Renowned for his caricatures, his original style of cubism, and his figurative painting, artist Lyonel Feininger, a member of the Bauhaus School, the influential modern art offshoot founded in Germany in 1919, never intended his photographs for public consumption. They were private images, occasionally offered as gifts to family and friends.But an intimate exhibition titled “Lyonel Feininger: Photographs, 1928-1939,” in the Harvard Art Museums/Arthur M. Sackler’s fourth-floor gallery, offers viewers a comprehensive look at his largely unknown photographic work.A painter largely committed to oil on canvas, Feininger was initially skeptical about photography, what he called a “mechanical medium,” said Laura Muir during a “Two-Point Perspective” gallery talk in April, part of an ongoing series of discussions sponsored by the Harvard Art Museums that explore works from various viewpoints.But as a Bauhaus teacher — Feininger was hired by movement founder Walter Gropius as its first faculty appointment — the 57-year-old was greatly influenced by his two sons, both photography enthusiasts, who had installed a darkroom in the basement of their home, and by his friend and Bauhaus colleague, Hungarian artist László Moholy-Nagy, who led the school’s metal workshop and who championed experimental photographic techniques.The show, which was in Germany and at the J. Paul Getty Museum in Los Angeles before making its final stop at Harvard, covers Feininger’s most prolific period with photography, 1928-39.The exhibition’s earliest images reveal Feininger’s skill with the medium and his ability to transform “something familiar into something otherworldly,” said Muir, the show’s curator and assistant curator of the Harvard Art Museums/Busch-Reisinger Museum. The pictures show deserted streets and Bauhaus campus buildings, and often involve a ghostly, halo lighting effect, which the artist achieved by positioning himself so that the direct light from a streetlamp or window was largely obstructed by another object. Feininger, who liked to work alone and often after dark, captured moody, black-and-white images from the late 1920s as he prowled his German neighborhood and the Bauhaus campus.His son T. Lux once wrote that his father “likes halos; he just wants to control them,” said Penley Knipe, Philip and Lynn Straus Conservator of Works of Art on Paper, who helped to prepare many of the images for the exhibition.The show, which was in Germany and at the J. Paul Getty Museum in Los Angeles before making its final stop at Harvard, covers Feininger’s most prolific period with photography, 1928-39, and chronicles his experimentation with innovative techniques promoted by Moholy-Nagy, including the use of closely cropped images, multiple exposures, and unusual perspectives.In a series of images from 1932-33, Feininger captured the ornate window displays of Weimar Germany. Elaborately dressed mannequins gaze back at the viewer, recalling, said Muir, the “eccentric characters” at the heart of many of his cartoons, caricatures, and early drawings. The images, the exhibition’s accompanying text notes, “emphasize not only the eerily lifelike and strangely seductive quality of the mannequins, but the disorienting, dreamlike effect created by reflections in the glass.”In contrast to his photographic work, an adjoining gallery contains a selection of Feininger’s drawings and watercolors. His skills as a master caricaturist are evident in “Ghosties,” a whimsical, cartoonlike work of ink and watercolor. Nearby, a black ink and charcoal drawing depicting sharp angles and shapes evokes his unique style of cubism.Included in the exhibition are Feininger’s original cameras, a Voigtländer Bergheil and a Leica I Model A camera from 1931. Displayed under glass in the center of the gallery, they offer viewers a tangible and tactile connection to the deeply personal, often ethereal works on the walls.Fearful at the rise of Nazi Germany, the artist eventually relocated to the United States with his family in 1937. In 1938, he rented an apartment in Manhattan where he continued his photography, much of which is now preserved in the Harvard Art Museums’ collection of more than 18,000 negatives and slides in the Lyonel Feininger Archive of the Busch-Reisinger Museum.The work in the show is drawn primarily from Harvard’s Houghton Library’s comprehensive Lyonel Feininger collection. The exhibit will be on view through June 2.
Press Association It could be a struggle to sign two of the men United bid for in August, even though neither Leighton Baines nor Ander Herrera will be prevented from playing in European competition, as Everton and Athletic Bilbao will have their own targets to aim for. So Moyes is cautious about building up fans’ expectations. “I’ll look at January but I wouldn’t want people to have big expectations of what we would sign or do,” Moyes told reporters. “In the main, January has not been a great month to sign at the top level. “If you’re in trouble near the bottom you might as you’re desperate for something but we’ll be looking for the top players.” Moyes does want to strengthen though. It was anticipated he would make more reinforcements following his arrival beyond the single, significant capture of £27.5million Marouane Fellaini from Everton in the last minutes of the transfer window. “Undoubtedly we will, in time, try and make the squad better – the job is to make progress at Manchester United,” said Moyes. “They won the league last year but I want to try and progress on that, try to win it again and try to win the cups if possible as well. “We’ll also look to add to the squad if the right players become available. “We wanted to try and get one or two players in which, I said at the time, we wanted to buy players to come into the team if possible. “That was the goal. We didn’t need many more players, just one or two who could definitely help and effect on the first team.” After a tricky start to his tenure, Moyes has been assured by United’s owners that cash will be made available to strengthen his squad. The problem is top-class players are rarely available during the mid-season window. Manchester United boss David Moyes has played down expectations of a January transfer splurge.
Being in “Full Phase 1” allows theme parks are allowed to submit their reopening plans to state officials.Meanwhile, the Orange County Economic Recovery Task Force approved Universal Orlando Resort’s reopening plan on Thursday afternoon.Orange County Mayor Jerry Demings will need to endorse the proposal before it goes to Gov. DeSantis’ desk for final approval.As of Thursday, Universal Orlando Resort’s theme parks and hotels are expected remain closed through at least May 31, according to its website. The fun of the Orlando theme parks could be returning sooner than we expected.Just days after it reopened the CityWalk, Universal Orlando Resort has submitted a proposal to state officials requesting that it be allowed to reopen June 5.The announcement comes as Florida is currently in Full Phase 1 of Governor Ron DeSantis’ plan to reopen the state amid the coronavirus pandemic.Presentation information can now be found at https://t.co/a6IEQw5UlG and click on “Resources” tab on side. https://t.co/aiD0k1vgB1— Orange County FL (@OrangeCoFL) May 21, 2020
Portuguese coach Jose Mourinho will part with Real Madrid after the end of the current season due to bad relations with club’s President Florentino Perez.According to Spanish Marca newspaper, Real’s administration has reached an agreement with Mourinho that he’ll depart on June 30, 2013.Perez believes the coach has reached the top of his potential at Madrid and has nothing more to offer the club.Mourinho is also reported to be unhappy with some of the decisions made by Real’s president.Real currently sit third in the Spanish La Liga, 11 points behind table toppers Barcelona.Mourinho has been with the Madrid side since 2010, with the 49-year-old leading the Whites to a Spanish title victory and the home cup.