1,737,664 research outputs found
Graff
No full textThe author outlines the history and aims of Graff and describes its printing services, printmaking studios, gallery and other available services
Antonius Graff
No full textSitzendes Kniestück nach rechts. Der Künstler trägt einen Tuchrock, Seidenkappe, Kniehosen und Strümpfe, in der Hand hält er einen Zeichengriffel; im rechten Hintergrund die Staffelei mit leerer LeinwandflächeAnton Graff pinx. ; J. Elias Haid sculps. A.V.Unten bezeichnet "Antonius Graff / Serenissimi Principis Electoris Sasconia / Frid. Augusti IV. / Pictor aulicus / natus Vitoduri Anno post Christum natum CICICCCXXXVI. a.d. XXVI. Novembris."Vgl. Ekhart Berckenhagen: Graff. Leben und Werk, Berlin 1967, Nr. 478Das Selbstbildnis (1765) von Anton Graff befindet sich in der Gemäldegalerie Dresden, Alte Meiste
[Auguste Graff, geb. Sulzer]
No full textPorträt von Auguste Graff, geb. Sulzer (1753-1812), der Ehefrau des Künstlers und Entwerfers des vorliegenden Porträts: Anton Graff (1736-1813)J. Rod. Schellenberg fec. [in Spiegelschrift] ; [nach Anton Graff]Oberhalb des Medaillons bezeichnet "G."Gemäss Thanner wird das Gemälde von Anton Graff, welches Schellenberg als Vorlage für die Radierung diente, im Kunstmuseum Winterthur aufbewahrt. Das Porträt radierte Schellenberg zweimal. Siehe dazu ThannerBlatt im Umschlag mit der Bezeichnung "Brun Nr. 34 Aus: Lavater, J.C. Physiognom. Fragmente. 1775-78. (24 BLL.)"Auf der Rückseite des Blattes handschriftliche Notiz "III, S 304/05 / Mad. Graf
There is Someone / And We Are in the Wardrobe / I Feel the Light
No full textThree poems by Graff are printed on assorted papers of various sizes
An Inquiry into Gesture, Volume 1 : You Have to Believe it to See it / An Inquiry into Mannerism, Volume II : You Have to Believe it to See it
No full textBoth "gesture" and "mannerism", defined in contrast to one another, are explored through simplistic illustrations in a set of two miniature booklets by Graff
Being : A Lecture in the Form of a Miscellany : We Should Take the Mona Lisa at Face Value
No full textGraff compiled 21 quotes, from a Zen anecdote to James Joyce and René Magritte, as well as three appropriated illustrations, reflecting on the significance of vision and the nature of being
Interview with Laura and Clebourne Graff
No full textTape recorded interview conducted on Sept. 22, 1989 in Menomonie, Wisconsin, with Laura and Clebourne Graff. Clebourne was born on June 24, 1918. He was raised on a farm in the Town of Lucas and later worked at a home for the aged in Knapp, Wisconsin. There he met his wife, Laura Bosshart. They were married in 1941 and operated a dairy farm. In 1946, they moved to Menomonie where they bought a home and took in the elderly. The home became known as the Graff Nursing Home. They retired in 1969
Gail Basil Graff -- Master Teacher
Get PDFWritten interview with Gail Graff, Master Teacher and member of the Kansas Association of Elementary School Principals.https://scholars.fhsu.edu/ors/1275/thumbnail.jp
‘Eyedentity’, Stephane Graff
No full textI progetti di Stephane Graff dal 1991 ad oggi possono apparire alquanto diversificati, eppure sono tutti interconnessi da un filo connettivo costituito da identità e dissimulazione. Nel 1995 iniziò una serie ancora in corso di dipinti chiamati Black Box, in cui gli occhi dei soggetti sono oscurati da un rettangolo nero. Ciò nasconde la loro identità, perché la misura e la posizione degli occhi, in relazione ad altri punti di riferimento facciali, è necessaria per il riconoscimento.
Allo stesso modo, l’ossessione verso l’identità si combina con un bisogno di realizzare lavori relativi all’anti-identità. Mentre la sua opera si ricollega alla dissimulazione, Graff paragona il processo creativo ad uno scavo nell’inconscio dove vi è qualcosa di nascosto che aspetta di essere rivelato dall’artista.
Stephane Graff's projects from 1991 to the present may appear to be quite diverse, yet they are all interconnected by a connective thread consisting of identity and concealment. In 1995 he began a series of paintings called Black Box, in which the subjects' eyes are obscured by a black rectangle. This hides their identity, because the measurement and position of the eyes, in relation to other facial reference points, is necessary for recognition.
In the same way, the obsession with identity is combined with a need to carry out work related to anti-identity. While his work is linked to dissimulation, Graff compares the creative process to an excavation in the unconscious where there is something hidden waiting to be revealed by the artist.
Includes an essay by James Putnam
Ekpahak : Where the Tide Ends = Où la marée aboutit
No full text"When Terry Graff and Alan Syliboy decided to investigate contemporary First Nations art in New Brunswick, they set out on a road trip. They visited the Mi’kmaq Nation communities and Wolastoqey Nation communities. The result was an exhibition and a book, a journal that captured the essence of the road trip through Graff’s words and Syliboy’s magnificent photographs." -- Goose Lane editions' website
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