Isabella Stewart Gardner Museum
Wikipedia
https://en.wikipedia.org › wiki › Isabella_Stewart_Gard...
The Isabella Stewart Gardner Museum is an art museum in Boston, Massachusetts, which houses significant examples of European, Asian, and American art.
Wikipedia
https://en.wikipedia.org › wiki › Museum_of_Fine_Arts...
只到1996 GRAND TOUR
The Museum of Fine Arts is an art museum in Boston, Massachusetts. It is the 20th-largest art museum in the world, measured by public gallery area.
UC Davis | California's College Town
UC Davis
https://www.ucdavis.edu
California's College Town. Davis is the ultimate college town. It's green, laid back and friendly. You can walk or bike from the main campus to the main street ...
Henri Matisse,: A novel
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to: JP 和 SU之友 0331 2008
周日略讀紐約時報的導遊 · 36 Hours in Berkeley, Calif.，碰到些舊識，譬如說說，這家書店(Moe’s Books)，在90年代與我(hc)有緣，所以特別一記。而這書緣是陳巨擘先生(jp)引我入門的。我們當時各買了好幾箱的書郵寄台灣，jp的遺失-損失不少，我似乎丟掉（滿滿的）一大箱而已。不管怎麼說，我當時向jp說，應該買”貨櫃”裝書回台灣的壯舉並沒有落實：一兩年後我還去光顧一次，還買本近萬元台幣的”舊書”…….
幾年後，JP在巨流出版社當主編，進口不少美國大學出版社的書，我還代理過，似乎賣出近萬元的台版書…….
去年年中，JP說他換工作，要去政大創出版社。我笑談美國的”同行”，以芝加哥大學的為最大（不過我懷疑它比得上OUP）；也說一下Herbert Simon說為什麼著名的CMU前身在60年前發現，他們想成立出版社，已「為時太晚」，因為美國已”列強林立”。
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康定怡 大都會歌劇院
紐約 MOMA https://www.moma.org/calendar/exhibitions/375
Henri Matisse: A Retrospective
Sep 24, 1992–Jan 19, 1993
MoMA
The most comprehensive exhibition ever held of the work of the French master Henri Matisse (1869–1954), Henri Matisse: A Retrospective comprises more than 400 works which together reveal the exceptional range and depth of the artist’s work. The exhibition offers the opportunity for a reassessment of both Matisse’s career and the critical role his work plays in the history of twentieth-century art. Matisse is fully revealed not only as a painter of scenes of primal beauty, but as one whose art rests on a foundation of extraordinary visual intelligence and rigorous discipline.
Henri Matisse: A Retrospective, which follows a number of more recent Matisse exhibitions on specialized topics, is unique in comprising the largest and most evenly balanced representation of Matisse’s work ever to be assembled. The last American retrospectives devoted to his work were in 1966, at the UCLA Art Galleries, University of California at Los Angeles, and in 1951, at The Museum of Modern Art, New York. Neither of these included any of the great works from Russian museums. It is now over twenty years since the last retrospective anywhere, at the Grand Palais, Paris (1970).
Installed chronologically in the Museum’s second- and third-floor collection galleries, the exhibition focuses on the artist’s greatest achievement, his works in color. It includes some 275 of Matisse’s most important paintings and 50 of his paper cutouts, complemented by a generous selection of sculptures, drawings, and prints.
The retrospective, which can only be seen in New York, draws extensively on the four most important, and mutually complementary, Matisse collections in the world, those of The Hermitage Museum, St. Petersburg; The Pushkin Museum of Fine Arts, Moscow; the Musee National d’Art Moderne, Centre Georges Pompidou, Paris; and The Museum of Modern Art, New York. It is thus able to represent Matisse’s most innovative period, from Fauvism through the experimental years, more thoroughly than ever before. By joining these four collections with masterworks from numerous other private and public collections throughout the world, the exhibition is expanded to encompass Matisse’s entire career.
Many of the works on view have never before been exhibited in this country. These include some of the loans from the Pushkin and Hermitage museums (such as the Hermitage’s Dance II of 1909–10); several from the Centre Pompidou (such as the Portrait of Auguste Pellerin II of 1917 and The Rumanian Blouse of 1939–40); and the six superlative paintings from the J. Rump Collection, Statens Museum for Kunst, Copenhagen (including the greatest of Matisse’s self-portraits, painted in 1906), which have not been seen outside of Copenhagen in some sixty years. Similarly, there are works from American collections that have not previously been permitted to travel, including Bathers by a River (1909–16) from The Art Institute of Chicago and The Terrace, Saint-Tropez (1904) from the Isabella Stewart Gardner Museum, Boston.
The exhibition unites several pairs of paintings, such as MoMA’s and the Hermitage’s versions of the Dance (1909, 1909–10), which have never been seen together in the United States, as well as Le luxe I (1907) and II (1907–08) and Nasturtiums with “Dance” I and II (both of 1912), among others. Also brought together are most of the great invented figure compositions of 1907–10, a group of Matisse’s studio paintings of 1911–12, and ten paintings of the model Lorette of 1916–17. Other sequences of related works include odalisque paintings of the later 1920s, Rumanian Blouse paintings and drawings of the late 1930s, late Vence interiors (1946–48), and all of the paper cutout maquettes for Jazz (1943–46).
Henri Matisse: A Retrospective is divided into seven sections:
1890–1904: Discovering Modern Art opens the exhibition with Matisse’s work of the 1890s, academic paintings and tonal still-lifes in which his interest in the art of Chardin and in Dutch naturalism is evident. His transition to the vocabulary of more contemporary painting is seen in The Dinner Table of 1896–97. From this point, Matisse’s art is seen changing rapidly, demonstrating an interest especially in Neo-Impressionism and the work of Cezanne. The former is most evident in his “proto-Fauve” paintings of 1899–1900, such as Sideboard and Table and Still Life Against the Light. It is in these works that Matisse’s genius as a colorist is first revealed. The influence of Cezanne, which dominated Matisse’s art from 1900 through 1904, is seen in such works as Male Model (c. 1900) and Carmelina (c. 1903–04).
1905–1907: The Fauvist Epoch follows the early work with an exploration of Matisse’s invention of an art of pure color. This period is richly represented through a group of his breakthrough canvases painted in the summer of 1905 at Collioure, including The Open Window (1905), and by important subsequent Fauve paintings, among them Interior with a Young Girl (Girl Reading) (1905–06) and Pink Onions (1906). The conclusion of Fauvism is marked by the famous Blue Nude: Memory of Biskra (1907), and the two versions of Le luxe, which lead to Matisse’s decorative style.
1908–1913: Art and Decoration explores the period during which Matisse established the use of brilliant, flat color and decorative pattern for which his art is best known. Virtually all of the great invented or imaginary figure compositions are on view, including Bathers with a Turtle (1908), Game of Bowls (1908), and Nymph and Satyr (1908–09), and culminating with the Dance compositions of 1909–10. Included as well are the great Harmony in Red (La desserte) (1908) and Nude with a White Scarf (1909); the studio interiors of 1911–12, such as The Red Studio (1911) and Corner of the Artist’s Studio (1912); Conversation (completed 1912), and many Moroccan pictures of 1912–13, such as the famous Moroccan Triptych, comprising Landscape Viewed from a Window, On the Terrace, and The Casbah Gate.
1913–1917: Abstraction and Experimentation is a comprehensive representation of Matisse’s work just before and during World War I, a time of restless experimentation that led to highly abstracted compositions reflecting the influence of Cubism. Included are Woman on a High Stool (Germaine Raynal) (1914), View of Notre-Dame (1914), French Window at Collioure (1914), and Piano Lesson (1916), as well as the large, ambitious compositions The Moroccans (1915–16), and Bathers by a River. On view as well are many of the extraordinary portraits of the period, beginning with the Portrait of Mme Matisse (1913) and moving to the untraditional Portrait of Mile Yvonne Landsberg (1914) and The Italian Woman (1916), which was the first in the series of paintings Matisse made of the model Lorette.
1917–1930: The Early Years at Nice is dedicated to a period in which Matisse painted more naturalistic works, notably harmonious, light-filled, often profusely decorated interiors with languorous or exotic models and odalisques. These include The Meditation: After the Bath (1920–21), The Moorish Screen (1921), and The Hindu Pose (1923). In this period, Matisse’s color is subordinated to light, the gentle pulsation of which endows the scenes with both great sensuality and a meditative quality. This was also the period of Matisse’s remarkable drawings of a model in a plumed hat (1919), as well as the bronze Large Seated Nude (1925–29).
1930–1943: Themes and Variations reveals Matisse’s return to a formal simplicity comparable to that of the decorative period twenty years earlier, but now with groups of works that comprise variations on favored subjects. This first thorough review of this rich, poetic, and often vividly colored work includes such paintings as Woman in Blue (The Large Blue Robe and Mimosas) (1937), Large Reclining Nude (The Pink Nude) (1935), Woman in a Purple Robe with Ranunculi (1937), and The Rumanian Blouse (1939–40), as well as a sequence of paintings and drawings of a sleeping woman (1939–40) and a set of drawings from the famous Themes and Variations series (1941).
1943–1954: The Final Years concludes the exhibition with Matisse’s dazzling last paintings and the even more surprising paper cutouts that supplanted the medium of painting in the artist’s final years. This section reveals how his painting came to a strikingly original conclusion with works that are among the greatest revelations of the exhibition, notably the extraordinary Vence interiors of 1946–48. Additionally, it explores the broad range of cutouts that Matisse made, from the twenty maquettes for his illustrated book *Jazz*—works that revealed to Matisse a way of resolving what he called “the eternal conflict of drawing and color”—to the designs for windows and vestments for the Chapel of the Rosary of the Dominican Nuns in Vence that he made from 1948 through 1952. Also in the exhibition are such large-scale cutouts as Memory of Oceania (1953), and the 1952 Swimming Pool, which joins the contemporaneous Women with Monkeys, next to which it was originally mounted in Matisse’s dining room. In these works, which still seem radical in form and composition, drawing and color—the relationship between which Matisse had explored throughout his career—are literally united.
In the catalogue to the exhibition, John Elderfield says that Matisse “altered painting so decisively…that our experience of any painting must be affected by what he achieved.” With Henri Matisse: A Retrospective, that achievement can finally be seen in its totality, enriching our appreciation not only of the work of Matisse, but of the history of twentieth-century art as well.
Organized by John Elderfield, director of the Department of Drawings and curator in the Department of Painting and Sculpture, with the assistance of Beatrice Kernan, associate curator, Department of Drawings.
「亨利馬蒂斯：回顧展」是法國大師亨利馬蒂斯 (1869-1954) 作品迄今為止最全面的展覽，展出 400 多件作品，展現了這位藝術家非凡的創作廣度和深度。此次展覽為重新評估馬蒂斯的職業生涯及其作品在二十世紀藝術史上發揮的關鍵作用提供了機會。馬蒂斯不僅是一位描繪原始美景的畫家，而且他的藝術也建立在非凡的視覺智慧和嚴謹的紀律的基礎上。
亨利馬蒂斯：回顧展是繼最近舉行的一系列馬蒂斯專題展覽之後的另一場展覽，其獨特之處在於它是迄今為止規模最大、最均衡的馬蒂斯作品展。美國最後一次為其作品舉辦回顧展是在 1966 年於加州大學洛杉磯分校美術館舉行的，以及 1951 年於紐約現代藝術博物館舉行的。其中不包括俄羅斯博物館的任何偉大作品。距離上一次在巴黎大皇宮舉辦的回顧展（1970 年）已經過了二十多年。
展覽按時間順序排列在博物館二樓和三樓的收藏展廳中，重點介紹這位藝術家最偉大的成就——彩色作品。它包括馬蒂斯的 275 幅最重要的畫作和 50 幅剪紙作品，還有豐富的雕塑、素描和版畫。
這次回顧展只能在紐約展出，廣泛地借鑒了世界上四個最重要的、相互補充的馬蒂斯收藏，即聖彼得堡艾爾米塔甚博物館的收藏；莫斯科普希金造型藝術博物館；巴黎國立現代藝術博物館、龐畢杜藝術中心；以及紐約現代藝術博物館。因此，它能夠比以往更全面地展現馬蒂斯最具創新性的時期，從野獸派到實驗時期。透過將這四個藏品與來自世界各地眾多其他私人和公共收藏的傑作結合在一起，展覽擴大到涵蓋馬蒂斯的整個職業生涯。
展出的許多作品從未在該國展出過。其中包括從普希金博物館和艾爾米塔甚博物館借來的一些收藏品（例如艾爾米塔甚博物館 1909-10 年的《舞蹈 II》）；蓬皮杜藝術中心的幾幅作品（例如 1917 年的《奧古斯特佩勒林二世肖像》和 1939-40 年的《羅馬尼亞女式襯衫》）；以及來自哥本哈根國立美術館 J. Rump 收藏的六幅精美畫作（包括馬蒂斯最偉大的自畫像，創作於 1906 年），這些畫作已有 60 多年沒有在哥本哈根以外的地方展出過。同樣，美國收藏中也有先前未獲準展出的作品，包括芝加哥藝術學院收藏的《河邊的浴者》（1909-16 年）和伊莎貝拉·斯圖爾特·加德納博物館收藏的《聖特羅佩露台》（1904 年）。
此次展覽將幾對畫作集中展出，例如紐約現代藝術博物館和冬宮博物館的《舞蹈》（1909 年、1909-10 年），這兩幅畫作從未在美國同時展出過，以及《奢華I》（1907 年）和《奢華II》（1907 –08) 和旱金蓮，以及「舞蹈」 I 和 II（皆為 1912 年）等。同時也匯集了 1907 年至 1910 年間創作的大部分偉大人物構圖、一組馬蒂斯 1911 年至 1912 年的工作室畫作，以及 10 幅模特兒洛雷特 1916 年至 1917 年的畫作。其他相關作品包括20 世紀20 年代後期的宮廷女裝畫作、20 世紀30 年代後期的羅馬尼亞女式襯衫畫作和素描、晚期旺斯室內裝飾畫（1946-48 年）以及爵士樂的所有剪紙模型（1943-46年）。
亨利馬蒂斯：回顧展分為七個部分：
「1890–1904：發現現代藝術」展覽以馬蒂斯 19 世紀 90 年代的作品開場，這些作品包括學院派繪畫和色調靜物畫，從中可以看出他對夏爾丹藝術和荷蘭自然主義的興趣。從 1896–97 年創作的《餐桌》可以看出他轉向更現代的繪畫詞彙的轉變。從這一點開始，馬蒂斯的藝術發生了迅速的變化，尤其對新印象派和塞尚的作品表現出興趣。前者最明顯地體現在他 1899 年至 1900 年的「原始野獸派」畫作中，例如《餐具櫃和桌子》和《逆光靜物》。正是在這些作品中，馬蒂斯作為色彩畫家的天才首次顯露出來。塞尚的影響在馬蒂斯 1900 年至 1904 年間主導了他的藝術，這在《男模特兒》（約 1900 年）和《卡梅利娜》（約 1903-04 年）等作品中可見一斑。
1905–1907：野獸派時代延續了早期作品，探索了馬蒂斯對純色彩藝術的發明。這段時期的作品豐富多彩，包括1905 年夏天在科利尤爾創作的一組突破性油畫，包括《敞開的窗戶》（1905 年），以及隨後野獸派的重要畫作，其中包括《室內與年輕女孩（讀書的女孩）》（1905 年至今）。
METROPEON
大都會藝術博物館一場精彩的馬格利特回顧展。
Rene Magritte | The Empire of Light | Metropolitan Museum of Art | 1992 | Exhibition
Review/Art; Magritte And His Defiance Of Life
https://www.nytimes.com/1992/09/11/arts/review-art-magritte-and-his-defiance-of-life.html
"IF the spectator finds that my paintings are a kind of defiance of 'common sense,' he realizes something obvious," said Rene Magritte, who is the subject of a stimulating retrospective that opens tomorrow at the Metropolitan Museum of Art. "I want nevertheless to add that for me the world is a defiance of common sense."
雷內·馬格利特 |光之帝國 |大都會藝術博物館 | 1992 |展覽
評論/藝術；馬格利特與他對生命的反抗
麥可·金梅爾曼
1992 年 9 月 11 日
雷內·馬格利特(Rene Magritte) 表示，「如果觀眾發現我的畫作是對『常識』的一種蔑視，那麼他就會意識到一些顯而易見的事情。」“不過我想補充一點，對我而言，這個世界違背了常識。”
與追求公眾醜聞的法國超現實主義者不同，他力求在個人事務上不引人注目。馬格利特出生和長大的埃諾省因礦渣堆和煤煙瀰漫的天空而被稱為“黑鄉”，而灰色的色調瀰漫在他的大部分藝術作品中，為作品增添了一層神秘的氣息。馬格利特一直秉持著弗蘭德斯和比利時前輩的精神，從耶羅尼米斯·博斯到詹姆斯·恩索爾，他們對怪誕事物有著共同的偏愛，直到1967 年因胰腺癌去世，享年68 歲。
此次回顧展是美國二十五年多來首次對他的藝術進行大規模概述，展出約 150 幅繪畫、素描和雕塑作品。幾乎所有著名的作品都在這裡，從兩個版本的《圖像的背叛》（其中描繪了一個煙鬥，上面寫著“這不是煙鬥”），到最早版本的《光的統治》，在日光的照射下，街道顯得格格不入地昏暗。
Unlike the French Surrealists, who sought public scandal, he strove in his personal affairs to be inconspicuous. The grayness of Hainaut, the province where he was born and grew up, which is known as the Black Country for its slag heaps and sooty skies, pervades much of Magritte's art, contributing to its air of mystery. And it is the ethos of his Flemish and Belgian predecessors, from Hieronymus Bosch through James Ensor, with their shared predilection for the bizarre, that Magritte carried forward until his death of pancreatic cancer in 1967, at the age of 68.
The retrospective, the first major overview of his art in the United States in more than a quarter of a century, includes about 150 paintings, drawings and sculptures. Almost all of the famous works are here, from two versions of "The Treachery of Images," with its depiction of a pipe above the text "this is not a pipe," to the earliest version of "The Domination of Light," with its incongruously darkened street below a daylight sky.
And now he may be more fashionable than ever. For in several ways he was what might be called a proto-post-modernist. Like many contemporary artists, Magritte was a painter of narrative who appropriated images from both art history and popular culture, juxtaposing them in disorienting ways. He frequently denied interest in the formal qualities of painting. He rejected the idea of the art object as something precious. And, like numerous Conceptualists today, he was concerned above all with language, which he incorporated into his works in ways that emphasized its tenuousness and unreliability. An ironist with a perverse sense of humor, Magritte was forever pointing up art's artificiality and contrivance, revealing the gaps between words and images, between image and reality.
現在他可能比以前更時尚了。從很多方面來說，他可以被稱為原始後現代主義者。與許多當代藝術家一樣，馬格利特是一位敘事畫家，他借用藝術史和流行文化中的圖像，以令人困惑的方式將它們並置。他經常否認對繪畫的形式特徵感興趣。他否認藝術品是珍貴之物。而且，像當今的許多概念主義者一樣，他最關注的是語言，並將其融入自己的作品中，以強調語言的脆弱性和不可靠性。馬格利特是一位具有異常幽默感的諷刺作家，他總是指出藝術的虛假性和做作性，揭示文字與圖像之間、圖像與現實之間的差距。
難怪他更喜歡稱自己為哲學家而不是畫家。他曾經說過：“我希望我能夠觸及人類的本質，觸及人的本質——倫理而非美學。”正如這次回顧展所強調的那樣，馬格利特既不是一位深刻的哲學家，也不是一位深刻的畫家。但他留下了一些 20 世紀最引人注目、最令人難忘的圖像。
No wonder he liked to speak of himself more as a philosopher than as a painter. "I hope I touch something essential to man, to what man is -- to ethics rather than esthetics," he once said. As this retrospective underscores, Magritte was neither a profound philosopher nor a profound painter. But he left behind some of the 20th-century's catchiest and most unforgettable images.
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美國大學出版社印象頗深的是他們出版翻譯作品。以我們SU討論過的，加州大學出版· The Age of Constantine the Great: Jacob Burckhardt...；MIT出版Journey to the East by Le Corbusier, Edited by Iv...；哥倫比亞出版羅蘭 巴爾特；哈佛大學”海德格”；史丹佛大學”繁華物語；芝加哥大學”西遊記（全譯本和簡易本）…….。
我與梁永安先生周日培他寶貝女兒上政大書城（羅斯福路）：我指行人出版社的”品質標竿”；Gibbon的羅馬衰亡史全譯令我想Boswell's Life of Johnson；…..
The Tent)--Margaret Atwood.當半個神不容易(thanks.奇怪書名
晚上猛KJourney to the East by Le Corbusier, Edited by Iv...之餘，翻閱 Examined Life: Philosophical Meditations: Robert Nozick (1989)
作者:(美)罗伯特·诺齐克 《經過省察的人生：哲學沉思錄》译者:严忠志
北京：商务，2007
（這本書極少附原文，非常不方便）從索引知道這本作品：
知道：第20章 邁入五十歲；皇家津貼；Boswell；文學俱樂部
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