View allAll Photos Tagged DorotheaTanning
Couples modernes
Où : Centre Pompidou-Metz, 1, parvis des Droits de l'Homme, 57020 Metz, www.centrepompidou-metz.fr
Quand : Du 26 avril au 20 août 2018
www.admagazine.fr/art/news/diaporama/les-grandes-expositi...
Week 3 Abstract (1111 – 1115) 09/27 – 10/02/2020 ID 1114
Dorothea Tanning American b. 1910; Galesburg, IL, d.2012; New York, NY.
Aux environs de Paris (Paris and Vicinity), 1962
Oil on linen
Gift of the Alexander Lolas Gallery 65.3
From the Placard: The Whitney Museum of American Art, New York City
Week 5 Portraits of Painters (2) (1021 – 1025)10/27 – 10/31/2019 ID 1023
Dorothea Tanning American 1910-2012
Birthday, 1942
Oil on canvas.
Birthday is a self-portrait that shows the artist, Dorothea Tanning, standing in an ambiguous interior space wearing “some old Shakespearean costume,” as she described in an interview. A thicket of root-like tendrils, some of which look like female bodies, hand down as part of the costume’s skirt. Her hand rests on the doorknob of the first of a series of open doors.
A small furry creature with wings sits at her feet. Tanning rendered this perplexing scene with clarity and precision characteristic of Surrealists, who painted unexpected juxtapositions that blur the lines between dream, fantasy, and reality, with the goal of expressing the unconscious.
125th Anniversary Acquisition. Purchased with funds contributed by C.K. Williams, II, 1999-50-1
From the Placard: The Philadelphia Museum of Art, PA
en.wikipedia.org/wiki/Dorothea_Tanning
www.theguardian.com/artanddesign/2019/feb/08/dangerous-ap...
"Set in a darkly mysterious masked ball, the one-act "La Sonnambula," originally called "Night Shadow," tells the story of a Poet who pays suit to a Coquette, who is escorted by the Host. After a series of exotic divertissements, the elegantly attired guests go in to supper, leaving the Poet to himself. In a moment, an apparition in white enters. She is a beautiful Sleepwalker. Entranced, the Poet tries repeatedly to wake her, but she eludes him. The jealous Coquette informs the Host of the Poet’s advances to her; enraged, he stabs the Poet. The Sleepwalker reappears to bear the Poet’s lifeless body away.
"The atmosphere of sinister menace that shadows the story is underscored by the Coquette’s elaborate, encircling movements, the ball’s rather pedestrian social dances, and the enigmatic dance entertainment. The combination of these choreographic elements with the central pas de deux for the Poet and Sleepwalker delineate the spirit of the 19th century Romantic movement in stark contrast to the conventions it abhorred." [Source: The George Balanchine Trust at balanchine.com/la-sonnambula/
The music for "La Sonnambula" was composed by Vittorio Rietti based on themes from 19th century operas by Vincenzo Bellini.
Dorothea Tanning who created the artwork for the souvenir program was the wife of Max Ernst and a great artist in her own right. Here is a link to her biography: www.dorotheatanning.org/dorothea-tanning
31 Mulheres, Uma exposição de Peggy Guggenheim
Dorothea Tanning (1910-2012). sem título (autorretrato), ca.1940
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Eine kleine Nachtmusik (1943)
Eine Kleine Nachtmusik is another relatively early work for Tanning, painted with figurative perfection and an obvious closeness to Surrealist themes. Set in the hallway of a hotel or large grand house, the title of the work is inspired by Mozart's composition of the same title, "a little night music." Knowing that it is a nocturnal scene we immediately associate the picture with a dream. There are two little girls, one who has come across a giant sunflower on the floor, and another who leans against a door, eyes closed holding one of the sunflower's petals. One of the girls has hair that flies upwards, becoming tower-like caught in the wind. While the other girl recalls controversial sculptures by Hans Bellmer, as her hair unusually doesn't quite meet her forehead making one question whether she is in fact human or a doll. Three doors remain closed whilst one is cracked to reveal a bright light.
The painting makes clear reference to the artist's childhood. Along with her sisters she lived in a repressive puritanical Midwestern American environment and cultivated a rich fantasy life by means of escape. The sunflower is a common flower found in her hometown and thus stands as symbol of her identity. As also in a later painting, Palaestra (1949) the children are dressed in the elaborate silks that were favored by Tanning's mother. In both paintings the girls have their tops unbuttoned adding eroticism and sexual intrigue to each of the images.
Tanning wrote herself of Eine Kleine Nachtmusik, "It's about confrontation. Everyone believes he/she is his/her drama. While they don't always have giant sunflowers to contend with, there are always stairways, hallways, even very private theatres where the suffocations and the finalities are being played out, the blood red carpet or cruel yellows, the attacker, the delighted victim..."
The message here is not that there is a literal attack to overcome, but rather an ongoing expedition to survive one's own intense psychology. The motif of closed eyes reveal that it is an inward story here at play, and the painting in composition was likely inspired by Pierre Roy's Danger on the Stairs (1927) that Tanning would have seen in New York at the "Fantastic Art, Dad and Surrealism" exhibition of 1936.
Sorce: The Art Story
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Spannung – Voltage (1942)
Dorothea Tanning war als Malerin, Bildhauerin und Schriftstellerin tätig und entwarf auch für Ballett und Theater Bühnenausstattungen und Kostume. Sie war von 1947 bis zu seinem Tod 1976 mit Max Ernst verheiratet und schuf wie dieser surrealistische Gemälde. Nach dem Tod von Max Ernst lebte sie in New York City, wo sie im Alter von 101 Jahren starb.
Birthday, 1942
Dorothea Tanning
Dorothea Tanning
(February to June 2019)
Tanning wanted to depict ‘unknown but knowable states’: to suggest there was more to life than meets the eye. She first encountered surrealism in New York in the 1930s. In the 1940s, her powerful self-portrait Birthday 1942 attracted the attention of fellow artist Max Ernst – they married in 1946. Her work from this time combines the familiar with the strange, exploring desire and sexuality.From the 1950s, now working in Paris, Tanning’s paintings became more abstract, and in the 1960s she started making pioneering sculptures out of fabric. A highlight of the exhibition is the room-sized installation Chambre 202, Hotel du Pavot 1970-3. This sensual and eerie work features bodies growing out the walls of an imaginary hotel room. In later life, Tanning dedicated more of her time to writing. Her last collection of poems, Coming to That, was published at the age of 101.
[Tate Modern]
Week 5 Portraits of Painters (2) (1021 – 1025)10/27 – 10/31/2019 ID 1023
Dorothea Tanning American 1910-2012
Birthday, 1942
Oil on canvas.
Birthday is a self-portrait that shows the artist, Dorothea Tanning, standing in an ambiguous interior space wearing “some old Shakespearean costume,” as she described in an interview. A thicket of root-like tendrils, some of which look like female bodies, hand down as part of the costume’s skirt. Her hand rests on the doorknob of the first of a series of open doors.
A small furry creature with wings sits at her feet. Tanning rendered this perplexing scene with clarity and precision characteristic of Surrealists, who painted unexpected juxtapositions that blur the lines between dream, fantasy, and reality, with the goal of expressing the unconscious.
125th Anniversary Acquisition. Purchased with funds contributed by C.K. Williams, II, 1999-50-1
From the Placard: The Philadelphia Museum of Art, PA
en.wikipedia.org/wiki/Dorothea_Tanning
www.theguardian.com/artanddesign/2019/feb/08/dangerous-ap...
Week 5 Portraits of Painters (2) (1021 – 1025)10/27 – 10/31/2019 ID 1023
Dorothea Tanning American 1910-2012
Birthday, 1942
Oil on canvas.
Birthday is a self-portrait that shows the artist, Dorothea Tanning, standing in an ambiguous interior space wearing “some old Shakespearean costume,” as she described in an interview. A thicket of root-like tendrils, some of which look like female bodies, hand down as part of the costume’s skirt. Her hand rests on the doorknob of the first of a series of open doors.
A small furry creature with wings sits at her feet. Tanning rendered this perplexing scene with clarity and precision characteristic of Surrealists, who painted unexpected juxtapositions that blur the lines between dream, fantasy, and reality, with the goal of expressing the unconscious.
125th Anniversary Acquisition. Purchased with funds contributed by C.K. Williams, II, 1999-50-1
From the Placard: The Philadelphia Museum of Art, PA
en.wikipedia.org/wiki/Dorothea_Tanning
www.theguardian.com/artanddesign/2019/feb/08/dangerous-ap...
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Porträt der Muriel Levy – Portrait of Muriel Levy (1943)
Tanning realized this portrait of the painter Muriel Streeter who is cited here under the name of her later husband Julien Levy. Tanning had presented her first solo exhibition at Levy‘s gallery in New York in 1944.
Week 3 Abstract (1111 – 1115) 09/27 – 10/02/2020 ID 1114
Dorothea Tanning American b. 1910; Galesburg, IL, d.2012; New York, NY.
Aux environs de Paris (Paris and Vicinity), 1962
Oil on linen
Gift of the Alexander Lolas Gallery 65.3
From the Placard: The Whitney Museum of American Art, New York City
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Don Juans Frühstück - Don Juan's breakfast (1972)
Moderna Museet, Stockholm
Dorothea Tanning war als Malerin, Bildhauerin und Schriftstellerin tätig und entwarf auch für Ballett und Theater Bühnenausstattungen und Kostume. Sie war von 1947 bis zu seinem Tod 1976 mit Max Ernst verheiratet und schuf wie dieser surrealistische Gemälde. Nach dem Tod von Max Ernst lebte sie in New York City, wo sie im Alter von 101 Jahren starb.
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Schönes Mädchen – Beautiful Girl (1945)
Wadsworth Museum of Art, Hartford, Connecticut, USA, Connecticut, USA
Dorothea Tanning war als Malerin, Bildhauerin und Schriftstellerin tätig und entwarf auch für Ballett und Theater Bühnenausstattungen und Kostume. Sie war von 1947 bis zu seinem Tod 1976 mit Max Ernst verheiratet und schuf wie dieser surrealistische Gemälde. Nach dem Tod von Max Ernst lebte sie in New York City, wo sie im Alter von 101 Jahren starb.
Week 3 Abstract (1111 – 1115) 09/27 – 10/02/2020 ID 1114
Dorothea Tanning American b. 1910; Galesburg, IL, d.2012; New York, NY.
Aux environs de Paris (Paris and Vicinity), 1962
Oil on linen
Gift of the Alexander Lolas Gallery 65.3
From the Placard: The Whitney Museum of American Art, New York City
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Avatar (1947)
In the Internet age, the word Avatar refers to a fictional virtual character. In 1947 it stood for an incarnation or embodiment. While Tanning‘s painting does not reveal whether the shreads of clothing on the second trapeze represent a previous incarnation of the young woman shown swinging with her eyes closed above a bed and a tree; yet its emphasis on the unconscious , the realm of dream and the desire for the elimination of boundaries are typical for Tanning‘s Surrealist imagery.
Source: Schirn
Dorothea Tanning, Galesburg, Ill. 1910 - New York City 2012
Avatar, Detail (1947)
In the Internet age, the word Avatar refers to a fictional virtual character. In 1947 it stood for an incarnation or embodiment. While Tanning‘s painting does not reveal whether the shreads of clothing on the second trapeze represent a previous incarnation of the young woman shown swinging with her eyes closed above a bed and a tree; yet its emphasis on the unconscious , the realm of dream and the desire for the elimination of boundaries are typical for Tanning‘s Surrealist imagery.
Source: Schirn
In wonderland: the surrealist adventures of women artists in Mexico and the United States
Louise Bourgeois 1911-2010 b France active France & United States
Fillette (sweeter version) 1968-1999 (ceiling)
pigmented urethane rubber
Dorothea Tanning 1910-2012 b U.S. active United States & France
Painter Printmaker Sculptor Writer
Xmas 1969
fabric metal & wool
"X marks the spot" on explaining the meaning of the bit of red cloth near the top of this fabric column.
The soft sculptures during the birth of the feminist movement reference both the traditional feminine art of sewing and the blatant sexuality of the feminists.
Rainy Day Canape 1970 (background)
Upholstered wood sofa with wool, polyester rayon plain weave cover wool batting, cardboard and Ping-Pong balls.
Philadelphia Museum of Art
gift of an anonymous donor 2002
Dorothea Tanning (United States, 1910-2012), active United States and France
Rainy-Day Canapé, 1969
Upholstered wood sofa with wool, polyester and rayon plain weave cover, wool batting, cardboard and Ping-Pong balls.
This was one of my favourite pieces in the exhibition. How can you not be amused by this, transgressive feminist sexuality and all? What is it (don't answer that, I'm pretty sure I know)? And where are the Ping Pong balls?
Cover of Ballet Russe de Monte Carlo : season 1945-46 / Sergei J. Denham, director. Collection of the Research Library, National Gallery of Australia.
Cover illustration by Dorothea Tanning for The Night Shadow.
Dorothea Tanning (United States, 1910-2012), active United States and France
Rainy-Day Canapé, 1969
Upholstered wood sofa with wool, polyester and rayon plain weave cover, wool batting, cardboard and Ping-Pong balls.
Here is how Dorothea Tanning explained it:
"This terribly non-mainstream piece was, more than anything, a challenge to myself, a bet that I made with myself, and only me, that I would give real physical life to a bunch of tweeds and stuffing. Now, when you look at its triumphant? paroxysmic? despairing? physicality you are not quite sure that materials are only tools, that the inert is the inert, that life is something else. But one thing you know: that like you and me and everyone else, this Rainy-Day Canapé will not live for centuries. But how could we care?"
Forget what this was called and who painted it. Anyone know? Nude chick with a flying monkey. It was in the modern art section.
Eine Kleine Nachtmusik, 1943
Dorothea Tanning
It's about confrontation. Everyone believes he/she is his/her drama. While they don't always have giant sunflowers (most aggressive of flowers) to contend with, there are always stairways, hallways, even very private theatres where the suffocations and the finalities are being played out, the blood red carpet or cruel yellows, the attacker, the delighted victim...
—from an unpublished letter from the artist to the Tate Collection, 1999, quoted in Victoria Carruthers' essay “Dorothea Tanning and Her Gothic Imagination,” Journal of Surrealism and the Americas
[dorotheatanning.org]
Dorothea Tanning
(February to June 2019)
Tanning wanted to depict ‘unknown but knowable states’: to suggest there was more to life than meets the eye. She first encountered surrealism in New York in the 1930s. In the 1940s, her powerful self-portrait Birthday 1942 attracted the attention of fellow artist Max Ernst – they married in 1946. Her work from this time combines the familiar with the strange, exploring desire and sexuality.From the 1950s, now working in Paris, Tanning’s paintings became more abstract, and in the 1960s she started making pioneering sculptures out of fabric. A highlight of the exhibition is the room-sized installation Chambre 202, Hotel du Pavot 1970-3. This sensual and eerie work features bodies growing out the walls of an imaginary hotel room. In later life, Tanning dedicated more of her time to writing. Her last collection of poems, Coming to That, was published at the age of 101.
[Tate Modern]
Même les jeunes filles (Even the Young Girls), 1966
by Dorothea Tanning
By this time I had been finding real pleasure in the tumultuous movement of bodies combined with more assertive juxtapositions of color, hotter color. I think it was late springtime; and I was in my beautiful new studio in the rue de Lille. Outside, people were doffing their coats and mufflers, the boulevards were lazy with strollers and even the young girls were like wildflowers, all bursting our in color and explosive spirits. Painting them, I felt like a choreographer.
–from Dorothea Tanning: Birthday and Beyond. Exhibition brochure
[DorotheaTanning.org]
Part of Dorothea Tanning
At Tate Modern, February to June 2019
Tanning wanted to depict ‘unknown but knowable states’: to suggest there was more to life than meets the eye. She first encountered surrealism in New York in the 1930s. In the 1940s, her powerful self-portrait Birthday 1942 attracted the attention of fellow artist Max Ernst – they married in 1946. Her work from this time combines the familiar with the strange, exploring desire and sexuality.From the 1950s, now working in Paris, Tanning’s paintings became more abstract, and in the 1960s she started making pioneering sculptures out of fabric. A highlight of the exhibition is the room-sized installation Chambre 202, Hotel du Pavot 1970-3. This sensual and eerie work features bodies growing out the walls of an imaginary hotel room. In later life, Tanning dedicated more of her time to writing. Her last collection of poems, Coming to That, was published at the age of 101.
[Tate Modern]
The Magic Flower Game, 1941
Dorothea Tanning
Dorothea Tanning
(February to June 2019)
Tanning wanted to depict ‘unknown but knowable states’: to suggest there was more to life than meets the eye. She first encountered surrealism in New York in the 1930s. In the 1940s, her powerful self-portrait Birthday 1942 attracted the attention of fellow artist Max Ernst – they married in 1946. Her work from this time combines the familiar with the strange, exploring desire and sexuality.From the 1950s, now working in Paris, Tanning’s paintings became more abstract, and in the 1960s she started making pioneering sculptures out of fabric. A highlight of the exhibition is the room-sized installation Chambre 202, Hotel du Pavot 1970-3. This sensual and eerie work features bodies growing out the walls of an imaginary hotel room. In later life, Tanning dedicated more of her time to writing. Her last collection of poems, Coming to That, was published at the age of 101.
[Tate Modern]
Même les jeunes filles (Even the Young Girls), 1966
by Dorothea Tanning
By this time I had been finding real pleasure in the tumultuous movement of bodies combined with more assertive juxtapositions of color, hotter color. I think it was late springtime; and I was in my beautiful new studio in the rue de Lille. Outside, people were doffing their coats and mufflers, the boulevards were lazy with strollers and even the young girls were like wildflowers, all bursting our in color and explosive spirits. Painting them, I felt like a choreographer.
–from Dorothea Tanning: Birthday and Beyond. Exhibition brochure
[DorotheaTanning.org]
Part of Dorothea Tanning
At Tate Modern, February to June 2019
Tanning wanted to depict ‘unknown but knowable states’: to suggest there was more to life than meets the eye. She first encountered surrealism in New York in the 1930s. In the 1940s, her powerful self-portrait Birthday 1942 attracted the attention of fellow artist Max Ernst – they married in 1946. Her work from this time combines the familiar with the strange, exploring desire and sexuality.From the 1950s, now working in Paris, Tanning’s paintings became more abstract, and in the 1960s she started making pioneering sculptures out of fabric. A highlight of the exhibition is the room-sized installation Chambre 202, Hotel du Pavot 1970-3. This sensual and eerie work features bodies growing out the walls of an imaginary hotel room. In later life, Tanning dedicated more of her time to writing. Her last collection of poems, Coming to That, was published at the age of 101.
[Tate Modern]