Art and Design in the Modern Age: Selections from The Wolfsonian Collection | Wolfsonian-FIU

Fifth Floor, Collection Galleries

These galleries provide an overview of the museum’s holdings of American and European artifacts from the late-nineteenth to mid-twentieth centuries. Culled from The Wolfsonian collection are approximately three hundred works in a variety of formats, ranging from books, posters, and postcards to decorative arts, architectural models, paintings, and sculptures. Focal points include design reform movements, urbanism, industrial design, transportation, world’s fairs, advertising, and political propaganda. The United States, Great Britain, Germany, Italy, and the Netherlands are most fully represented in the collection.
 
Art and Design in the Modern Age: Selections from The Wolfsonian Collection examines the ways in which art and design have both influenced and adapted to the modern world. During this period the fine arts were characterized by unprecedented experimentation and innovation. At the same time, design became a critical issue for producers and consumers as machine-made objects replaced those crafted by hand.
 
The works on display demonstrate designers’ responses to the profound social and technological changes stimulated by the Industrial Revolution. They reveal how people living in this tumultuous period viewed the world and their place in it, as industrialization, urbanization, mass production, and new transportation and communication systems revolutionized modern life. By interpreting these artifacts in their historical context, The Wolfsonian aims to elucidate the technological and aesthetic concerns, as well as the social, political, and economic motivations that influenced their production.

Inaugurated in November 1996, this ongoing exhibition is periodically updated.

FROM THE EXHIBITION

via wolfsonian.org

Art and Design in the Modern Age: Selections from The Wolfsonian Collection | Wolfsonian-FIU

Fifth Floor, Collection Galleries

These galleries provide an overview of the museum’s holdings of American and European artifacts from the late-nineteenth to mid-twentieth centuries. Culled from The Wolfsonian collection are approximately three hundred works in a variety of formats, ranging from books, posters, and postcards to decorative arts, architectural models, paintings, and sculptures. Focal points include design reform movements, urbanism, industrial design, transportation, world’s fairs, advertising, and political propaganda. The United States, Great Britain, Germany, Italy, and the Netherlands are most fully represented in the collection.
 
Art and Design in the Modern Age: Selections from The Wolfsonian Collection examines the ways in which art and design have both influenced and adapted to the modern world. During this period the fine arts were characterized by unprecedented experimentation and innovation. At the same time, design became a critical issue for producers and consumers as machine-made objects replaced those crafted by hand.
 
The works on display demonstrate designers’ responses to the profound social and technological changes stimulated by the Industrial Revolution. They reveal how people living in this tumultuous period viewed the world and their place in it, as industrialization, urbanization, mass production, and new transportation and communication systems revolutionized modern life. By interpreting these artifacts in their historical context, The Wolfsonian aims to elucidate the technological and aesthetic concerns, as well as the social, political, and economic motivations that influenced their production.

Inaugurated in November 1996, this ongoing exhibition is periodically updated.

FROM THE EXHIBITION

via wolfsonian.org

MoMA | Gifted: Collectors and Drawings at MoMA, 1929–1983

via moma.org

This exhibition examines the history of MoMA’s drawings collection through key gifts from donors whose connections with the Museum helped shape the institution from its earliest days. Lillie P. Bliss and Abby Aldrich Rockefeller, founders of MoMA, gave numerous masterworks to the new museum, including some of its most prized drawings. In later decades bequests by influential collectors such as James Thrall Soby continued to augment the holdings of works by artists the Museum had already shown a commitment to, while other collections, like that of Joan and Lester Avnet, were formed with MoMA’s needs specifically in mind. More idiosyncratic collections, such as Ruth Vollmer’s bequest to the Museum, accepted in 1983, reflect the life and activities of individual art enthusiasts during key moments in art history. Gifted is a reevaluation of the drawings collection, reflecting not only the richness of MoMA’s holdings, but also the diverse forces that have shaped it and the corresponding history it represents.

MoMA | Gifted: Collectors and Drawings at MoMA, 1929–1983

via moma.org

This exhibition examines the history of MoMA’s drawings collection through key gifts from donors whose connections with the Museum helped shape the institution from its earliest days. Lillie P. Bliss and Abby Aldrich Rockefeller, founders of MoMA, gave numerous masterworks to the new museum, including some of its most prized drawings. In later decades bequests by influential collectors such as James Thrall Soby continued to augment the holdings of works by artists the Museum had already shown a commitment to, while other collections, like that of Joan and Lester Avnet, were formed with MoMA’s needs specifically in mind. More idiosyncratic collections, such as Ruth Vollmer’s bequest to the Museum, accepted in 1983, reflect the life and activities of individual art enthusiasts during key moments in art history. Gifted is a reevaluation of the drawings collection, reflecting not only the richness of MoMA’s holdings, but also the diverse forces that have shaped it and the corresponding history it represents.

MoMA | Standard Deviations: Types and Families in Contemporary Design

via moma.org

tandard Deviations: Types and Families in Contemporary Design
March 2, 2011–January 30, 2012
Architecture and Design Galleries, third floor

MoMA | Standard Deviations: Types and Families in Contemporary Design

via moma.org

tandard Deviations: Types and Families in Contemporary Design
March 2, 2011–January 30, 2012
Architecture and Design Galleries, third floor

Expondrán en La Habana la pieza más antigua de arte cristiano indígena

Expondrán en La Habana la pieza más antigua de arte cristiano indígena

ampliar

La pieza más antigua que se conoce de arte cristiano indígena de América se exhibirá al público a partir del próximo 5 de febrero en la sala transitoria del Museo de la Ciudad, antiguo Palacio de los Capitanes Generales en el Centro Histórico de La Habana.

El Museo Etnológico Misionero del Vaticano cedió por un año la obra, en virtud de la solicitud que formulara el Historiador de la Ciudad, Dr. Eusebio Leal Spengler, al director de los Museos Vaticanos. El préstamo fue autorizado con carácter excepcional por su Eminencia Reverendísima Cardenal Tarcisio Bertone, Secretario de Estado.

Elaborado en madera tallada en forma de concha, el atril tieneincrustadas en su superficie -mediante pequeños y numerosos pernos-finas tiras de hueso de pescado y de carapacho de carey en forma de abanico. Los pernos, de madera y hueso, están dispuestos para crear un efecto de claroscuro. En la base donde se apoya el misal se aprecia una amplia abertura, utilizada posiblemente para fijar el facistol a un pedestal.

El más antiguo ejemplo de arte cristiano indígena del continente americano perteneció a fray Bartolomé de Las Heras, quien fuera capellán de Cristóbal Colón en sus primeros viajes a América y permaneció en Cuba para evangelizar a las tribus caribeñas.

La pieza pasó de generación en generación hasta llegar a las manos del padre Ernest Baudouy, de la orden de los Agustinianos de la Asunción, con sede en Roma, que la donó al Museo Etnológico del Vaticano el 28 de diciembre de 1935.

via cubarte.cult.cu

Expondrán en La Habana la pieza más antigua de arte cristiano indígena

Expondrán en La Habana la pieza más antigua de arte cristiano indígena

ampliar

La pieza más antigua que se conoce de arte cristiano indígena de América se exhibirá al público a partir del próximo 5 de febrero en la sala transitoria del Museo de la Ciudad, antiguo Palacio de los Capitanes Generales en el Centro Histórico de La Habana.

El Museo Etnológico Misionero del Vaticano cedió por un año la obra, en virtud de la solicitud que formulara el Historiador de la Ciudad, Dr. Eusebio Leal Spengler, al director de los Museos Vaticanos. El préstamo fue autorizado con carácter excepcional por su Eminencia Reverendísima Cardenal Tarcisio Bertone, Secretario de Estado.

Elaborado en madera tallada en forma de concha, el atril tieneincrustadas en su superficie -mediante pequeños y numerosos pernos-finas tiras de hueso de pescado y de carapacho de carey en forma de abanico. Los pernos, de madera y hueso, están dispuestos para crear un efecto de claroscuro. En la base donde se apoya el misal se aprecia una amplia abertura, utilizada posiblemente para fijar el facistol a un pedestal.

El más antiguo ejemplo de arte cristiano indígena del continente americano perteneció a fray Bartolomé de Las Heras, quien fuera capellán de Cristóbal Colón en sus primeros viajes a América y permaneció en Cuba para evangelizar a las tribus caribeñas.

La pieza pasó de generación en generación hasta llegar a las manos del padre Ernest Baudouy, de la orden de los Agustinianos de la Asunción, con sede en Roma, que la donó al Museo Etnológico del Vaticano el 28 de diciembre de 1935.

via cubarte.cult.cu