Elie Nadelman 那德尔曼雕塑

内容概要

Barbara Haskell is Curator of Early Twentieth Century Art at the Whitney Museum of American Art. A well-known scholar and curator, her books include The American Century: Art & Culture 1900-2000 Part One, as well as the monographs Marsden Hartley, Milton Avery, Charles Demuth, and Joseph Stella.

书籍目录

ForewordMaxwell L. AndersonElie Nadelman: Sculptor of Modern LifeFormative Experiences: Poland, 1882--190:3An Aesthetic Emerges: Munich, 1904Launching a Career: Paris, 1904--09   1Statement of Aesthetic Principles: Camera Work, 1910Paterson Gallery and Helena Rubinstein: London, 1911Success Accelerates: Paris, 1912-14Unintentional Immigration and Meteoric Success: New york, 1914-17Whimsical Insouciance: Plaster Genre Figures, 1917-19Tubular Modernity: Wood and Bronze Genre Figures, 1920-25Nadelman as Collector: The Museum of Fain Arts                                   rGalvano-Plastiques, 1925-27Toward a Domestic Market: Small-Scale Papier-maches and Terra-cottos, 1928--35The Depression and Its Consequences, 1929--:35An Art of Flux, Anxiety, and Uncertaintv: Miniature Figurines, 1938--46NotesExhibition HistoryChronologySelected Bibliography and Writings by NadelmanAcknowledgmentsLenders to the ExhibitionIndex

作者简介

Elie Nadelman 088z-1946) is universally recognized as one of America's greatest twentieth-century sculptors. Born in Poland, Nadelman spent his aesthetically formative years in Paris devel-oping a style of classical harmony and elegant refinement. His first one-man show at Galerie Druet in i9o9 was an overnight sensation, catapulting the artist to a position of renown within the Parisian art world. His transformation of classical principles into a modernist idiom caught the attention and respect of a large group of patrons and critics--from Leo and Gertrude Stein to Andre Gide and Alexander Archipenko.    Arriving in America in iIQII, Nadelman introduced genre subjects into his repertoire. Stylized, fluid, and unerringly elegant, these freestanding sculptures mirrored the values and activities of the world of wealth and privilege. Their formal, unaffected simplicity--as well as their use of wood rather than bronze or marble--was inspired, in part, by folk art, which Nadelman began to collect immediately after coming to America. So successful was the American debut of these and  Nadelman's more classical marble figures that the artist was swamped with commissions and soon became an active force in the artistic life of New York City. The I929 stock market crash wiped out his fortune, and his work altered, becoming more personal and less idealized and geometric. He lived there-after in virtual seclusion, refusing either to sell or exhibit his work, which remained hidden away until his death in 1946.    This catalogue, which accompanies the first major  retrospective of Nadeiman's work since I975, brings his achievement to a new generation of art enthusiasts. Barbara Haskelrs fully researched and broad-based examination of Nadelman's art and life provides a new view of this important artist, filling a gap in the literature on twentieth-century American sculpture.

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