• No results found

"Factions" Diana Vreeland at The Costume Institute. The reinvention of a repressed tradition in museum display

N/A
N/A
Protected

Academic year: 2021

Share ""Factions" Diana Vreeland at The Costume Institute. The reinvention of a repressed tradition in museum display"

Copied!
11
0
0

Bezig met laden.... (Bekijk nu de volledige tekst)

Hele tekst

(1)

53

List of illustrations

X

Figure 1. Photographer unknown. Installation view from ‘Imperial Style: Fashions of the Hapsburg Era’,1980. The Metropolitan Museum of Art, New York.

X

Figure 2. Photographer unknown. Installation view from ‘Imperial Style: Fashions of the Hapsburg Era’,1980. The Metropolitan Museum of Art, New York.

Figure 3. Artist unknown. Fashion plate six in Wiener Zeitschrift für Kunst, Literatur und Mode. 1829.Taken from: The Imperial Style: Fashions of the Hapsburg Era. New York: The Metropolitan Museum of Art, 1980: 43.

(2)

54

Figure 4. Karóly Szelényi. Hungarian lady’s gala dress of about 1780. Hungarian National Museum, Budapest. Taken from: The Imperial Style: Fashions of the Hapsburg Era. New York: The Metropolitan Museum of Art, 1980: 85.

X

Figure 5. Photographer unknown. Installation view from ‘The Eighteenth Century Woman’, 1981. The Metropolitan Museum of Art, New York.

X

Figure 6. Photographer unknown. ‘Installation view from The Eighteenth Century Woman’, 1981. The Metropolitan Museum of Art, New York.

(3)

55

Figure 7. Richard Avedon. ‘The Great Fur Caravan’ in: Vogue, October 1966. Taken from: Diana Vreeland: The Eye Has To Travel. New York: Abrams Books, 2011:150.

Figure 8. Richard Avedon. ‘The Great Fur Caravan’ in: Vogue, October 1966. Taken from: Diana Vreeland: The Eye Has To Travel. New York: Abrams Books, 2011: 151.

(4)

56

Figure 9. Richard Avedon. ‘The Great Fur Caravan’ in: Vogue, October 1966. Taken from: Diana Vreeland: The Eye Has To Travel. New York: Abrams Books, 2011: 151.

Figure 10. Richard Avedon. ‘The Great Fur Caravan’ in: Vogue, October 1966. Taken from: Diana Vreeland: The Eye Has To Travel. New York: Abrams Books, 2011: 149.

(5)

57

Figure 11. James Karales. Diana Vreeland in Vogue Office 1965. Courtesy of the Estate of James Karales. Taken from: < http://www.dianavreeland.com/page/posts/op/read/id/20>

Figure 12. Maker unknown. Gallery Plan The Costume Institute, 1972. Taken from: Diana Vreeland: The Eye Has To Travel. The Metropolitan Museum of Art, New York. New York: Abrams Books, 2011: 230.

(6)

58

Figure 13. Photographer unknown. Installation view from ‘Cubism and Abstract Art’, Museum of Modern Art, New York, 1936. Taken from: Kabinetten, gallerijen en musea: het verzamelen en presenteren van naturalia en kunst van 1500 tot heden. Zwolle: Waanders, 2013: 438.

Figure 14. Artist unknown. Collection de L’Hôtel De Cluny, Vue de la Chambre dite de Francois ler. Taken from: The clothing of Clio: a study of the representation of history in nineteenth century Britain and France. Cambridge: Cambridge University Press, 1984: 81

(7)

59

Figure 15. Photographer unknown. Bilderatlas Mnemosyne, tafel 39. Taken from: Der

Bilderatlas Mnemosyne. Warburg Institute, London. Berlin: Akademie Verlag, 2008: 69.

X

Figure 16. Photographer unknown. ‘Installation view from The Eighteenth Century Woman’, 1981. The Metropolitan Museum of Art, New York.

(8)

60

Figure 17. Franz Xaver Winterhalter. Empress Elisabeth of Austria in Courtly Gala Dress with Diamond Stars. 1865. Oil on canvas. Hofburg Palace, Hofburg. Taken from: Diana Vreeland: The Eye Has To Travel. New York: Abrams Books, 2011.

(9)

61

Figure 18. Photographer unknown. Romy Schneider as Sissi in wedding dress in the movie ‘Sissi - Die junge Kaiserin’ (Sissi -the young empress), 1956. Taken from: <

(10)

62

Figure 19. Photographer unknown. Galerie De La Révolution, Mort De Marat, Arrestation De Charlotte Corday, Musée Grévin. Taken from:<

http://parissecretetinsolite.unblog.fr/2010/01/06/la-baignoire-de-marat-un-vieux-souvenir/> X

Figure 20. Photographer unknown. ‘Installation view from The Eighteenth Century Woman’, 1981. The Metropolitan Museum of Art, New York.

Figure 21. Photographer unknown. Installation view from ‘Moose diorama, Bernard Family Hall of North American Mammals’. American Museum of Natural History Library Services,

(11)

63

New York. Taken from: < http://www.amnh.org/exhibitions/permanent-exhibitions/mammal-halls/bernard-family-hall-of-north-american-mammals/moose>

Figure 22. Photographer unknown. Installation view from ‘Summer Bird-Life of Cobb’s Island, Virginia’,1902. American Museum of Natural History Library Services, New York. Taken from: < http://peabody.yale.edu/james-perry-wilson/chapter-7-francis-lee-jaques-and-the-bird-halls>

Referenties

GERELATEERDE DOCUMENTEN

However, at the WCRC patients with traumatic SCI are only followed up one year after discharge, unless they develop problems before that time (Roodt, 2011). It is

ste oor die afgelope boekjaar en 'n diwidend van 8 % word weer verklaar op inbctaalde kapitaal.. Ole name wor. SfCkte en Hospitaalbesoek.. Advcrtonsle~;eldc IS.. atren[;

Op basis van de literatuur wordt er verwacht dat de sociale groep waarin het cannabisgebruik plaatsvindt een doorslaggevende invloed heeft op de vorming van het concept

The Public Life of Art: The Museum (1988-1989) – Andrea Fraser, Metropolitan Museum of Art en Museum of Modern Art in New York (Verenigde Staten van Amerika),

Preceding VAWA authorizations have been straightforward regarding cooperation between tribal, state, and federal law enforcement agencies concerning data collection and access

'HXEÎaç Kai 'P(j(iavoç. From the village of Ajidromachis through Mêlas the overseer two gold solidi only. Romanus public weigher. Likewise two solidi and three thousand hundred

Figure 42: Reflected light microscope and comparable SEM images of identical areas with composition of phases identified in position C (Figure 33) of the sample manufactured

Uit die bostaande kommentaar blyk dat kontrakteurs spesifiek deel vorm van die interne belangegroepe op grond van die volgende eienskappe: (i) hulle word deur