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Institut d'histoire de l'art et de muséologie
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+41 32 718 19 30
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+41 32 718 18 71
Rue
Espace Tilo Frey 1
Code postal
2000
Ville
Neuchâtel
Pays
CH
Type d'institution
Academic Institute
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376 Résultats
Voici les éléments 1 - 10 sur 376
- PublicationMétadonnées seulement
- PublicationMétadonnées seulementLe livre d'histoire de l'art en France (1810-1850) - une genèse retardée. Pour une nouvelle étude de la littérature historiographique.(Paris: La Documentation française, 2008)
; - PublicationMétadonnées seulement
- PublicationMétadonnées seulementThe Bauhaus and the Russian avant-gardeIn 1995, Jean-Claude Marcadé declared that research into the relationship between the Bauhaus and the Russian avant-garde was essentially nonexistent. In recent years, new studies on the Hungarian Bauhaus master László Moholy-Nagy and his compatriots Lajos Kassák, Béla Uitz, and Alfréd Kemény, have yielded fresh insights into the development and transfer of ideas. The essay provides an overview of the most important mediators, publications, and private and state initiatives that undertook to promote exchange between the two sides.
- PublicationMétadonnées seulement« Friedrich Karl Gotsch : ‹ The wind is not behind the sails of our kind › »As a painter of the so-called second Expressionist Generation, Friedrich Gotsch stood in the shadow of the great Expressionists of the first guard throughout his life. His name is closely linked with his former master Oskar Kokoschka to this day, although he benefited from only two years of his teaching at the Saxon Academy of the Arts (1921 - 1923)
- PublicationMétadonnées seulement« Die ‹ Paper Tube Structures › von Shigeru Ban. ‹ Architektur als Objekt › im wörtlichen Sinne »Paper held at the 33rd Congress of the International Committee of the History of Art in Nürnberg; The Challenge of the Object: The architect Shigeru Ban, born in Tokyo in 1957, shows with his buildings from cardboard tubes that architecture can certainly have the character of an object that is both portable and that one can actually grasp. His paper tube structures can be moved from one place to another without any effort. The tent roof of his Paper Church of 1995, built to replace a building destroyed in the Kobe earthquake, is built on 58 cardboard tubes. Ten years after its consecration, the church was disassembled into its constituent tubes and sent to Taiwan. Shigeru Ban makes it possible to present a finished sacred building as a gift to a neighbouring country as if it were an ‘object’. In April 2008, the auction house Phillips de Pury & Company auctioned off a finished paper tea house by the architect for £31,700. With his Japan Pavilion at the World Expo 2000 in Hanover, Ban created the biggest construction that had ever been made of paper. The Pavilion comprised a three-dimensional mesh of 440 cardboard rolls whose outer surface was made of a water-resistant paper membrane. In keeping with the eco-political guiding theme of Expo 2000, all the materials of the building were intended to be able to be recycled and re-used after the end of the exhibition. Up to this point, the work of an architect had been regarded as finished once the building was complete. Shigeru Ban, however, sees his paper buildings only as ‘completed’ when they have fulfilled their temporary purpose and have been disposed of in an ecological manner. They thereby comply with the same norms as the packaging materials for consumer products. The fact that concepts such as ‘architecture’ and ‘mobility’ are by no means mutually exclusive is proven by the Nomadic Museum that the architect constructed in 2005 from paper tubes and 148 shipping containers, next to the Hudson River in New York. It was built for the exhibition ‘Ashes and Snow’ by the photo artist Gregory Colbert. As the adjective ‘nomadic’ suggests, the architecture travels along with the exhibits in this touring exhibition. From this combination of paper tubes and containers, Shigeru Ban developed the ephemeral ‘Papertainer Museum’ in 2006 for the Korean publisher ‘Design House’ in Seoul. The present lecture will illustrate the notion of ‘architecture as object’ in its literal sense and will question the traditional concept of architecture.
- PublicationMétadonnées seulement
- PublicationMétadonnées seulement« Les jeux d’arabesques dans l’œuvre de Paul Klee »(2009-3-1)Dans son compte rendu de la rétrospective Klee organisée par la Galerie Flechtheim de Berlin en 1929, le critique d’art allemand Karl Scheffler (1869–1951) écrit : « Klee est manifestement fasciné par les dessins de Dürer illustrant les marges du Livre de prières de l’empereur Maximilien Ier, c’est-à -dire par ces jeux de lignes qui donnent forme à un animal, une plante, un individu sans que la plume ne soit relevée une seule fois du papier. La tradition de ces dessins de marges ne s’est jamais interrompue en Allemagne. Adoptée par Neureuther, elle s’est prolongée avec Menzel et a été perfectionnée par Slevogt – pour n’en citer que quelques uns. » De toute évidence, la citation de Scheffler intègre Paul Klee dans une tradition initiée par Dürer en Allemagne. Toujours selon le critique, « des personnalités telles que Klee existent de tous temps. Elles paraissent au premier abord plus différentes qu’elles ne sont au fond […]. » En paraphrasant Scheffler, nous pouvons constater que les lignes sans fin générées par Klee à partir d’un seul et même point paraissent « plus différentes qu’elles ne sont au fond » en comparaison des arabesques d’un Dürer, Runge ou Eugen Napoleon Neureuther (1806–1882). Cet essai propose d’analyser les modèles artistiques et le fondement théorique de la technique des arabesques de Klee.