Anne Ryan (1889-1954) belongs to an early generation of Expressionist artists New York School Abstract. His first contact with New York Avant-garde came in 1941 when he joined Atelier 17, a famous art workshop that British artist Stanley William Hayter had founded in Paris in the 1930s and was then taken to New York when France fell into the hands of the Nazis.. The great turning point in Anne Ryan's development came after the war, in 1948. She was 57 years old when she saw Kurt Schwitters's collage at Rose Fried Gallery, in New York City, in 1948. She immediately dedicated herself to this. newly discovered media. Since Anne Ryan is a poet, according to Deborah Solomon, in Kurt Schwitters's collage, "she recognizes the visual equivalent of her sonnets - separate images packed together in a very crowded space." When six years later Anne Ryan died, her work in the media amounted to over 400 pieces.
Video Anne Ryan
Biography
Anne Ryan was born in Hoboken, New Jersey in 1889. His parents died when Ryan was an early teenager, and he attended St Elizabeth Convent Academy for high school and early. He left the school his junior heard to marry William McFadden's lawyer; they split up in 1923. During this time he often visited the circle of art and literature in the Greenwich Village neighborhood of New York, and published a novel,
Maps Anne Ryan
Art and Literature
For Ryan, the relationship between art and writing is very permeable, though he prefers the latter for most of his life. He wrote a series of poems in the late 1930s and 40s called the Line to Young Painters, and his circle of friends included artists and writers of all kinds. His artwork first took the form of graphic art - he made a print with Stanley William Hayter in Atelier 17, a hub for American and European avant-garde - followed by oil paintings, and in the mid-1940s he designed costumes and backgrounds for ballet performances.
It was in the collage, that Ryan found his main voice. He incorporated all types of paper and textiles into a collage composition, including silk, netting, handmade tassel paper, and Japanese rice paper. Most are small, on average about eight by six inches. Much works were put into handmade paper by Douglas Morse Howell, who often collaborated with New York artists in the 1950s and 60s and often made paper from redesigned textile fibers such as blue jeans, or from hemp grown in the backyard his home. The Ryan collage is distilled and expanded on this sensibility by closing small boxes of different materials against each other to highlight the different textures and densities of each. Their small scale and the use of their pastel colors provoked critical responses in the early 1950s; many authors comment on the quality of "feminine" works.
Ryan has three exhibitions of his work at the Betty Parsons Gallery in the 1950s that established his reputation in the art world. Parsons is famous for showing abstract artists such as Barnett Newman and Agnes Martin. After his death in 1954, a collage exhibit was shown at the Brooklyn Museum and traveled to the National Art Collection in Washington, DC; Art Museum of South Texas, Corpus Christi; and New Jersey State Museum in Trenton. Her daughter, Elizabeth McFadden, is also an artist.
Selected single exhibition:
- 1941: The Pinacotheca, NY (painting); Marquie Gallery, NY (mold)
- 1942: New York School for Social Research, NY (mold)
- 1946: Philadelphia Art Alliance, PA (print)
- 1947: Cranbrook Art Academy, Bloomfield, MI (print)
- 1948: Denise Severin Gallery, Paris (first print exhibition in Europe)
- 1950, 1954, 1970: Gallery of Betty Parsons, NYC (collage)
- 1955: Gallery of Betty Parsons, NYC (Memorial Exhibition, painting and collage)
- 1957: Kraushaar Gallery, NYC (Warning Exhibition, print)
- 1974: Gallery of Marlborough, NYC
- 1991: Anne Ryan. Collage from Three Museums, Washburn Gallery, NYC
- 1962-1963: New England prep school and Museum of Fine Arts (MFA) - Boston, MA (circulating exhibit)
- 1974: circ. exhibition Brooklyn Museum, NY and Smithsonian American Art Museum, Washington, D.C. (collage)
- 1974, 1977: Marlborough Gallery, NY (collage)
- 1979 Walker Art Center, Minneapolis, Minnesota (collage)
- 1979, 1981: AndrÃÆ' Â © Emmerich Gallery, NY (collage)
- 1979-1080: Yale University Art Gallery, New Haven, CT (collage)
- 1980: Museum of Fine Arts, Houston, TX (collage)
- 1985, 1989, 1991: Washburn Gallery, NY
Selected Group Exhibits:
- 1944: Hayter & amp; Atelier XVII, Museum of Modern Art (MoMA), NY
- 1945: National Print Exhibition, 1945, The Library of Congress, Washington, D.C.
- 1947-1953: Brooklyn Museum of Art Print Annuals, NY
- 1947: Watercolor Exhibition and the 45th Annual Exhibition, Pennsylvania Academy of Fine Arts, PA
- 1950: John Stephan/Anne Ryan (collage), Gallery Betty Parsons, NYC
- 1951: Abstract Drawings and Sculptures in America, Museum of Modern Art, NYC; Some American Prints, 1945-1959, Museum of Modern Art, NYC and Whitney American Museum of Art, NYC
- 1951, Ninth Street Show
- 1951, 1953, 1954: Whitney American Museum of Art, Annual and Biennale, NYC
- 1954: New York Painting and Sculpture, Stable Gallery, NYC
- 1954-1955: International Color Woodcuts, Victoria and Albert Museums, London, England
- 1961-1962: The Art of Assemblage, Museum of Modern Art, NYC circ.
- 1965-1967: American Collage, Museum of Modern Art, NYC circ.
- 1974: Brooklyn Museum, NY
- 1975: Group Show: Collage, Gallery Betty Parsons, NYC
- 1976: 30th Anniversary, The Betty Parsons Gallery, NYC
Public collection
- Addison's American Art Gallery, Andover, Mass.
- Brooklyn Art Museum, New York
- Higher Education Art Gallery, State University College, New Paltz, N.Y.
- Hirshhorn Museum and Sculpture Garden, Washington, D.C.
- Lamont Gallery, Phillips Exeter Academy, Exeter, N.H.
- Metropolitan Art Museum, New York
- Minneapolis Art Institute
- Montclair Art Museum, New Jersey
- Fine Arts Museum, Houston, Texas
- National Art Gallery, Washington, D.C.
- Newark Museum, New Jersey
- New Jersey State Museum, Trenton
- Rhode Island School Design Museum, Providence, R.I.
- Wadsworth Atheneum, Hartford, Conn.
- Walker Art Center, Minneapolis
- Whitney Museum of American Art, New York
- Williams University Art Museum - Williamstown, Mass.
- Yale University Art Gallery, New Haven, Conn.
Also see
- Art movement
- Artwork
Reference
Bibliography
- Stuart Preston, Artist of the Private Vision, New York Times, April 10, 1955 Part 2, p.Ã, 11
- Fairfield Porter, Reviews and Preview, "Art News, Volume 56, Dec. 1957, p.Ã, 11 - Anne Ryan, Darkest Leaf,
- Donald Windham, Notes about Anne Ryan, Boteghe Oscure, vol. 22, 1958, pp.Ã, 267-271.
- Hilton Kramer, Anne Ryan: Bigness on a Small Scale, New York Times, February 3, 1968, p.Ã, 25, illness.
- John Ashberry, Places for Everything, Art News, vol.69, March 1970, p.Ã,32
- Carter Ratcliff, New York, International Art, vol.14, Summer 1970, p.Ã, 141
- Piri Halasz, The Trenton Exhibition Celebrated the Miracle of the Collage, "New York Times, November 17, 1974, page 33, B & amp; W from Ryan
Books
- Marika Herskovic, Abstract New York School Art Exhibit Art by Artists, (New York School Press, 2000). ISBN: 0-9677994-0-6. p.Ã, 18; p.Ã, 38; p.Ã, 318-321
External links
- Anne Ryan paper, 1922-1968. Smithsonian Institution Research Information System; Collection of Archives, Manuscripts, and Photography.
- Anne Ryan at the Smithsonian American Art Museum, Washington D.C.
- Anne Ryan at Walker's Art Center, Minneapolis, MN
Source of the article : Wikipedia
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