To the Wall Street Journal architect Annabelle Selldorf this year describes the podium of 200 Eleventh Avenue in terms of Josef Hoffmann's Austrian Pavilion at the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes. I notice that the podium indents like Amon Carter's facade. I thought that perhaps Hoffmann would be the source of that feature in the Amon Carter design as well, then. Amon Carter's architect was not above theft; however, when I look through the flickr photoset of Art Deco Expo pavilions,
http://www.flickr.com/photos/ruamps/...7625380297538/ I don't see the resemblance of her building to Hoffmann's. This is the closest I can find. That or perhaps http://www.modellbogen.wrb.ch/index....EU&list=KAT282 - but both by Googling "Pavillon de l'Autriche", l'autriche hoffmann, and so on. This thread is for any other clues as to the forerunners of the 200 Eleventh and Amon Carter curvatures.
Broadening this thread topic, the Amon Carter Museum gets a new painting.
Read more here: http://www.star-telegram.com/2013/09...#storylink=cpyCarter museum acquires monumental John Singer Sargent painting
Sep. 06, 2013
BY GAILE ROBINSON
FORT WORTH — The Amon Carter Museum of American Art has acquired a monumental portrait by John Singer Sargent of Edwin Booth, the renowned 19th-century actor and brother of Lincoln assassin John Wilkes Booth.
The 71/2-foot-tall painting, completed in 1890, is the first life-size portrait to enter the Carter’s collection, and the second Sargent, joining the lovely Alice Vanderbilt Shepard (1888)....
Edwin Booth goes on display today in the foyer of the Carter on the wall opposite Frederic Remington’s Dash for the Timber.
One of my favorite Fort Worth daydreams has one of the stockpiles of money in Fort Worth going to museum. I like to imagine dozens more paintings similar in stature to this Sargent hanging on the walls.
The mediator between the head and the hands must be the heart.
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