' (1924). Man Ray also appeared in René Clair's film ''Entr'acte'' (1924), in a brief scene playing chess with Duchamp.

Duchamp, Man Ray, and Francis Picabia were friends as well as collaborators, connected by their experimental, entertaining, and innovative art.

Later life

Later in life, Man Ray returned to the United States, having been forced to leave Paris due to the dislocations of the Second World War. He lived in Los Angeles, California from 1940 until 1951. A few days after arriving in Los Angeles, Man Ray met Juliet Browner, a first generation American of Rumanian-Jewish lineage; a trained dancer and experienced artists' model. They began living together almost immediately, and married in 1946 in a double wedding with their friends Max Ernst and Dorothea Tanning. However, he called Montparnasse home and he returned there.

In 1963 he published his autobiography, ''Self-Portrait'', which was republished in 1999 (ISBN 0-8212-2474-3).

He died in Paris on November 18, 1976 of a lung infection, and was interred in the Cimetière du Montparnasse, Paris. His epitaph reads: ''unconcerned, but not indifferent''. When Juliet Browner died in 1991, she was interred in the same tomb. Her epitaph reads, ''together again''. Juliet set up a trust for his work and made many donations of his work to museums.

Quotations

By Man Ray

"It has never been my object to record my dreams, just the determination to realize them." (Julien Levy exhibition catalog, April 1945.)

"There is no progress in art, any more than there is progress in making love. There are simply different ways of doing it." (1948 essay, "To Be Continued, Unnoticed".)

"To create is divine, to reproduce is human." ("Originals Graphic Multiples", circa 1968; published in ''Objets de Mon Affection'', 1983.)

"I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an existence." (Undated interview, circa 1970s; published in ''Man Ray: Photographer'', 1981.)

"I have been accused of being a joker. But the most successful art to me involves humor." (Undated interview, circa 1970s; published in ''Man Ray: Photographer'', 1981.)

"An original is a creation motivated by desire. Any reproduction of an originals motivated by necessity. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human."

"Of course, there will always be those who look only at technique, who ask 'how', while others of a more curious nature will ask 'why'. Personally, I have always preferred inspiration to information."

“I do not photograph nature. I photograph my visions.”

About Man Ray

"MAN RAY, n.m. synon. de Joie jouer jouir." (Translation: "MAN RAY, masculine noun, synonymous with joy, to play, to enjoy.") — Marcel Duchamp, as the opening epigram for Man Ray's memoir ''Self-Portrait'', 1963.

"With him you could try anything—there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured, and that kind of encouragement was wonderful." — Artist and photographer, Naomi Savage, Man Ray's niece and protégée, in a 2000 newspaper interview.

"Man Ray is a youthful alchemist forever in quest of the painter's philosopher's stone. May he never find it, as that would bring an end to his experimentations which are the very condition of living art expression." — Adolf Wolff, "Art Notes", ''International 8'', no. 1 (January 1914), p. 21.

"[Man Ray was] a kind of short man who looked a little like Mr. Peepers, spoke slowly with a slight Brooklynese accent, and talked so you could never tell when he was kidding." — Brother-in-law Joseph Browner on his first impression of the artist; quoted in the ''Fresno Bee'', August 26, 1990.

Selected books by Man Ray

Man Ray and Tristan Tzara (1922). ''Champs délicieux: album de photographies''. Paris: [Société générale d'imprimerie et d'édition].

Man Ray (1926). ''Revolving doors, 1916-1917: 10 planches''. Paris: Éditions Surrealistes.

Man Ray (1934). ''Man Ray: photographs, 1920–1934, Paris''. Hartford, CT: James Thrall Soby.

Éluard, Paul, and Man Ray (1935). ''Facile''. Paris: Éditions G.L.M.

Man Ray and André Breton (1937). ''La photographie n'est pas l'art''. Paris: Éditions G.L.M.

Man Ray and Paul Éluard (1937). ''Les mains libres: dessins''. Paris: Éditions Jeanne Bucher.

Man Ray (1948). ''Alphabet for adults''. Beverly Hills, CA: Copley Galleries.

Man Ray (1963). ''Self portrait''. London: Andre Deutsch.

Man Ray and L. Fritz Gruber (1963). ''Portraits''. Gütersloh, Germany: Sigbert Mohn Verlag.

References

Cited More References

Sarane Alexandrian; Man Ray; J. P. O'Hara; ISBN 0-87955-603-X (1973).

Kenneth R. Allan, “Metamorphosis in ''391'': A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie” in ''Art History'' 34, No. 1 (February, 2011): 102-125.

Neil Baldwin; Man Ray: American Artist; Da Capo Press; ISBN 0-306-81014-X (1988, 2000).

A. D. Coleman; "Willful Provocateur"; ''ARTnews'', May 1999.

Milly Heyd; "Man Ray/Emmanuel Radnitsky: Who is Behind the Enigma of Isidore Ducasse?"; in Complex Identities: Jewish Consciousness and Modern Art; ed. Matthew Baigell and Milly Heyd; Rutgers University Press; ISBN 0-8135-2869-0 (2001).

Francis Naumann; Conversion to Modernism: The Early Work of Man Ray; Rutgers University Press; ISBN 0-8135-3148-9 (2003).

Janine Mileaf, "Between You and Me: Man Ray's ''Object to be Destroyed''," ''Art Journal'' 63, No. 1 (Spring 2004): 4-23.

''Perpetual Motif: The Art of Man Ray''. Eds. Gaye Brown and Alan Axelrod. Washington: National Museum of American Art; New York: Abbeville Press, 1988.

External links

Works by Man Ray -- Official Licensing Archive. Searchable. Over 1,000 photos here.

Man Ray Trust

A biography of the artist Man Ray from the J. Paul Getty Museum

Brief biography of Man Ray by the Biography Resource Center, Gale Group

Collection of Man Ray short films

Man Ray letters and album, 1922-1976. Research Library at the Getty Research Institute. Los Angeles, California. A significant ensemble of letters and writings by or addressed to Man Ray, collected and safeguarded by his sister Elsie Ray Siegler and her daughter Naomi Savage. The letters from Man Ray are addressed to Siegler and Savage and provide a rich chronicle of his personal and professional life from 1922-1976. Letters to Man Ray are from Dada and Surrealist artists and authors, and document the dynamic artistic and literary scenes of the immediate pre- and post-the World War II period in the United States. An album of predominately handwritten manuscripts supplements the letters by offering Man Ray’s thoughts on a range of artistic issues.

Webpage of the exhibition "Man Ray" in: Museo del Banco de la República, Bogotá, Colombia

Category:1890 births Category:1976 deaths Category:American anarchists Category:American artists Category:American film directors Category:American photographers Category:American experimental filmmakers Category:American expatriates in France Category:Portrait photographers Category:Photographers from New York Category:Dada Category:Surrealist artists Category:People from Philadelphia, Pennsylvania Category:Jewish painters Category:Jewish American artists Category:Art Students League of New York alumni Category:American screenwriters Category:American cinematographers Category:Burials at Montparnasse Cemetery Category:American people of Russian-Jewish descent

af:Man Ray als:Man Ray be:Ман Рэй br:Man Ray bg:Ман Рей ca:Man Ray cs:Man Ray cy:Man Ray da:Man Ray de:Man Ray et:Man Ray el:Μαν Ραίη es:Man Ray eo:Man Ray fa:من ری fr:Man Ray hr:Man Ray id:Man Ray it:Man Ray he:מאן ריי ka:მან რეი hu:Man Ray nl:Man Ray ja:マン・レイ no:Man Ray pl:Man Ray pt:Man Ray ru:Рэй, Ман sr:Ман Реј fi:Man Ray sv:Man Ray tr:Man Ray uk:Ман Рей vi:Man Ray

bgcolour	silver
name	Howard Hodgkin
birth name	Gordon Howard Eliot Hodgkin
birth date	August 06, 1932
birth place	London, United Kingdom
nationality	British
field	Painting, Printmaking
training	Camberwell Art School, Bath Academy of Art
influenced by	Edgar Degas, Édouard Vuillard
awards	Turner Prize
website	Official site }}

Sir Gordon Howard Eliot Hodgkin CH, CBE (born 6 August 1932) is a British painter and printmaker. His work is most often associated with abstraction.

Early life

Hodgkin, a cousin of the English still life painter Eliot Hodgkin (1905–87), was educated at Bryanston School in Dorset. He then studied at the Camberwell Art School and later at the Bath Academy of Art in Corsham, where Edward Piper studied drawing under him.

Career

Early work

Hodgkin's first solo show was in London in 1962. His early paintings tend to be made up of hard-edged curved forms in a limited number of colours.

Mature work

Around the beginning of the 1970s, his style became more spontaneous, with vaguely recognisable shapes presented in bright colours and bold forms. His works may then be called "semi-abstract", and are often compared to the paintings of Henri Matisse.

In 1984, Hodgkin represented Britain at the Venice Biennale, in 1985 he won the Turner Prize, and in 1992 he was knighted.

In 1995, Hodgkin printed the ''Venetian Views'' series, which depict the same view of Venice at four different times of day. ''Venice, Afternoon'' - one of the four prints - uses sixteen sheets, or fragments, in a hugely complex printing process which creates a colourful, painterly effect. This piece was given to the Yale Centre of British Art in June 2006 by the Israel family to complement their already-impressive collection of Hodgkins.

In 2003 he was appointed by Queen Elizabeth II as a Companion of Honour. A major exhibition of his work was mounted at Tate Britain, London, in 2006. Also in 2006, The Independent declared him one of the 100 most influential gay people in Britain, as his work helps many people express their emotions to others.

In September 2010 Hodgkin and five other British artists including John Hoyland, John Walker, Ian Stephenson, Patrick Caulfield and R.B. Kitaj were included in an exhibition entitled ''The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie,'' at the Yale Center for British Art.

Style

Hodgkin's paintings often seek to convey memories of encounters with friends and frequently carry titles alluding to specific places and events such as ''Dinner at West Hill'' (1966) and ''Goodbye to the Bay of Naples'' (1980–82). Hodgkin himself has said that he paints "representational pictures of emotional situations," a statement that fixes him firmly as an advocate of the expressionist movement. Hodgkin's appeal to representationalism prevents his categorization as an abstract expressionist - although some artists within that movement do execute representational paintings that are consumed into the expressionistic vortex of their particular psychodrama. As a formidable expressionist, Hodgkin occupies a lonely space somewhere between the incandescent impressions of Turner; the powerful emotional explosiveness of Van Gogh and the colder abstractions of Pollock, De Kooning and the late canvases of Kline.

Despite their apparent spontaneity and usually small scale, many of Hodgkin's paintings take years to complete, with the artist returning to a work after a wait and then changing it or adding to it. He often paints over the frames of his pictures, emphasising the idea of the painting as an object. Several of his works are on wooden items, such as bread-boards or the tops of old tables, rather than canvas. A number of his works not shown in frames are surrounded by rectangles of simple colour.

His prints are hand-painted etchings and he has worked with the same master printer (Jack Shirreff at 107 Workshop) and print publisher (Alan Cristea Gallery) for the last 25 years.

References

Further reading

External links

Official site

Artchive information

Artcyclopedia information

An audio interview (.ram format) with Hodgkin by Edward Lucie Smith

Exhibition at Tate Britain, London, 14 June – 10 September 2006

Category:English painters Category:English printmakers Category:Contemporary painters Category:Postmodern artists Category:Turner Prize winners Category:Members of the Order of the Companions of Honour Category:Old Bryanstonians Category:1932 births Category:Living people Category:Alumni of Camberwell College of Arts Category:Alumni of Bath Spa University Category:Alumni of the University of the Arts

de:Howard Hodgkin es:Howard Hodgkin fr:Howard Hodgkin nl:Howard Hodgkin pl:Howard Hodgkin pt:Howard Hodgkin ru:Говард Ходжкин