Untitled

untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated) - Dan Flavin, 1971
From the Guggenheim:

The artist Mel Bochner credited Flavin’s practice as embodying “an acute awareness of the phenomenology of rooms.” This awareness stemmed from Flavin’s rejection of studio production in favor of site-specific “situations” or “proposals” (as the artist preferred to classify his work) and is nowhere more evident than in his 1971 installation for the Guggenheim, untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated). Initially occupying one full turn of the museum’s ramps, and according to the artist, “critically fitted to the inconsistent dimensions of the variable architecture,” the work was conceived so that it could be extended to fill the entire rotunda, as was done in 1992.

untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated) - Dan Flavin, 1971

From the Guggenheim:

The artist Mel Bochner credited Flavin’s practice as embodying “an acute awareness of the phenomenology of rooms.” This awareness stemmed from Flavin’s rejection of studio production in favor of site-specific “situations” or “proposals” (as the artist preferred to classify his work) and is nowhere more evident than in his 1971 installation for the Guggenheim, untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated). Initially occupying one full turn of the museum’s ramps, and according to the artist, “critically fitted to the inconsistent dimensions of the variable architecture,” the work was conceived so that it could be extended to fill the entire rotunda, as was done in 1992.


untitled (to Tracy, to celebrate the love of a lifetime) - Dan Flavin, 1992

untitled (to Tracy, to celebrate the love of a lifetime) - Dan Flavin, 1992


Eugène Atget, Animal Circus, Fête des Invalides, negative 1898, printed 1920s

Eugène Atget, Animal Circus, Fête des Invalides, negative 1898, printed 1920s

19thcentury-nchairil:

 
Paris at the time of the Impressionists, 1848-1914. 
Jean-Louis Forain (1852-1931)
 At the Café de la Nouvelle Athènes1892
 Indian ink, gouache, graphite, watercolour, brush
 H. 36.2; W. 39 cm
 Paris, Musée d’Orsay, kept in the Graphic Arts Department, Musée du Louvre 

19thcentury-nchairil:

Paris at the time of the Impressionists, 1848-1914. 

Jean-Louis Forain (1852-1931)

 At the Café de la Nouvelle Athènes1892

 Indian ink, gouache, graphite, watercolour, brush

 H. 36.2; W. 39 cm

 Paris, Musée d’Orsay, kept in the Graphic Arts Department, Musée du Louvre 

19thcentury-nchairil:

 
Nature Caught in the act: photograph by Charles Aubry (1811-1877)
QuincesCirca 1864
Albumen print from a dry collodion glass negative glued on cardH. 25; W. 36.1 cm
Paris, Musée d’Orsay© Musée d’Orsay, dist.

19thcentury-nchairil:

Nature Caught in the act: photograph by Charles Aubry (1811-1877)

QuincesCirca 1864

Albumen print from a dry collodion glass negative glued on cardH. 25; W. 36.1 cm

Paris, Musée d’Orsay© Musée d’Orsay, dist.