In his first major project in the UK, German artist Gregor Schneider constructed a remarkable new work, bringing his long-standing interest in repression, reproduction and repetition to a very ordinary street in London's East End. Die Familie Schneider took place in neighbouring, identical houses - 14 and 16 Walden Street. The houses were open by appointment only and visitors - always two at a time - collected the front door keys from a small office on the same street. One visitor entered 14 Walden Street alone, whilst the other entered the neighbouring house. After a period of ten minutes, the visitors emerged, exchanged keys and entered the second house. At no time was there ever more than one visitor in each house. It is not easy to describe the heightening of sensation and the existential anxiety which many visitors felt as they turned a key in one of the nondescript doors and crossed the threshold from the street to the inside, making their way through the small kitchen and living room, up to the claustrophobic bathroom and bedroom with no windows on the first floor, and down to the dark spaces of the basement. Each house would evoke conflicting feelings of attraction and repulsion, of wanting to go further in, and wanting to immediately get out. In each was an identical woman, perpetually washing the same dishes; in each was a child, or a child-like person - wrapped placidly within a plastic bag; and in each was a man in a shower, engaged in a stark and lonely act of masturbation. An apprehensive setting encased it all, elusively disturbing, almost mimicking a familiar scene of lower middle class domesticity - but at the same time not quite right, not right at all. Amongst the visitors who made their way through the intensely claustrophobic rooms were the writers Andrew O'Hagan and Colm Tóibín. In the publication 'Gregor Schneider: Die Familie Schneider', their writings, presented alongside an extended series of Schneider's photographs, attest to the disturbing experience of these dark double houses.
皮埃尔-奥古斯特·雷诺阿生活和呼吸着的是一种新的艺术风格,对他来说,第一次印象派画展意义重大,他的画作得到艺术家们的肯定。1873年他搬到了蒙马特并在那里度过了一生 ...
周... III.1雷诺阿,H.(1841-1919)—生平事迹 2 油画—作品集—法国—近代 IV.1K835.655.722J233 中国版本图书馆CIP数据核字(2004)第051724号© Confidential Concepts, Worldwide, USA © Parkstone PressInternational, New York, USA 书名:莫奈译者:蔡德崑 ...
Currier's Price Guide to European Artists 1545-1945 at Auction: Current Price Ranges on the Original Art of Over 13,000 European...
sexual desire by Bloch . Bloch ( together with Oncle Adolphe ) is very much the bringer of discord , and his revelations , whose truth in terms of detail is unimportant , strike home in the young Marcel , through their attack at the ...
Seven years earlier , he had met Georgette Berger ( 1901–1986 ) , his future wife , on a carousel at the Charleroi town fair . Now , in 1920 , he runs into her by chance in the botanical gardens in Brussels , where he has moved a couple ...
This book challenges many lasting misconceptions about nineteenth-century art. It includes a preface by collectors Joey and Toby Tanenbaum and an introductory essay on the collection by Alison McQueen. "
33 André was long presumed to have worked with his father , Alphonse Giroux , a well - known art dealer . In fact , André and his brother , Alphonse - Gustave , bought the firm from their parents in 1838 , making them the sole owners .
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Paul Critchley