Dein Suchergebnis zum Thema: Held

at the edge of a canvas caused when it was first held

This series contains the personal correspondence of Jacques Lipchitz, his brother Rubin Lipchitz and his first wife Berthe Lipchitz (Kitrosser).
In 1920 Lipchitz held his first solo exhibition, at

This series contains the personal correspondence of Jacques Lipchitz, his brother Rubin Lipchitz and his first wife Berthe Lipchitz (Kitrosser).
In 1920 Lipchitz held his first solo exhibition, at

exhibiting society founded in London in 1933, which held

Tate glossary definition for portrait: A portrait is a representation of a particular person
most significant exhibition of her work ever to be held

During his trip to the USSR in 1935 Jacques Lipchitz was commissioned to make a portrait of Felix Dzerzhinsky, the founder of the political police for the exhibition ‚Industriya sotsializma‘ (Industry of socialism) in Moscow 1937. In 1937 Lipchitz was also commissioned to create a portrait of Sergo Ordzhonikidze, influential Soviet politician and the Minister of Industry (among other positions), who died in suspicious circumstances. This second commission was cancelled soon after its inception. The exhibition ‚Industry of socialism‘ took place in 1939, and Lipchitz’s ‚Portrait of Dzerzhinsky‘ was not displayed, probably for political reasons. During his stay in Moscow …
In 1920 Lipchitz held his first solo exhibition, at

Contains five letters, three from J.M. Nahon to Lipchitz, and two drafts from Lipchitz to J.M. Nahon. There are two issues in this correspondence: commercial and propagandist use of a painting (portrait of Charles Quint), apparently belonging to Lipchitz and the political views of the sender, James Nahon. Lipchitz expresses his sympathies for the Spanish Republic while Nahon considers himself a victim of this republic.
In 1920 Lipchitz held his first solo exhibition, at

Contains two letters, one of them a draft written by Lipchitz, both are of the same date. Both are related to drawings sent to Lipchitz, for which the custom office of the railways station asks him to pay customs. The drawings are from Walya Resnikoff, his young female relative (or friend) who has only just started to draw and asked for his opinion. See TGA 897/1/1/327, the correspondence with Walya Resnikoff.
In 1920 Lipchitz held his first solo exhibition, at

File contains two letters with two envelopes from Walya Resnikoff, Berlin, to Lipchitz. On the first envelope there are two reply addresses: S. Refess in Paris and W. Resnikoff in Berlin. In her first letter a female sender, Walya Resnikoff asks Lipchitz for advice on art – ‚to draw what you love‘. She is also asking his permission to send him some of her drawings. In her second letter Walya asks if her drawings were received. See correspondence with the railway station ‚Moulineaux-Billancourt‘ (TGA 897/1/1/292) where Lipchitz writes that his artworks, kept by customs are student drawings of his ‚little …
In 1920 Lipchitz held his first solo exhibition, at

Part of this correspondence has been published.
In 1920 Lipchitz held his first solo exhibition, at