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Собрания: Гарвардские художественные музеи, Государственный музей изобразительных искусств имени А. С. Пушкина, Государственный музей искусств, Йельский центр британского искусства, Лувр, Метрополитен-музей, Миннеаполисский институт искусства, Музей американского искусства Уитни, Музей Виктории и Альберта, Музей Гетти, Музей современного искусства, Музей Хиршхорн и сад скульптур, Национальная галерея искусства, Национальная портретная галерея, Рейксмюсеум, Русский музей, Смитсоновский музей американского искусства, Смитсоновский музей дизайна Купер Хьюитт, Третьяковская галерея, Художественная галерея Йельского университета, Художественный музей Кливленда, Чикагский институт искусств, Эрмитаж, Getty Villa, National Museum of Asian Art, Госкаталог Музейного фонда России (274 музея), Европеана (19 музеев), Викиданные (44 музея), Парижские музеи (12 музеев), Жоконда, база музеев Министерства культуры Франции (495 музеев) и Генеральный каталог культурного наследия Министерства культуры Италии (25 музеев). Изображения принадлежат правообладателям.

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Послевоенное искусство, 1945–1975

223 220 работ из 458 музеев1 980 сейчас в залахСбросить

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Á toute épreuve (Proof Against All), Жоан Миро, 1947–1958, издание 1958Жоан МироÁ toute épreuve (Proof Against All)1947–1958, издание 1958Музей современного искусства
Woman and Bird in Front of the Moon (Femme et oiseau devant la lune), Жоан Миро, 1947Жоан МироWoman and Bird in Front of the Moon (Femme et oiseau devant la lune)1947Музей современного искусства
Untitled from Flight, Жоан Миро, 1966, издание 1971Жоан МироUntitled from Flight1966, издание 1971Музей современного искусства
Plate (folio 27 verso) from Le Lézard aux plumes d'or (The Lizard with Golden Feathers), Жоан Миро, 1971Жоан МироPlate (folio 27 verso) from Le Lézard aux plumes d'or (The Lizard with Golden Feathers)1971Музей современного искусства
Plate (page 37) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироPlate (page 37) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
In-text plate (page 97) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 97) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Rebecca Ginsberg, Buba, wife of Pincus, laundry-man later tobacco store owner, my paternal grandmother (b. Russia near Kaminetz-Podolska May 1869–d. July 1962) visiting her elder son Louis’ house, here 84 years old at table for Seder preparations. She’d attended Adult Education English classes in Newark 14 years earlier, written patriotic essay declaring “God Blast America!” Younger son Uncle Abe & daughters Aunt Rose, Clara & H.S. teacher Hannah were her children. Dining room 428 East 34th Street, Paterson New Jersey April 1953., Аллен Гинзберг, 1953, отпечаток позднееАллен ГинзбергRebecca Ginsberg, Buba, wife of Pincus, laundry-man later tobacco store owner, my paternal grandmother (b. Russia near Kaminetz-Podolska May 1869–d. July 1962) visiting her elder son Louis’ house, here 84 years old at table for Seder preparations. She’d attended Adult Education English classes in Newark 14 years earlier, written patriotic essay declaring “God Blast America!” Younger son Uncle Abe & daughters Aunt Rose, Clara & H.S. teacher Hannah were her children. Dining room 428 East 34th Street, Paterson New Jersey April 1953.1953, отпечаток позднееНациональная галерея искусства
In-text plate (page 74) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 74) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Louis Marker, Jacksonville Florida. Bill Burroughs friend from Mexico City. I visited December 1953., Аллен Гинзберг, 1953, отпечаток позднееАллен ГинзбергLouis Marker, Jacksonville Florida. Bill Burroughs friend from Mexico City. I visited December 1953.1953, отпечаток позднееНациональная галерея искусства
In-text plate (page 93) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 93) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
William Burroughs, kitchen table, burlap bag of Yage brought back from Amazonas, 206 E. 7 St. NY. 1953. That's the bedroom standing closet through door behind his shoulder-- we slept there, time of _Yage Letters_ & _Queer_ mss., Аллен Гинзберг, 1953, отпечаток позднееАллен ГинзбергWilliam Burroughs, kitchen table, burlap bag of Yage brought back from Amazonas, 206 E. 7 St. NY. 1953. That's the bedroom standing closet through door behind his shoulder-- we slept there, time of _Yage Letters_ & _Queer_ mss.1953, отпечаток позднееНациональная галерея искусства
Donald Cook and his son Michael, an apartment near Columbia University, Francis Mechner in background, young psychology grad students. Later they proposed innovating Basic Systems Computer teaching machines. New York, Fall 1953., Аллен Гинзберг, 1953, отпечаток 1990Аллен ГинзбергDonald Cook and his son Michael, an apartment near Columbia University, Francis Mechner in background, young psychology grad students. Later they proposed innovating Basic Systems Computer teaching machines. New York, Fall 1953.1953, отпечаток 1990Национальная галерея искусства
Title page from Album 13, Жоан Миро, 1948Жоан МироTitle page from Album 131948Музей современного искусства
Lafcadio, 17, and Peter Orlovsky, 22, at door their apartment 5 Turner Terrace, S.F. 1956, Lafcadio looking for a job was cutting school, Peter was worried. These were new-built cheap rent veteran's apartments on Potrero Hill dominated by a giant gas tank., Аллен Гинзберг, 1956, отпечаток 1995Аллен ГинзбергLafcadio, 17, and Peter Orlovsky, 22, at door their apartment 5 Turner Terrace, S.F. 1956, Lafcadio looking for a job was cutting school, Peter was worried. These were new-built cheap rent veteran's apartments on Potrero Hill dominated by a giant gas tank.1956, отпечаток 1995Национальная галерея искусства
Monument, Жоан Миро, 1956Жоан МироMonument1956Музей современного искусства
Neal Cassady New York 1964 on visit with Ken Kesey's bus., Аллен Гинзберг, 1964, отпечаток позднееАллен ГинзбергNeal Cassady New York 1964 on visit with Ken Kesey's bus.1964, отпечаток позднееНациональная галерея искусства
Carl Solomon in his Prince Street apartment several years after we were locked up together in residence on Sixth Floor ward, New York State Psychiatric Institute. He got shock treatments, introduced me to Jean Genet’s _Miracle of the Rose_ and Antonin Artaud’s _Van Gogh, The Man Suicided by Society_ translations, I stayed eight months, weekends off. Afterwards, working mid-town at his uncle’s Ace Books publications, he gave Kerouac small advance on first _On the Road_ sketches (scroll later rejected), saw Jaime DeAngulo’s classic _Indian Tales_ first hard-back through press, & edited William Burroughs’ _Junkie_ paperback first edition. New York, 1953., Аллен Гинзберг, 1953, отпечаток 1995Аллен ГинзбергCarl Solomon in his Prince Street apartment several years after we were locked up together in residence on Sixth Floor ward, New York State Psychiatric Institute. He got shock treatments, introduced me to Jean Genet’s _Miracle of the Rose_ and Antonin Artaud’s _Van Gogh, The Man Suicided by Society_ translations, I stayed eight months, weekends off. Afterwards, working mid-town at his uncle’s Ace Books publications, he gave Kerouac small advance on first _On the Road_ sketches (scroll later rejected), saw Jaime DeAngulo’s classic _Indian Tales_ first hard-back through press, & edited William Burroughs’ _Junkie_ paperback first edition. New York, 1953.1953, отпечаток 1995Национальная галерея искусства
Double page plate (between pages 60 and 61) from King Roi (Ubu Roi), Жоан Миро, 1966Жоан МироDouble page plate (between pages 60 and 61) from King Roi (Ubu Roi)1966Музей современного искусства
In-text plate (page 85) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 85) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Young Girl, Жоан Миро, 1948Жоан МироYoung Girl1948Музей современного искусства
Wise-eyed Alan Ansen, Polymath expatriate & eccentric, at San Sammuelle motorscaffe station, half-street from his apartment 3219 della Carrozza where Peter Orlovsky & I spent happy summer 1957- Ansen also hosted Wm. Burroughs & Gregory Corso. Harvard Classics summa cum laude 1942, Poet, critic, he was secretary & Prosodic Conscience to W.H. Auden during early 40’s _Age of Anxiety_, thereafter lifelong intimate of Auden & companion Chester Kallman-- as with William Burroughs whose _Naked Lunch_ & later ravings he helped type & edit in Tangier 1957 & 1961. A familiar at San Remo village bar & Kerouac's companions' revels in late 1940's, he's sketched as "Rollo Grab" in _On the Road_, "Ronald Swenson" in _Visons of Cody_ and _Book of Dreams_, "Austin Bromberg" in _The Subterraneans_ & Amadeus Baroque, _Doctor Sex_...., Аллен Гинзберг, 1957, отпечаток 1995Аллен ГинзбергWise-eyed Alan Ansen, Polymath expatriate & eccentric, at San Sammuelle motorscaffe station, half-street from his apartment 3219 della Carrozza where Peter Orlovsky & I spent happy summer 1957- Ansen also hosted Wm. Burroughs & Gregory Corso. Harvard Classics summa cum laude 1942, Poet, critic, he was secretary & Prosodic Conscience to W.H. Auden during early 40’s _Age of Anxiety_, thereafter lifelong intimate of Auden & companion Chester Kallman-- as with William Burroughs whose _Naked Lunch_ & later ravings he helped type & edit in Tangier 1957 & 1961. A familiar at San Remo village bar & Kerouac's companions' revels in late 1940's, he's sketched as "Rollo Grab" in _On the Road_, "Ronald Swenson" in _Visons of Cody_ and _Book of Dreams_, "Austin Bromberg" in _The Subterraneans_ & Amadeus Baroque, _Doctor Sex_....1957, отпечаток 1995Национальная галерея искусства
Plate IX from The Ring of Dawn Suite (Suite la bague d'aurore), Жоан Миро, 1957Жоан МироPlate IX from The Ring of Dawn Suite (Suite la bague d'aurore)1957Музей современного искусства
Beclouded Person, Жоан Миро, 1955Жоан МироBeclouded Person1955Музей современного искусства
Colophon page from Album 13, Жоан Миро, 1948Жоан МироColophon page from Album 131948Музей современного искусства
Gregory Corso on Boulevard Pasteur Tangier 1961. Psilocybin Days. Arab & French Posters., Аллен Гинзберг, 1961, отпечаток позднееАллен ГинзбергGregory Corso on Boulevard Pasteur Tangier 1961. Psilocybin Days. Arab & French Posters.1961, отпечаток позднееНациональная галерея искусства
One of the most beautiful stranger's faces I ever saw. Lance Hendrickson, Tangier, Аллен Гинзберг, 1961, отпечаток позднееАллен ГинзбергOne of the most beautiful stranger's faces I ever saw. Lance Hendrickson, Tangier1961, отпечаток позднееНациональная галерея искусства
In-text plate (page 24) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 24) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
In-text plate (page 16) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 16) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Le Lézard aux plumes d'or (The Lizard with Golden Feathers), Жоан Миро, 1971Жоан МироLe Lézard aux plumes d'or (The Lizard with Golden Feathers)1971Музей современного искусства
Frontispiece from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироFrontispiece from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
In-text plate (folio 25 verso) from À toute épreuve (Proof Against All), Жоан Миро, 1947–1958, издание 1958Жоан МироIn-text plate (folio 25 verso) from À toute épreuve (Proof Against All)1947–1958, издание 1958Музей современного искусства
In-text plate (page 64) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироIn-text plate (page 64) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Headpiece (colophon) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироHeadpiece (colophon) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Tailpiece (page 58) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироTailpiece (page 58) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Frontispiece from À toute épreuve (Proof Against All), Жоан Миро, 1947–1958, издание 1958Жоан МироFrontispiece from À toute épreuve (Proof Against All)1947–1958, издание 1958Музей современного искусства
Peter Orlovsky's clear inquiring eye in sunlight, Gregory Corso visiting our room, Tangier, Аллен Гинзберг, 1961, отпечаток позднееАллен ГинзбергPeter Orlovsky's clear inquiring eye in sunlight, Gregory Corso visiting our room, Tangier1961, отпечаток позднееНациональная галерея искусства
Без названия, Жоан Миро, 1947Жоан МироБез названия1947Музей современного искусства
Moonbird, Жоан Миро, 1966Жоан МироMoonbird1966Сад скульптур · 1-й этажМузей современного искусства
Plate (folio 29) from Le Lézard aux plumes d'or (The Lizard with Golden Feathers), Жоан Миро, 1971Жоан МироPlate (folio 29) from Le Lézard aux plumes d'or (The Lizard with Golden Feathers)1971Музей современного искусства
Plate (page 11) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироPlate (page 11) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Plate (page 99) from Parler seul (Speaking Alone), Жоан Миро, 1948–1950, издание 1950Жоан МироPlate (page 99) from Parler seul (Speaking Alone)1948–1950, издание 1950Музей современного искусства
Double page plate (between pages 28 and 29) from King Ubu (Ubu Roi), Жоан Миро, 1966Жоан МироDouble page plate (between pages 28 and 29) from King Ubu (Ubu Roi)1966Музей современного искусства
I met Lance Hendrickson by accident Tangier 1961 & took his picture, Аллен Гинзберг, 1961, отпечаток позднееАллен ГинзбергI met Lance Hendrickson by accident Tangier 1961 & took his picture1961, отпечаток позднееНациональная галерея искусства
Variant of plate (page 45) from Le Désespéranto (Desesperanto): Volume III from L'Antitête (The Anti-Head), Жоан Миро, 1947–1949, издание 1949Жоан МироVariant of plate (page 45) from Le Désespéranto (Desesperanto): Volume III from L'Antitête (The Anti-Head)1947–1949, издание 1949Музей современного искусства
Без названия, Жоан Миро, 1947, издание 1952–1953Жоан МироБез названия1947, издание 1952–1953Музей современного искусства
In-text plate (folio 18) from À toute épreuve (Proof Against All), Жоан Миро, 1947–1958, издание 1958Жоан МироIn-text plate (folio 18) from À toute épreuve (Proof Against All)1947–1958, издание 1958Музей современного искусства
In-text plate (folio 31) from À toute épreuve (Proof Against All), Жоан Миро, 1947–1958, издание 1958Жоан МироIn-text plate (folio 31) from À toute épreuve (Proof Against All)1947–1958, издание 1958Музей современного искусства
Plate 7 from Album 13, Жоан Миро, 1948Жоан МироPlate 7 from Album 131948Музей современного искусства
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