In an interview, 1956; as quoted in Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, p. 247
Северини, Джино:
28
цитат
0
Нравится
Северини, Джино: Цитаты на английском языке
In an interview, 1956; as quoted in Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, p. 247
Quote from Severini's catalog entry for his exhibition at the Marlborough Gallery in London in April 1913, reproduced in Archivi del Futurismo, Volume 1., eds. Maria Drudi Gambillo and Teresa Fiori (Rome: De Luca, 1958-68. 2d 1986), p. 116
Severini explains in short the conception behind his painting 'The Bear Dance at the Moulin Rouge', 1913
In his manifesto 'The Plastic Analogies of Dynamism', c. 1914; as quoted in Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 218
Gino Severini, in a letter to Umberto Boccioni, Paris, 29 October 1912; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55
Quote from his letter to Marinetti, 31 March 1913; as quoted in 'Severini futurista', op. cit, p. 146.
Gino Severini's critical quote on Cubist-Orphism artists in Paris
Quote of Severine 1913, from the opening paragraphs of his text 'Art du fantastique dans le sacre', as cited in Gino Severini Ecrits sur l'art, (1913-1962), with a preface by Serge Fauchereau, (Paris: Editions Cercle d'Art, 1987), p. 47
Severini opens 'Art du fantastique' with a theoretical explanation of the concept, form and content of a Futurist work
Original in Italian:
ho trovato nel vostro libro la conferma delle mie ultime conclusioni e gli strumenti per approfondire questo as petto della questione artistica.
In a letter to Jacques Maritain, 18 September, 1923; as quoted in: Justine Grace, 'The Spirit of Collaboration: Gino Severini, Jacques Maritain, Anton Luigi Gajoni and the Roman Mosaicists' http://artsonline.monash.edu.au/colloquy/download/colloquy_issue_twenty-two/grace.pdf, COLLOQUY text theory critique Vol 22 (2011).
Quote from his article 'Processo e difesa di un pittore d'oggi', L'Arte 5, Rome, September – November, 1931; as cited in Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 25
quote, referring to his painting 'Memories of a Voyage', Severini painted in 1910-1911.
Severini described the popular Parisian nightspot 'Bal Tabarin', after which he made his painting 'Dynamic Hieroglyphic of the Bal Tabarin' https://www.moma.org/collection/works/79419, in 1912
Источник: The Life of a Painter - autobiography', 1946, p. 54; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 39
Источник: The Life of a Painter - autobiography', 1946, p. 37; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 31
Источник: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248
Quote from Severini's introductory essay for the Marlborough Gallery catalogue; reproduced in Archivi del Futurismo, Volume 1, eds. Maria Drudi Gambillo and Teresa Fiori (Rome: De Luca, 1958-68. 2d 1986), pp. 113-115
Источник: The Life of a Painter - autobiography', 1946, p. 289
“.. the gesture that we want.... will be the dynamic sensation itself.”
In a letter to Marinetti, May 1911; as cited by Anne Coffin Hanson, 'Severini Futurista: 1912-1917', exhibition catalog, Connecticut: Yale University Art Gallery, 1995, p. 134
Severini expressed his unwavering dedication to Futurism, approving of its program by citing a fundamental passage of the Futurist manifesto
Источник: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.
from Severini's text, in the entry for the Marlborough Gallery exhibition; as cited by Daniela Fonti, Gino Severini Catalogo Ragionato, Milan: Edizione Phillipe Daverio, 1988, p. 130
Severine is describing here his painting 'Dancer at Pigalle' https://theartstack.com/artist/gino-severini-1/dancer-pigalle, 1912
In his manifesto 'The Plastic Analogies of Dynanism', c. 1914; as quoted in Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 218
(1912) and the 'Seated Woman' (1914).
Источник: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248
(c. 1911), as quoted by Fonti, 'The Dance', p. 15; as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 33
Quoted in: Clint Brown (1998) Artist to Artist, p. 32
Источник: The Life of a Painter - autobiography', 1946, p. 35; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 12
Источник: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248-249
quote, 1917
In the 'Preface' of the exhibition catalogue, Photo Secession Gallery, New York, March 1917
Quote in a letter to Umberto Boccioni, 1910; as cited in Gino Severini, the Dance, 1909 – 1916, by Daniele Fonti, Peggy Guggenheim Collection, Venice; 2001, p. 15
Источник: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248
Источник: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 247