Le sentiment de la nature chez les modernes /

Mode of access: Internet.

Arshile Gorky: paintings, drawings, studies.

Addendum slip inserted.

Supériorité des arts modernes sur les arts anciens: poésie, sculpture, peinture, musique; du progrès intellectuel dans l'humanité.

Mode of access: Internet.

The elements of navigation; containing the theory and practice. With the necessary tables, and compendiums for finding the latitude and longitude at sea. To which is added, a treatise of marine fortification. Composed for the use of the Royal Mathematical School at Christ's Hospital, the Royal Academy at Portsmouth, and the gentlemen of the Navy ...

"A dissertation on the rise and progress of the modern art of navigation," by James Wilson: v. 1, p. [i]-xxx.

The Rehearsal of the Ballet Onstage

Edgar Degas; 1 ft. 9 3/8 in.x 2 ft. 4 47/64 in.; oil colors freely mixed with turpentine, with traces of watercolor and pastel over pen-and-ink drawing on cream-colored wove paper, laid down on bristol board and mounted on canvas

The Last Supper

Ugolino di Nerio; 1 ft. 1 1/2 in.x 1 ft. 8 3/4 in. (painted surface); tempera and gold on wood

Das deutsche Kunstproblem der Gegenwart.

Zwei Kunstoplitiker [Max Liebermann und Hugo v. Tschudi]--Vom Werte der französischen Kunst.--Vom Einfluss der französischen Kunst auf die deutsche.--Führer und Geführte.--Zukunstblicke.

Lettres sur les peintures, sculptures et gravures de Mrs. de l'Académie royale : exposées au Sallon du Louvre depuis MDCCLXVII jusqu'en MDCCLXXIX /

Cicognara,

Salons, tome 1-[3]

t. 1. Salon de 1761, 1765. Essai sur la peinture.--t. 2. Salon de 1767.--t. 3 Salon de 1767, 1769. Pensées détachées. L'histoire et le secret de la peinture en cire. Mathématiques. Mémoire [first through fifth] Réflexions.

The Connoisseur.

Index to book reviews in the humanities

The Studio.

No. 229 repeated in numbering; no. 230 omitted.

Postcards of the Wiener Werkstätte Selections from the Leonard A. Lauder Collection

Postcards of the Wiener Werkstätte: Selections from the Leonard A. Lauder Collection With additional works from the collection of The Wolfsonian--Florida International University, Miami Beach, Florida The exhibition is organized by the Neue Galerie New York and curated by Christian Witt-Dörring and Janis Staggs. Exhibition on view at The Wolfsonian--FIU November 15, 2012--March 31, 2013 The Wolfsonian's presentation was curated by Silvia Barisione and designed by Richard Miltner.

Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)

Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema. Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.

Heidegger e a técnica moderna

The general objective of this research is to clarify and discuss the original contribution of Martin Heidegger's philosophical reflection on the essence of modern technique. For this purpose, it was structured the interpretative course of this dissertation in two essential moments. At first, we present Heidegger's interpretation of the essence of the modern age which, in turn, will be recognized from the metaphysical foundation that establishes the essence of modern science: the subjectivity that represents, calculates, manages and produces the real. We will see which, in this context, modern science was still thought close to the modern technology, what will change considerably from the writings of the post-war, in which Heidegger thinks modern science from a much broader and essential process in that the essence of the technique has already been unfolding. Thus, in a second moment, we will analyze how, for Heidegger, the modern metaphysics of subjectivity reached its completion at the time of modern art from the principle of control and planning of entities in general (Gestell), revealing the nontechnical sense of the technique (beyond the anthropological, humanistic and instrumental view) as well as the threatening character of modern technique in its conversion project of the entity from the reserve fund (Bestand).

Reimagining the Baroque in Italian Modernism. From the fin-de-siècle to Lucio Fontana

While Italian art of the twentieth century is usually associated with either the avant-garde practices of Futurism or the classicism of Fascist visual culture, the Italian modernists' complex engagement with concepts of the ‘Baroque’ has yet to be explored. Through an extensive analysis of paintings, sculptures, publications, collecting practices, and exhibitions, my dissertation addresses this lacuna by investigating how the Baroque was discursively constructed and visually represented in Italian modernist artistic and cultural debates between 1880 and 1945. I study how artists and critics such as Umberto Boccioni, Giorgio De Chirico, Adolfo Wildt, Lucio Fontana, and Roberto Longhi championed or disparaged the Baroque in the context of heated debates over the import of Italy’s rich cultural heritage, its status in modern Europe, and the potential role of avant-garde art as a catalyst for national regeneration. In contrast to previous scholars I argue that the development of modern art in Italy was actively shaped by cultural perceptions about the Baroque. My dissertation therefore sheds new light on the role of style in the cultural politics of Italy, which in turn will transform our understanding of visual culture in modern Italy, and of twentieth-century representations of the Baroque in art, literature, and aesthetics.