Annelise K. Madsen – författare
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2 produkter
2 produkter
Inbunden, Engelska, 2024
445 kr
Skickas inom 5-8 vardagar
A revelatory study of Georgia O’Keeffe’s New York paintings of the late 1920s and their deep significance within the artist’s development In 1924 Georgia O’Keeffe (1887–1986) first moved to the Shelton Hotel in New York with her husband, the photographer and art dealer Alfred Stieglitz. The Shelton was Manhattan’s earliest residential skyscraper, and its dizzying heights inspired O’Keeffe to create a powerful series of approximately twenty-five paintings and numerous drawings over a span of about five years. She called these “my New Yorks,” and they overwhelmingly consist of two types of compositions: sprawling observations looking down onto the city and humbling views directed up at the newly built urban monoliths. Exploring the New York skyline, O’Keeffe resisted the approach of contemporaries such as Charles Sheeler and Paul Strand—who celebrated New York as a streamlined, impersonal series of geometric canyons—and instead portrayed it as an amalgamation of the organic and the inorganic, the natural and the constructed. Only in this way could she express New York (in her words) “as it is felt.” Reshaping our understanding of this pivotal yet underappreciated period in O’Keeffe’s storied career, this publication situates the New York paintings within the artist’s larger oeuvre and examines how these works reflect narratives of built environments, racialized space, and the politics of place.Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago(June 2–September 22, 2024) High Museum, Atlanta(October 25, 2024–February 16, 2025)
Inbunden, Engelska, 2026
507 kr
Kommande
The ambitious experimentation of one of the most influential artists during her prime years in the late nineteenth and early twentieth centuriesMary Cassatt (1844–1926) was a trailblazing artist who worked across media, manipulated materials, transformed subjects through series and scale, and marketed and exhibited her artwork in novel ways. Primarily recognized as a key figure of Impressionism, she produced some of her most innovative work in the years after the eighth and final Impressionist group show in 1886.Focusing on Cassatt’s iconic compositions from the late 1880s through the early 1900s, this volume includes an essay by Nicole R. Myers that situates Cassatt’s perceptive experiments across an array of modernist aesthetics, from Impressionism to Synthetism and Symbolism; a close examination by Gillian Marcus of numerous impressions of The Fitting (1890–91), one of Cassatt’s spectacular set of ten color prints made in collaboration with the printer Modeste Leroy; and an in-depth look by Annelise K. Madsen at Modern Woman, an immense mural painting commissioned for the Woman’s Building at the 1893 World’s Columbian Exposition in Chicago. These scholars highlight Cassatt’s daring, ingenuity, and ceaselessly independent vision—both in her artistic technique and choice of subject matter—and consider the lasting impact of her aesthetic breakthroughs and significant legacy.Distributed for the Art Institute of ChicagoExhibition Schedule:Art Institute of Chicago(September 6, 2026–January 3, 2027)