Art History News2 months ago
Roy Lichtenstein: History in the Making, 1948–1960

* Columbus Museum of Art* * March 4 through June 5, 2022* The first major museum exhibition to explore the early work of Roy Lichtenstein, one the most celebrated American artists of the 20th century, will be on view at the Columbus Museum of Art from March 4 through June 5, 2022. Roy Lichtenstein: History in the Making, 1948–1960 offers an in-depth view of the artist’s years in Columbus, Ohio, and includes approximately 90 works on loan from public and private collections in a range of media. With many works on public view for the first time, this unprecedented exhibition demo... read more
Art History News2 months ago
As They Saw It: Artists Witnessing War

The Clark Art Institute’s latest exhibition presents four centuries of war imagery from Europe and the United States in As They Saw It: Artists Witnessing War, on view March 5–May 30, 2022. Spanning European and American art from 1520–1920, the exhibition of prints, drawings, and photographs shows how artists have portrayed periods of military conflict, bringing war off the battlefield and into the homes and lives of those who were often at a far remove from the scene. The exhibition is on view in the Eugene V. Thaw Gallery of the Clark’s Manton Research Center. Visual media have ... read more
Art History News2 months ago
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Art History News2 months ago
Matisse: The Red Studio

*Museum of Modern Art* *May 1 – September 10, 2022 * * SMK – The National Gallery of Denmark in Copenhagen * * October 13, 2022, through February 26, 2023.* The Museum of Modern Art announces Matisse: The Red Studio, an exhibition focusing on the genesis and history of Matisse’s The Red Studio (1911), a painting that has remained among MoMA’s most important works since it was acquired in 1949. The large canvas depicts the artist’s studio filled with his paintings and sculptures, furniture, and decorative objects. This exhibition reunites the artworks shown in The Red Studio for ... read more
Art History News2 months ago
The Wyeth Foundation for American Art - more than 7,000 works of Andrew Wyeth

xxx Andrew Wyeth, BLACK HUNTER, 1938, tempera on panel. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Society (ARS) Andrew Wyeth, FAMILY TREE STUDY, 1964, watercolor on paper. Collection of the Wyeth Foundation for American Art © 2022 Andrew Wyeth/Artist Rights Society (ARS) The Wyeth Foundation for American Art has established a collection-sharing arrangement providing for more than 7,000 works of Andrew Wyeth (1917-2009) to be maintained, conserved and exhibited for the general public at the Brandywine River Museum of Art and the Farnswort... read more
Art History News2 months ago
Christie’s Announces 20/21 Marquee Week Day Sales May 13- 16
Christie’s Announces 20/21 Marquee Week Day Sales Post-War and Contemporary Art Day Sale | 13 May The Collection of Thomas and Doris Ammann Day Sale | 13 May Impressionist and Modern Works on Paper and Day Sale | 14 May The Surrealist World of Rosalind Gersten Jacobs and Melvin Jacobs | 14 May Picasso Ceramics | Online | 2 – 16 May [image: Property from the Family of Nina Van Rensselaer WAYNE THIEBAUD (1920 - 2021) Three Ice Cream Cones oil on canvas 12 x 15 in. (30.5 x 38.1 cm.) Painted in 1964. $2,500,000-3,500,000] Property from the Family of Nina Van Rensselaer WAYNE THIEBAUD (1... read more
Art History News2 months ago
The Bruce Museum in Greenwich, Conn., announced the promised gift of a major collection of European and American art

Edward Hopper (American, 1882-1967), Bridle Path, 1939, oil on canvas, 23 3/8 x 42 1/8 in.*Courtesy of the Bruce Museum* The identities of the collectors of this transformative gift of 70 artworks—which includes Edward Hopper’s seminal final painting *Two Comedians* (1966)—have been guessed at, but not revealed, according to ARTnews. Edward Hopper (American, 1882-1967), Bridle Path, 1939, oil on canvas, 23 3/8 x 42 1/8 in.*Courtesy of the Bruce Museum* The identities of the collectors of this transformative gift of 70 artworks—which includes Edward Hopper’s seminal final pain... read more
Art History News2 months ago
Impressionism: Franco-German Encounters
With a new presentation of over 80 works by French and German Impressionists, the Hamburger Kunsthalle is taking a fresh look at one of the defining art movements of modernism as a European phenomenon. Paintings, sculptures and pastels are presented in new constellations in five redesigned halls in the Licht­wark Gallery. Major works by Max Liebermann, Lovis Corinth and Max Slevogt, the »triumvirate of German Impressionism«, meet up here with French icons such as Édouard Manet, Auguste Renoir and Claude Monet. The show also brings in artists who have not been presented at the Ham... read more
Art History News2 months ago
Sotheby's Modern Evening sale on May 17.

The Toledo Museum of Art Will Deaccession Three Impressionist Paintings That Could Fetch More Than $60 Million at Sotheby’s [image: Paul Cézanne, Clairière (The Glade) (ca. 1895). Courtesy of Sotheby's.]Paul Cézanne, *Clairière (The Glade)* (ca. 1895). Courtesy of Sotheby's. When Steve Cohen’s 1932 Picasso comes up for sale at Sotheby’s on May 17, it will be joined on the auction block by three Impressionist paintings from the collection of the Toledo Museum of Art (TMA), which could net as much as $64 million—the largest institutional deaccession of the season. The consignment in... read more
Art History News2 months ago
Christie’s 20th Century Evening Sale May 12 - Additional works

Pissarro seized by Nazis to be sold at auction after families settle In an undated image provided via Christie’s, “The Anse des Pilotes, Le Havre,” by Camille Pissarro, painted in 1903. A Pissarro painting that was at the center of a dispute between the heirs of a Jewish couple whose art collection was seized by the Nazis before World War II and a Jewish family who bought it in 1994 will be sold at auction after the two sides reached agreement. Via Christie’s via The New York Times. The details of the settlement were not disclosed, but Christie’s has placed an estimate of $1.2 ... read more
Art History News2 months ago
Diego Rivera’s America

* San Francisco Museum of Modern Art * * July 16, 2022–January 2, 2023* Diego Rivera, Flower Seller, 1926; Honolulu Museum of Art, gift of Mr. and Mrs. Philip E. Spalding, 1932; © Bancode México Diego Rivera & Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York; photo: courtesy Honolulu Museum of Art The San Francisco Museum of Modern Art (SFMOMA) will present *Diego Rivera’s America**,* the most in-depth examination of the artist’s work in over two decades. *Diego Rivera’s America* brings together more than 150 of Rivera’s paintings, fresc... read more
Art History News2 months ago
Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence

Pontormo, del Sarto, Foschi. One of these names is much less of a household name when it comes to 16th-century Italian art, but the Georgia Museum of Art at the University of Georgia aims to change that this January. “Wealth and Beauty: Pier Francesco Foschi and Painting in Renaissance Florence,” organized by Nelda Damiano, the museum’s Pierre Daura Curator of European Art, is the first exhibition dedicated to Pier Francesco Foschi (1502 – 1567), a highly prolific and fashionable Florentine painter whose career spanned nearly five decades. Despite his success at the time, he fell i... read more
Art History News2 months ago
Bernini and the Roman Baroque: Masterpieces from Palazzo Chigi in Ariccia,

* The Museum of Fine Arts, St. Petersburg (MFA)* *February 12 through May 8, 2022* At the dawn of the seventeenth century, a new generation of artists emerged in Rome that would develop an artistic movement known as the Baroque period. Following the Renaissance, this eccentric new style spread rapidly through Europe and reached to the Americas. *Bernini and the Roman Baroque: Masterpieces** from Palazzo Chigi in Ariccia* explores the genesis of this artistic movement. Through a selection of works from 40 artists, including 10 works by Gian Lorenzo Bernini, this exhibition illum... read more
Art History News2 months ago
Christie's New York 20th Century Evening Sale May 12 2022 - Updated

Claude Monet, (1840-1926), Champ d'avoine et de coquelicots, signed and dated 'Claude Monet 90' (lower right), oil on canvas, 25.5/8 x 36.1/4 in. (65 x 92.1 cm.) Painted in Giverny in 1890. © Christie's Images Ltd 2022. Claude Monet’s Champ d’avoine et de coquelicots, (estimate: $12 million – 18 million) will highlight the 20th Century Evening Sale during the Spring Marquee Week of sales. The 1890 masterwork comes to Christie’s from an Important Private French Collection along with two wonderful examples from the late 19th century offered in the Impressionist and Modern Art Day Sale... read more
Art History News2 months ago
Sotheby's Modern Evening Auction on 27 April Hong Kong

Dora Maar was a commanding presence and this portrait by Picasso conveys her beauty and intellect to powerful effect. Painted in the French tricolor of red, white and blue – and prominently signed and dated – it captures a real sense of Maar’s personality and speaks eloquently of Picasso’s feelings. Interest in Picasso has been surging among Asian collectors, as we witnessed last year with two consecutive auction records for the artist in Asia, most notably for a portrait of Picasso’s second wife Jacqueline Roque. This season we are thrilled to present a museum-quality work that r... read more
Art History News2 months ago
Heritage May 10 American Art Signature® Auction
Heritage Auctions has announced one of the most comprehensive – and jubilant – American art events in recent memory. In the words of Senior Vice President Aviva Lehmann, the May 10 American Art Signature® Auction, featuring 150 works, is “a museum-quality auction showing off our strength and ability to curate a perfect sale that covers every genre of American Art.” The event, which is now open for bidding, spans the breadth of American art, from Ashcan to Impressionism, Regionalism to Hudson River, illustration to sculpture. Here, collectors are treated to everything from Rembran... read more
Art History News2 months ago
Distinguished American Paintings

[image: QUESTROYAL] Questroyal Fine Art 903 Park Avenue (at 79th Street) Third Floor New York, NY 10075 (212) 744-3586 gallery@questroyalfineart.com questroyalfineart.com [image: Paintings distinguished by provenance and history] [image: Autumn Landscape with Cattle, 1879 by Jasper Francis Cropsey (1823–1900)] [image: Fire Opals (Lady in Furs: Portrait of Mrs. Searls), 1912 by Childe Hassam (1859–1935)] [image: Palm Tree, Barbados by Joseph Stella (1877–1946)] [image: Twilight in the Wilderness, 1864 by John Williamson (1826–1885)] [image: Tug Boats, 1937 by Reginald Marsh (1898–1954)] read more
Art History News2 months ago
Scenes of Transcendent Beauty: Thomas Moran’s Yellowstone

Thomas Moran (England, 1837–1926), Hot Springs of Gardiner's River, Yellowstone Park, 1871. Watercolor and graphite on paper. 9 7/8 x 13 inches. On loan from the Yellowstone Heritage and Research Center. *The National Museum of Wildlife Art (NMWA) will open Scenes of Transcendent Beauty: Thomas Moran’s Yellowstone on May 14, 2022, an exhibition celebrating Yellowstone National Park’s 150th Anniversary this year. The exhibition will be on view through August 23, 2022.* *Scenes of Transcendent Beauty* explores the impact of Yellowstone on Thomas Moran and of Moran on Yellowstone. ... read more
Art History News2 months ago
Matisse in the 1930s

*Philadelphia Museum of Art, * *October 19, 2022–January 29, 2023 * *Paris, Musée de l’Orangerie, * *February 27, 2023–May 29, 2023 * *Musée Matisse Nice, * *June 23, 2023–September 24, 2023* [image: Henri Matisse "Large Reclining Nude" 1935. 26 1/8 × 36 3/4 inches (66.4 × 93.3 cm). Oil on canvas Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, 1950.258. © 2022 Succession H. Matisse/Artists Rights Society (ARS), New York.] Henri Matisse "Large Reclining Nude" 1935. 26 1/8 × 36 3/4 inches (66.4 × 93.3 cm). Oil ... read more
Art History News2 months ago
Donatello, the Renaissance
From 19 March to 31 July 2022 the Fondazione Palazzo Strozzi and the Musei del Bargello host *ç*, an historic, once-in-a-lifetime exhibition which sets out to reconstruct the astonishing career of one of the most important and influential masters of Italian art of any age, juxtaposing his work with masterpieces by artists who were his contemporaries such as Brunelleschi, Masaccio, Andrea Mantegna, Giovanni Bellini, Raphael and Michelangelo. Curated by Francesco Caglioti, professor of medieval art history at the Scuola Normale di Pisa, the exhibition showcases over 130 works of... read more
Art History News3 months ago
An American Place

*Palmer Museum of Art* January 29 - May 1, 2022 SPECIAL EXHIBITIONS GALLERY, SECOND FLOOR The story of the coming of age of American art is filled with alliances and ruptures, expatriates and immigrants, transatlantic dialogues and the search for an authentic aesthetic rooted in America. *An American Place* examines the complexity of this national narrative, highlighting a century of American art from the post-Civil War decades through the Civil Rights era. The exhibition includes paintings, works on paper, and sculptures drawn from the recent bequest of collectors and philanthro... read more
Art History News3 months ago
Canaletto’s Venice Revisited

*Canaletto’s Venice Revisited *is now open at the National Maritime Museum. This major exhibition displays the complete set of 24 Venetian views painted by Canaletto in the 1730s. The works, from the world famous collection at Woburn Abbey, form the largest single commission the Italian artist ever received. *Canaletto’s Venice Revisited *reassesses Canaletto at the height of his career, looking beyond the broad views he is famous for to also closely examine the features that bring his Venice to life. Don’t miss this rare opportunity to see this collection up close at the Natio... read more
Art History News3 months ago
Alone Together: Encounters in American Realism

- *Opening Sunday, May 29 at The Westmoreland Museum of American Art*, in Greensburg, Penn., the exhibition *Alone Together: Encounters in American Realism* brings together works of art separated by almost a century to consider how they are bound together by the shared experience of living and working in difficult times. Edward Biberman (1904–1986), Tear Gas and Water Hoses, 1945, Oil on canvas, 29 x 36 inches, The Schoen Collection, American Scene Painting The exhibition is guest curated by Alex J. Taylor, Assistant Professor in the Department of History of Ar... read more
Art History News3 months ago
Completed Eastman Johnson Catalogue Raisonné,

Eastman Johnson, Self-Portrait, c. 1850, National Gallery of Art, Washington, District of Columbia, John Davis Hatch Collection (1979.20.73). The National Academy of Design is pleased to announce the publication of the *Eastman Johnson Catalogue Raisonné: Drawings & Prints* on April 5, the anniversary of the artist’s death. The addition of this section completes the catalogue raisonné of American artist Eastman Johnson, following the section dedicated to his paintings that was first published online in July 2021. The Eastman Johnson Catalogue Raisonné (EJCR) is founded and dire... read more
Art History News3 months ago
Sotheby’s Modern Evening Auction on 17 May: Claude Monet , Pablo Picasso , Philip Guston

Picasso’s Rapturous 1932 Homage to Marie-Thérèse Walter Painted in April 1932, 90 years ago to the month, *Femme nue couchée* is one of Pablo Picasso’s most monumental and uninhibitedly sensual portrayals of Marie-Thérèse Walter. Appearing at auction for the first time, the large-scale painting is poised to achieve in excess of $60 million at Sotheby’s Modern Evening Auction on 17 May, making it one of the most valuable portraits of Marie-Thérèse Walter ever offered at auction. Marie-Thérèse was the inspiration for many of Picasso’s greatest works, with 1932 - the year in which h... read more
Art History News3 months ago
Latest Art History News

Art History News2 minutes ago Raphael—The Power of Renaissance Imagery: The Dresden Tapestries As part of a historic exhibition, the Columbus Museum of Art (CMA) will bring a set of six important tapestries designed by Raphael from the Gemäldegalerie Alte Meister (GAM) in Dresden, Germany, to the U.S. for the first time. These tapestries are woven from the same Raphael designs used to create the tapestries for the Sistine Chapel in the Vatican in 1515-16. *Raphael—The Power of Renaissance Imagery: The Dresden Tapestries and their Impact *will be on view at the *Columbus Museum of ... read more

 

American Art from the Thyssen Collection

*Museo Nacional Thyssen-Bornemisza* Curators: Paloma Alarcó and Alba Campo Rosillo Thomas Cole Cross at Sunset, ca. 1848 Oil on canvas. Museo Nacional Thyssen-Bornemisza George Inness Morning, ca. 1878 Oil on canvas mounted on cardboard. Museo Nacional Thyssen-Bornemisza In the final event of a year that has paid tribute to Baron Hans Heinrich Thyssen-Bornemisza (1921-2002), marking the 100th anniversary of his birth, the Museo Nacional Thyssen-Bornemisza is presenting an exhibition which brings together the magnificent collection of American art assembled by the Baron over m... read more
Art History News1 day ago
"The Form of Freedom. International Abstraction after 1945
Museum Barberini until 09/25/2022 With the end of the Second World War, a new chapter was opened in western art: figuration was "out", abstraction was "in". "Abstract Expressionism" in particular became a form of expression of a "free world", which began its triumphant march from the USA with artists such as Jackson Pollock, Willem de Kooning and Franz Kline, while "Informel" painting, which was also abstract, had its center in Paris . The Barberini Museum in Potsdam now proves that these two most important trends of the post-war period were by no means as uninfluenced by one anoth... read more
Art History News1 day ago
The Renaissance in the North: New Prints and Perspectives

Daniel Hopfer and Hieronymus Hopfer, *Emperor Charles V*, 1520 (1521?), etching (iron) with open biting and unique contemporary hand-coloring in green, red, yellow, pink and brown, National Gallery of Art, Washington, Purchased as the Gift of Ladislaus and Beatrix von Hoffmann Exhibition Announcement Order Press Images Exhibition Checklist (PDF 190 KB) Press Audio/Video: *Press Event: Introduction to the Show: The Renaissance in the North: New Prints and Perspectives* Press Contact Isabella Bulkeley phone: (202) 842-6864 e-mail: i-bulkeley@nga.gov Washington, DC—Printmaking fl... read more
Art History News5 days ago
Dalí / El Greco

*Salvador Dalí (1904–1989), Christ of St John of the Cross, 1951, oil on canvas © CSG CIC Glasgow Museums Collection* *From July 9 to December 4, 2022, The Auckland Project in the U.K*. will unite two Spanish masterpieces from British collections at the Spanish Gallery. Acquired by Glasgow city in 1952 directly from the artist, Salvador Dalí’s *Christ of St John of the Cross *is one of the most celebrated and reproduced paintings of the 20th century. It will be exhibited alongside El Greco’s *Christ on the Cross*, which went on public display for the first time after more than ... read more
Art History News5 days ago
We the People: The Radical Notion of Democracy

* Crystal Bridges Museum of American Art* *July 2, 2022 to January 2, 2023* Jacob Lawrence,. . . is life so dear or peace so sweet as to be purchased at the price of chains and slavery?—Patrick Henry,1775 , Panel 1, 1955, from Struggle: From the History of the American People, 1954–56, egg tempera on hardboard. Collection of Harvey and Harvey-Ann Ross. © 2022 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Gilbert Stuart, George Washington [The Constable-Hamilton Portrait], 1797, oil on canvas, 59 x46 3/4 x 4 1/2 in. Crystal B... read more
Art History News1 week ago
The Synchromists

*From 27 June to 1 November 2022* Curator: Emily Schuchardt Navratil The *Museo Nacional Thyssen-Bornemisz*a is presenting a small-format exhibition devoted to the first American abstract art movement, Synchromism, which means “with colour” as symphony means “with sound”. The movement was founded by the American artists Morgan Russell (1886-1953) and Stanton Macdonald-Wright (1890-1973) who were living in Paris when they presented their work to the public under this name. At the height of Futurism, Cubism and Simultaneism, Russell and Macdonald-Wright focused on the use of colour t... read more
Art History News3 weeks ago
Treasures of American Art: The Cynthia & Heywood Fralin Collection,

* The Taubman Museum of Art is pleased to present Treasures of American Art: The Cynthia & Heywood Fralin Collection, on view now through Sept. 4, 2022.* The exhibition features 93 works from 64 American artists spanning the period of 1861 to 1975, collected over a period of 25 years by Cynthia and Heywood Fralin. It marks the first time all of the works will be on view together. Robert Henri, Johnny Patton, n.d. Oil on canvas, 24 x 20 inches. “The Fralins are among the nation’s most ambitious and discerning collectors of late 19th-century to mid- 20th-century American art,” no... read more
Art History News3 weeks ago
Latest Art History News

The June 9 auction of Old Masters | New Perspectives: Masterworks From The Alana Collection at Christie’s New York Orazio Gentileschi, The Madonna and Child. Oil on panel, 36 x 28 1⁄4 in. (91.4 x 73 cm.). Estimate: $4,000,000-6,000,000. © Christie's Images Ltd 2022. Pieter Brueghel The Younger, The Tower of Babel, oil on panel. Estimate: $1,500,000 – 2,500,000. © Christie's Images Ltd 2022. MASTERWORKS FROM THE ALANA COLLECTION FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO (VICCHIO C. 1395-1455 ROME) Saint Dominic and the Stigmatization of Saint Francis tempera and gold on panel P... read more
Art History News4 weeks ago
The June 9 auction of Old Masters | New Perspectives: Masterworks From The Alana Collection at Christie’s New York

Orazio Gentileschi, The Madonna and Child. Oil on panel, 36 x 28 1⁄4 in. (91.4 x 73 cm.). Estimate: $4,000,000-6,000,000. © Christie's Images Ltd 2022. Pieter Brueghel The Younger, The Tower of Babel, oil on panel. Estimate: $1,500,000 – 2,500,000. © Christie's Images Ltd 2022. MASTERWORKS FROM THE ALANA COLLECTION FRA GIOVANNI DA FIESOLE, CALLED FRA ANGELICO (VICCHIO C. 1395-1455 ROME) Saint Dominic and the Stigmatization of Saint Francis tempera and gold on panel Price realized: $4,740,000 The June 9 auction of Old Masters | New Perspectives: Masterworks From The Alana C... read more
Art History News4 weeks ago
Christie’s 20th / 21st Century: London / Paris Evening Sales on 28 June

Claude Monet’s *Waterloo Bridge, effet de brume* will be a highlight of Christie’s 20/21 London to Paris sale series, offered in the 20th / 21st Century: London Evening Sale on 28 June. Depicting the Thames under an effervescent sunlit haze, *Waterloo Bridge, effet de brume* (1904, estimate: in the region of £24 million) comes from Monet’s monumental, landmark series entitled *Vues du Londres (Views of London), *which celebrates London’s unique character, architecture and ever-changing atmosphere*. *The artist focused on the play of light across the Thames through three princip... read more
Art History News4 weeks ago
Serra/Seurat. Drawings
*Museo Guggenheim Bilbao* *June 9 – September 6, 2022 * Read the report: "Guggenheim Bilbao: what is the relationship between contemporary American sculptor Richard Serra and neo-impressionist French painter Georges Seurat?" https://judithbenhamouhuet.com/guggen... Curators: Lucía Agirre, curator, Museo Guggenheim Bilbao, and Judith Benhamou, independent curator and art writer - Especially important in Seurat’s drawings is the handmade paper he uses, which he ‘brings to life’ by allowing it to absorb exactly the right amount of crayon to create the lights, volumes, and contrasts... read more
Art History News5 weeks ago
Golden Boy Gustav Klimt. Inspired by Van Gogh, Rodin, Matisse…

*Gustav Klimt is known throughout the world for his paintings featuring gold and decorative ornaments, his universal symbolism and his pictures of strong women. But where did he find inspiration?* *The exhibition Golden Boy Gustav Klimt. Inspired by Van Gogh, Rodin, Matisse… offers visitors a remarkable opportunity to view Klimt’s art alongside work by the numerous artists who inspired him.* *Klimt’s oeuvre is rarely offered on loan, but this autumn, masterpieces from all over the world will be travelling to Amsterdam. This is the largest retrospective of Klimt’s work ever to be o... read more
Art History News5 weeks ago
100 Great British Drawings

*The Huntington Library, Art Museum, and Botanical Garden* *June 18 through Sept. 5, 2022* Samuel Palmer (1805–1881), Lonely Tower, ca. 1881. Opaque watercolor over traces of graphite on board, 7 x 9 5/8 in. Gilbert Davis Collection, The Huntington Library, Art Museum, and Botanical Gardens. “100 Great British Drawings,” a major exhibition at The Huntington Library, Art Museum, and Botanical Gardens, will trace the practice of drawing in Britain from the 17th through the mid-20th century, spotlighting The Huntington’s important collection of more than 12,000 works that represent t... read more
Art History News5 weeks ago
Andrew Wyeth: Life and Death

*Colby College Museum of Art* * through October 16, 2022* John Olson's Funeral, 1945. Watercolor on paper. © 2021 Andrew Wyeth/Artists Rights Society (ARS). New Britain Museum of American Art, Charles F. Smith Fund, 1945.26 *Life and Death* shows the artist engaging with his own mortality A new exhibition in Waterville, Maine, at the Colby College Museum of Art, *Andrew Wyeth: Life and Death*, offers the first public presentation of a recently rediscovered series of drawings in which the artist Andrew Wyeth (1917-2009) imagined his own funeral. Created in the early 1990s, the dra... read more
Art History News5 weeks ago
The Chrysler Museum of Art in Norfolk, VA., has been gifted 40 works of art from the Macon and Joan Brock Collection of American art

John Singer Sargent (American, 1856 – 1925) Olives at Corfu, 1909. Oil on canvas. Promised Gift of the Macon and Joan Brock Collection to the Chrysler Museum of Art Winslow Homer (American, 1836 – 1910) Portrait of Elizabeth Loring Grant, 1866. Charcoal, chalk and pencil on paper. Promised Gift of the Macon and Joan Brock Collection to the Chrysler Museum of Art The Chrysler Museum of Art in Norfolk, VA., just announced Hampton Roads Philanthropist Joan Brock has made a $34 million gift to the museum, including 40 works of art from the Macon and Joan Brock Collection and two posi... read more
Art History News5 weeks ago
Golden Boy Gustav Klimt. Inspired by Van Gogh, Rodin, Matisse...

* Van Gogh Museum* *7 October 2022 till 8 January 2023* [image: 1 PB KLIMT Judith.jpg] Gustav Klimt: *Judith*, 1901, Öl und Blattgold auf Leinwand, 84 × 42 cm, Belvedere, Vienna. Photo: Belvedere, Vienna, Johannes Stoll *Gustav Klimt is known throughout the world for his paintings featuring gold and decorative ornaments, his universal symbolism and his pictures of strong women. But where did he find inspiration?* *The exhibition Golden Boy Gustav Klimt. Inspired by Van Gogh, Rodin, Matisse… offers visitors a remarkable opportunity to view Klimt’s art alongside work by the numero... read more
Art History News5 weeks ago
The Woman in White: Joanna Hiffernan and James McNeill Whistler

*National Gallery of Art, in Washington, DC, * *July 3–October 10,* 2022 James McNeill Whistler, Symphony in White, No. 1: The White Girl, 1861–1863, 1872, oil on canvas, overall: 213 x 107.9 cm (83 7/8 x 42 1/2 in.) National Gallery of Art, Washington, Harris Whittemore Collection When James McNeill Whistler (1834–1903) and Joanna Hiffernan (1839–1886) met in 1860, they began a close professional and personal relationship that lasted for over two decades. Featuring some 60 works including paintings, drawings, and prints, The Woman in White: Joanna Hiffernan and James McNeill Whis... read more
Art History News5 weeks ago
ERNST WILHELM NAY Retrospective
The Hamburger Kunsthalle is dedicating a solo exhibition to Ernst Wilhelm Nay (1902–1968), the first retrospective in many years of the work of one of the leading painters of the twentieth century. Nay’s vibrant and colourful paintings form a bridge between art before and after the Second World War. His art merges elements of Expressionism, abstraction and gestural painting after 1945 and links German and international modernism. Based on around 120 paintings, watercolours and drawings, the show explores all phases of Nay’s complex oeuvre. The works span a period of fifty years, ... read more
Art History News5 weeks ago
The Morgan Stanley Exhibition: Edvard Munch. Masterpieces from Bergen

*The Courtauld Gallery* *27 May – 4 September 2022* A collection of significant paintings by Edvard Munch (1863-1944) have gone on show together for the first time in the UK in a new exhibition at The Courtauld. Also see newly edited: *Edvard Munch in Dialogue * The Morgan Stanley Exhibition: *Edvard Munch. Masterpieces from Bergen* showcases 18 seminal works by Munch on loan from KODE Art Museums in Bergen, Norway – home to one of the most important Munch collections in the world. The exhibition follows The Morgan Stanley Exhibition: *Van Gogh. Self-Portraits*, one of the most h... read more
Art History News1 month ago
The Fantasy of the Middle Ages

*Getty Center, Los Angeles* *June 21 – September 11, 2022* Saint George and the Dragon, about 1450– 55, Master of Guillebert de Mets (Flemish, active about 1410–50). Tempera colors, gold leaf, and ink on parchment, 19.4 × 14 cm (7 5/8 × 5 1/2 in.). Getty Museum, Ms. 2 (84.ML.67), fol. 18vStolzenfels Castle, 1878 C. Hertel (German, active 1860s–1870s). Albumen silver print 9.8 × 14.8 cm (3 7/8 × 5 13/16 in.) Getty Museum 84.XP.1156.5Fairies in a Bird’s Nest, 1860. John Anster Fitzgerald (English, 1823–1906). Oil on canvas, 40.6 × 48.3 cm (16 × 19 in.) Fine Arts Museums of San Franc... read more
Art History News5 weeks ago
At the Dawn of a New Age: Early Twentieth-Century American Modernism

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The San Francisco Museum of Modern Art (SFMOMA)

 July 16, 2022–January 2, 2023

May 21, 2022–August 14, 2022University Research Gallery, University Teaching Gallery, Harvard Art Museums

A Scandinavian Landscape.

- Between the late 16th century and the early 18th century, artists working in the Netherlands—then known as the Dutch Republic—produced an extraordinary number of landscape drawings. Many of these works depicted sites that were either recognizable as or evocative of the country’s cities, villages, and countryside. This profusion of local imagery coincided with the young country’s quest for global dominion, as well as with war and dramatic ecological change at home. As notions of Dutch “territory” shifted, artists engaged with the world by drawing outside, from direct observation—a practice repeatedly encouraged in the art theory of the period. Once back in the studio, they could produce finished drawings and works in other media, adapting observed motifs or fusing them into altered or imagined views. In so doing, they constructed a selective vision of the Dutch landscape that by turns depicted, hinted at, or ignored the changes occurring around them. With 90 works selected almost entirely from the holdings of the Harvard Art Museums and the Maida and George Abrams Collection, this exhibition demonstrates how Dutch artists navigated intersections, or crossroads, between artistic traditions and environmental realities through their drawings. It also considers the associations that the increasingly urban population of the Dutch Republic brought to these works—and what we bring to them today. The show opens with exceptional works by progenitors of the Dutch landscape tradition, Pieter Bruegel the Elder and the so-called Master of the Small Landscapes, both from mid-1550s Antwerp. Drawings by Abraham Bloemaert, Claes Jansz. Visscher, Cornelis Vroom, Esaias van de Velde, and Jan van Goyen trace the development of what would become quintessentially Dutch landscape idioms and motifs, from cottages and farmhouses to ice-skating scenes. A selection of drawings by Rembrandt and members of his circle reveals the ongoing fascination with the rustic as a means to explore not only rural life, but also qualities of texture and light. Works by Jan Lievens, Jacob van Ruisdael, and Anthonie Waterloo demonstrate the evolving appeal of woodland and forest imagery in the wake of deforestation, while drawings by Aelbert Cuyp, Roelant Roghman, and Lambert Doomer register coinciding interests in topographical and architectural views. Through rare examples of still-intact 17th-century albums of prints and drawings, the exhibition also highlights the tactile, interactive manner in which works on paper were typically viewed in the period. All are presented in dialogue with a focused selection of objects depicting other parts of Europe and Dutch overseas colonies. Together, these works make clear that the story of “the Dutch landscape” has important chapters in places both within and beyond the Republic’s national borders. Curated by Joanna Sheers Seidenstein, the 2018–22 Stanley H. Durwood Foundation Curatorial Fellow; and Susan Anderson, Curatorial Research Associate in the Division of European and American Art at the Harvard Art Museums. A lushly illustrated catalogue with essays by the curators and by Yvonne Bleyerveld, Anne Driesse, Joseph Leo Koerner, and William W. Robinson accompanies the exhibition. An afterword by collector, donor, and lender George S. Abrams (Harvard A.B. ’54, LL.B. ’57) closes out the volume.

 

 National Gallery of Art 

October 8, 2022-January 8, 2023

Rijksmuseum, 

February 10–June 4, 2023

Grohmann Museum, Milwaukee Sept. 9, 2022—Feb. 26, 2023

As a part of its 15th anniversary celebration, the Grohmann Museum is organizing a blockbuster exhibition from one of the premier collections of American industrial art—The Shogren-Meyer Collection. A collection focused primarily on the art of the 1930s and 40s, it also includes many fine examples from the surrounding decades, with many created during the depression era—a time of both toil and triumph.

A grand opening event will be held for A Time of Toil and Triumph on Friday, Sept. 9 from 5 to 8 p.m. The free event will include a Gallery Talk with the collectors, Dan Shogren and Susan Meyer at 6:30 p.m.

Now making their home in the Twin Cities, Shogren and Meyer met while in college at the University of Minnesota Duluth, where both majored in history. It was at that time they took a keen interest in the era on which the collection is based, the “interwar period,” a time of American reinvention—economically, socially, and artistically.

They have since built one of the finest collections of American Art concentrated on this time. Selected from the hundreds of works in their collection, A Time of Toil and Triumph will include dozens of paintings and photographs by Aaron Bohrod, Margaret Bourke-White, John Steuart Curry, Walker Evans, Lewis Hine, Edmund Lewandowski, Dorothea Lange, Thornton Oakley, and Isaac Soyer, among many others.

John Stockton De Martelly (1903-1979), Whiskey Going into Barrels to Age (Marking the Casks), 1946, Oil on canvas, 36 x 33 in.

 

In the early 20th century, there was perhaps no greater source of creative vitality than the artistic communities at work in the city of Paris, France.

 

Edward Hopper’s New York, on view at the Whitney Museum of American Art from October 19, 2022, through March 5, 2023, offers an unprecedented examination of Hopper’s life and work in the city that he called home for nearly six decades (1908–67). The exhibition charts the artist’s enduring fascination with the city through more than 200 paintings, watercolors, prints, and drawings from the Whitney’s preeminent collection of Hopper’s work, loans from public and private collections, and archival materials including printed ephemera, correspondence, photographs, and notebooks. From early sketches to paintings from his late in his career, Edward Hopper’s New York reveals a vision of the metropolis that is as much a manifestation of Hopper himself as it is a record of a changing city, whose perpetual and sometimes tense reinvention feels particularly relevant today. Instantly recognizable paintings featured in the exhibition, such as Automat (1927), Early Sunday Morning (1930), Room in New York (1932), New York Movie (1939), and Morning Sun (1952), are joined by lesser-known yet critically important compositions including a series of watercolors of New York rooftops and bridges and the painting City Roofs (1932). “Edward Hopper’s New York offers a remarkable opportunity to celebrate an ever-changing yet timeless city through the work of an American icon,” says Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney Museum. “As New York bounces back after two challenging years of global pandemic, this exhibition reconsiders the life and work of Edward Hopper, serves as a barometer of our times, and introduces a new generation of audiences to Hopper’s work by a new generation of scholars. This exhibition offers fresh perspectives and radical new insights.” Edward Hopper’s New York is organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints, with Melinda Lang, Senior Curatorial Assistant, at the Whitney.

Edward Hopper and New York City Born in the Hudson River town of Nyack, New York, in 1882, Hopper first visited Manhattan on family day trips. After completing high school, he commuted to the city by ferry to attend the New York School of Illustration and the New York School of Art. In 1908 he moved to the city, and he spent the majority of his life, from 1913 until his death in 1967, living and working in a top-floor apartment at 3 Washington Square North in Greenwich Village. He was joined there by his wife, the artist Josephine (Jo) Verstille Nivison, following their marriage in 1924. Jo played a crucial supportive and collaborative role in Hopper’s practice, serving as his longstanding model and chief record-keeper. A selection of Jo’s watercolors, capturing their Washington Square home, are included in Edward Hopper’s New York. “Hopper lived most of his life right here, only blocks from where the Whitney stands today,” says Conaty. “He experienced the same streets and witnessed the incessant cycles of demolition and construction that continue today, as New York reinvents itself again and again. Yet, as few others have done so poignantly, Hopper captured a city that was both changing and changeless, a particular place in time and one distinctly shaped by his imagination. Seeing his work through this lens opens new pathways for exploring even Hopper’s most iconic works.” Over the course of his career, Hopper observed the city assiduously, honing his understanding of its built environment and the particularities of the modern urban experience. During this time, New York underwent tremendous development—skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and the increasingly diverse population boomed—yet Hopper’s depictions remained human-scale and largely unpopulated. Deliberately avoiding the famous skyline and picturesque landmarks such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to unsung utilitarian structures and out-of-the-way corners, drawn to the collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city.

Edward Hopper’s New York: The Exhibition Organized in thematic chapters spanning Hopper’s entire career, the installation comprises eight sections including four expansive gallery spaces showcasing many of Hopper’s most celebrated paintings and four pavilions that focus on key topics through dynamic groupings of paintings, works on paper, and archival materials, many of which have rarely been exhibited to the public. Edward Hopper’s New York begins with early sketches and paintings from the artist’s first years traveling into and around the city, from 1899 to 1915, as he grew from a commuting art student to a Greenwich Village resident. In Moving Train (c. 1900), Tugboat with Black Smokestack (1908), and El Station (1908) he observed the ways people occupied and moved through space within a dramatically developing urban environment. Although Hopper aspired to recognition as a painter, his first successes came in print through his illustrations and etchings, an important history featured in a section of the exhibition titled “The City in Print.” His artworks for illustrations and published commissions for magazines and advertisements often featured urban motifs inspired by New York—theaters, restaurants, offices, and city dwellers—that would become foundational to his art. During this early period, he also consolidated many of his impressions of New York through etchings like East Side Interior (1922) and The Open Window (c. 1918–19), which preview the dramatic use of light that has become synonymous with Hopper’s work. “The Window,” the next section, focuses on this enduring motif for Hopper—one that he explored with great interest in his city scenes. While strolling New York’s streets and riding its elevated trains, Hopper was particularly drawn to the fluid boundaries between public and private space in a city where all aspects of everyday life—from goods in a storefront display to unguarded moments in a café—are equally exposed. In paintings on view such as Automat (1927), Night Windows (1928), and Room in Brooklyn (1932), Hopper imagines the unlimited compositional and narrative possibilities of the city’s windowed facades, the potential for looking and being looked at, and the discomfiting awareness of being alone in a crowd. Edward Hopper’s New York presents, for the first time together, the artist's panoramic cityscapes, installed as a group in a section of the exhibition titled “The Horizontal City.” Early Sunday Morning (1930), Manhattan Bridge Loop (1928), Blackwell’s Island (1928), Apartment Houses, East River (c. 1930), and Macomb’s Dam Bridge (1935), five paintings made between 1928 and 1935, all share nearly identical dimensions and format. Seen together, they offer invaluable insight into Hopper’s contrarian vision of the growing city at a time when New York was increasingly defined by its relentless skyward development. “Washington Square” highlights the importance of Hopper’s neighborhood as his home and muse for nearly 55 years. Paintings like City Roofs (1932) and November, Washington Square (1932/1959) show Hopper’s fascination with the city views visible from his windows and his rooftop, and a rare series of watercolors—a practice he generally reserved for his travels to New England and elsewhere—reveals how attuned he was to the spatial dynamics and subtleties of the city’s built environment. As documented in the exhibited correspondence and notebooks, the Hoppers were fierce advocates of Washington Square, and they argued tirelessly for the preservation of their neighborhood as a haven for artists and as one of the city’s cultural landmarks. “Theater,” a particularly revealing gallery in the exhibition, explores Hopper’s passion for the stage and the critical role it played as an active mode of spectatorship and source of visual inspiration. This section includes archival items like the Hoppers’ preserved ticket stubs and theatergoing notebooks and highlights the ways that theater spaces and set design influenced Hopper’s compositions through works like Two on the Aisle (1927) and The Sheridan Theatre (1937). Additionally, the presentation of New York Movie (1939) and a group of its preparatory studies along with figural sketches for other paintings reveal the Hoppers’ collaborative scene staging, in which Jo played an active part as model. Throughout his career, Hopper explored the city with sketchbook in hand, recording his observations through drawing, a practice highlighted in this section of the exhibition. A large selection of his sketches and preparatory studies on view in “Sketching New York” chart Hopper’s favored locations across the city, many of which the artist returned to again and again in order to capture different impressions that he could later explore on canvas. Finally, in “Reality and Fantasy,” a group of ambitious late paintings, characterized by radically simplified geometry and uncanny, dreamlike settings, reveal how New York increasingly served as a stage set or backdrop for Hopper’s evocative distillations of urban experience. In works such as Morning in a City (1944), Sunlight on Brownstones (1956), and Sunlight in a Cafeteria (1958), Hopper created compositions that depart from specific sites while still tapping into urban sensations, reflecting his desire, as noted in his personal journal “Notes on Painting”, to create a “realistic art from which fantasy can grow.” For more information about the artworks included in this exhibition, please see Conaty’s catalogue essay Approaching a City: Hopper and New York.

Edward Hopper and the Whitney Museum of American Art Edward Hopper’s career and work have been a touchstone for the Whitney since before the Museum was founded. In 1920, at the age of thirty-seven, Hopper had his first solo exhibition at the Whitney Studio Club. He was included in a number of exhibitions there before it closed in 1928 to make way for the Whitney Museum of American Art, which opened in 1931. Hopper’s work appeared in the inaugural Whitney Biennial in 1932 and in twenty-nine subsequent Biennials and Annuals through 1965, as well as several group exhibitions. The Whitney was among the first museums to acquire a Hopper painting for its collection. In 1968, Hopper’s widow, the artist Josephine Nivison Hopper bequeathed the entirety of his artistic holdings–2,500 paintings, watercolors, prints, and drawings–and many of her own works from their Washington Square studio residence. Today the Whitney’s collection holds over 3,100 works by Hopper, more than any other museum in the world. “Given Hopper’s status in the Whitney's history and within the ranks of American art history, this periodic reconsideration and regular reckoning is imperative and a critical obligation,” says Weinberg.

Catalogue An accompanying exhibition catalogue, Edward Hopper’s New York, published by the Whitney and distributed by Yale University Press, features essays by curator Kim Conaty, writer and critic Kirsty Bell, scholar Darby English, and artist David Hartt. Alongside these essays are four focused texts that draw upon the resources made newly available through the Museum’s Sanborn Hopper Archive. These contributions are authored by Whitney staff members who have been working closely with the archive, including Farris Wahbeh, Benjamin and Irma Weiss Director of Research Resources; Jennie Goldstein, Assistant Curator; Melinda Lang, Senior Curatorial Assistant; and David Crane, former Curatorial Fellow. The publication features more than three hundred illustrations and fresh insights from authoritative and emerging scholars. Copies are available for purchase online and in the Whitney Shop ($65.00). Images

September 18, 2022—January 29, 2023 Kimbell Art Museum |

The Kimbell Art Museum presents Murillo: From Heaven to Earth, a comprehensive exhibition of works by Spanish Golden Age painter Bartolomé Esteban Murillo (1617–1682). The leading religious painter of Seville during his time, Murillo is primarily known for his depictions of the life of Christ, Christian saints, and other Biblical scenes, including monumental paintings of the Virgin in celestial glory. While Murillo: From Heaven to Earth includes a number of these religious paintings, its focus is instead on his earthly pictures of secular subjects and representations of everyday life in the 17th century, which constitute some of the artist’s most iconic pictures. Guillaume Kientz, director of the Hispanic Society Museum and Library in New York and former curator of European art at the Kimbell, serves as curator for the exhibition, which will be seen only at the Kimbell. On view from September 18 through January 29, 2023, the show will feature 50 paintings organized around concepts of youth and age, comedy, romance and seduction, compassion, narrative, and modern realism.  

 Images: Bartolomé Esteban Murillo, Two Women at a Window (detail), c. 1655– 60, oil on canvas. National Gallery of Art, Washington, D.C., 1942.9.46; Saint Thomas of Villanueva Dividing His Clothes Among Beggar Boys, c. 1667, oil on canvas. Cincinnati Art Museum, Bequest of Mary M. Emery, 1927.412; The Marriage Feast at Cana, 1672, o
il on canvas. The Henry Barber Trust, the Barber Institute of Fine Arts, University of Birmingham, United Kingdom; The Flower Girl, 1665–70, oil on canvas. Dulwich Picture Gallery, London, DPH199; Four Figures on a Step, c. 1655–60, oil on canvas. Kimbell Art Museum, AP 1984.18; Kimbell Members. Photography by Robert LaPrelle, Kimbell Art Museum

Murillo: From Heaven to Earth is the largest gathering of paintings in the United States by the artist since the Kimbell’s 2002 exhibition, Bartolomé Esteban Murillo, 1617–1682: Paintings from American Collections, and expands the scope of the focused exhibitions on the artist’s portraits (Frick Collection, 2017) and the New Testament narrative of the Prodigal Son (Meadows Museum, 2022). The show is inspired by the Murillo masterpiece Four Figures on a Step, which was acquired by the Kimbell in 1984 and is one of the museum’s most compelling and enigmatic paintings. A rare work in Murillo’s oeuvre, the image depicts street life in Seville with an unsettling cast of characters. In contrast to his iconographic works, Murillo’s intimate depictions of the poor and narratives of charity embody a culture—both visual and literary, stretching from Northern Europe to Spain—that would, for the first time in modern history, make the lower classes the main subjects of its pictorial narratives and written tales. 

“Murillo’s depictions of everyday scenes are especially remarkable because they have no real precedent in Spain,” said Eric M. Lee, director of the Kimbell Art Museum. “The show hopes to shed new light on these paintings’ complex meanings, revealing their importance in their own time and suggesting their relevance in our own.”  

This exhibition brings together some of Murillo’s most exceptional and unusual genre scenes from collections worldwide, including San Diego de Alcala and the Poor from the Real Academia in Madrid, the National Gallery of Art’s Two Women at a Window, and the Young Beggar, on loan from the Musée du Louvre, Paris. A number of religious scenes in which emphatic realism advances the Biblical narrative are included, among them the Marriage Feast at Cana from the Barber Institute, Birmingham, England. The exhibition will also feature another aspect of Murillo’s engagement with contemporary reality—the magnificent, and very worldly, portraits of Spanish clergymen, merchants, and aristocrats who went to the painter for a commemoration of their earthly success and power.   

“While his predecessors achieved a revolution in grounding their art into reality via faithful observation and rendering, Murillo blurs the lines and challenges the boundaries between sacred and secular, earthly and heavenly,” says Guillaume Kientz. 

The exhibition will be accompanied by a richly illustrated catalogue with essays and commentaries by leading scholars of Spanish art and culture: Guillaume Kientz, director of the Hispanic Society Museum and Library; Ronni Baer, Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer in the Department of Art and Archaeology at Princeton University; Madeleine Haddon, teaching fellow at Edinburgh University; Fernando Loffredo, assistant professor in the Department of Hispanic Languages and Literature at Stony Brook University; and Xavier F. Salomon, deputy director and Peter Jay Sharp Chief Curator at the Frick Collection, New York. The Kimbell is pleased to offer free admission to Murillo: From Heaven to Earth during its 50th anniversary week, from October 4 through October 9. 

Essay

Approaching a City: Hopper and New York, Kim Conaty

Images

Click on links for more info about each work:

Edward Hopper, Manhattan Bridge Loop, 1928. Oil on canvas, 35 × 60 in. (88.9 × 152.4 cm). Addison Gallery of American Art, Phillips Academy, Andover, MA. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York. Image courtesy Art Resource, NY 

 Edward Hopper, Tables for Ladies, 1930. Oil on canvas, 48 1/4 × 60 1/4 in. (122.6 ×153 cm). The Metropolitan Museum of Art; George A. Hearn Fund. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York. Image courtesy Art Resource, New York 

Edward Hopper, Drug Store, 1927. Oil on canvas, 29 × 40 1/8 in. (73.7 × 101.9 cm). Museum of Fine Arts, Boston; bequest of John T. Spaulding. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York Photograph © Museum of Fine Arts, Boston 

Edward Hopper, New York Restaurant, c. 1922. Oil on canvas, 24 × 30 in. (61 × 76.2 cm). Detail. Muskegon Museum of Art, MI; Hackley Picture Fund. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York

 Edward Hopper, Roofs, Washington Square, 1926. Watercolor over charcoal on paper, 13 7/8 × 19 7/8 in. (35.24 × 50.48 cm). Carnegie Museum of Art, Pittsburgh; Bequest of Mr. and Mrs. James H. Beal. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York

 Edward Hopper, Office at Night, 1940. Oil on canvas, 22 3/16 × 25 1/8 in. (56.4 × 63.8 cm). Walker Art Center, Minneapolis, MN; gift of the T.B. Walker Foundation, Gilbert M. Walker Fund, 1948. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York

Edward Hopper, New York Corner (Corner Saloon), 1913. Oil on canvas, 24 × 29 in. (61 × 73.6 cm). Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; museum purchase made possible by the Halperin Art Acquisition Fund, an anonymous estate, Roberta & Steve Denning, Susan & John Diekman, Jill & John Freidenrich, Deedee & Burton McMurtry, Cantor Membership Acquisitions Fund, an anonymous acquisitions fund, Pauline Brown Acquisitions Fund, C. Diane Christensen, an anonymous donor, Modern & Contemporary Art Acquisitions Fund, and Kazak Acquisitions Fund, 

Edward Hopper, The City, 1927. Oil on canvas, 27 1/2 × 37 in. (71.1 × 91.4 cm). University of Arizona Museum of Art, Tucson; gift of C. Leonard Pfeiffer © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York 

Edward Hopper, Approaching a City, 1946. Oil on canvas, 27 1/18 x 36 in. (68.9 x 91.4 cm). The Phillips Collection, Washington, D.C.; acquired 1947 © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York

 

Jacques-Fabien Gautier d’Agoty, Muscles of the Back, Plate 14 from Myologie complette en couleur et grandeur naturelle (Complete Scientific Study of Muscles in Color and Life-Size), 1746. Color mezzotint. Philadelphia Museum of Art, Purchased with the SmithKline Beckman Corporation Fund, 1968, 1968-25-79n, TL42415.2. Image: Courtesy of the Philadelphia Museum of Art; Photo: Joseph Hu. Cambridge, MA September 9, 2022 

This fall, the Harvard Art Museums will present a first-of-its-kind exhibition and accompanying publication devoted to the graphic arts of the Enlightenment era. Dare to Know: Prints and Drawings in the Age of Enlightenment offers provocative insights into both the achievements and the failures of a period whose complicated legacies reverberate still today. Bringing together 150 prints, drawings, books, and other related objects from Harvard as well as collections in the United States and abroad, the large-scale exhibition asks new and sometimes uncomfortable questions of the so-called age of reason, inviting visitors to embrace the Enlightenment’s same spirit of inquiry—to investigate, to persuade, and to imagine. The catalogue fills a gap in scholarship about the period by focusing on prints and drawings from across Europe, with a wealth of new ideas and analysis. 

Co-curated by Elizabeth M. Rudy, the Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museums, and Kristel Smentek, Associate Professor of Art History at the Massachusetts Institute of Technology (MIT), Dare to Know: Prints and Drawings in the Age of Enlightenment is on display September 16, 2022 through January 15, 2023 in the Harvard Art Museums’ special exhibitions gallery on Level 3. The exhibition’s title borrows from German philosopher Immanuel Kant’s published response in 1784 to a journal article asking, “What Is Enlightenment?” Kant argued that the Enlightenment’s main impulse was to “dare to know!”: to pursue knowledge for oneself, without relying on others to interpret facts and experiences. But is this ever truly possible? 

The 18th century saw dramatic growth in the circulation of works on paper, ushering in an era of information sharing that rivals our own digital age. New concepts in every realm of intellectual inquiry were communicated not only through text and speech, but in prints and drawings that gave ideas concrete form. The graphic arts made new things visible and familiar things visible in powerful new ways, wielding the potential to articulate, reinforce, or contradict well-known concepts. 

The graphic arts were also pivotal during moments of political instability, especially amid the three revolutions— American, French, and Haitian—that rocked the world at the end of the century. “The Enlightenment era has often been described as awash in paper. The profusion of printed matter was essential for the exchange of ideas across physical distances, and the role of imagery was paramount,” said Rudy. 

“This exhibition and its catalogue focus on the power wielded by drawings and prints to shape opinions, argue for social change, and inspire new realities.” Smentek added: “Our exhibition aims to show how prints and drawings were agents of Enlightenment rather than passive documents of it. Works on paper traveled easily, and they allowed for more experimentation in content and format than other modes of visual art. More immediate in their effects than textual sources, works on paper gave visual form to both the era’s ideals and its ambitions—in all their complexity.” 

Dare to Know features a range of drawings, prints, and books from roughly 1720 to 1800 that shaped and communicated the debates of the moment, ranging from the realms of the natural sciences, technology, justice, religion, economics, and sexual health, among others. 

The exhibition’s introductory section lays out some of the foundational ideas and questions of the Enlightenment, followed by three sections that broadly prompt visitors to Investigate, Persuade, and Imagine. 

Highlights on display include: 

Étienne-Louis Boullée’s 1784 drawing Cénotaphe de Newton (Cenotaph to Newton), which details a fantastical monument honoring Sir Isaac Newton, a scientist who loomed large over the 18th century (loan from the Bibliotheque nationale de France); 

James Barry (Irish, 1741–1806), The Phoenix; or, The Resurrection of Freedom, 1776. Engraving and aquatint. Plate: 43.2 × 61.3 cm. Yale Center for British Art, Paul Mellon Collection, B1977.14.11067, TL42412.9. Image: Yale Center for British Art.


Marie-Gabrielle Capet (French, 1761–1818), Self-Portrait, 1790. Black, red, and white chalk. 34 × 29.4 cm. The Horvitz Collection, D-F-429, TL42410.1. Image: The Horvitz Collection, Wilmington, Del.

A Branch of Gooseberries with a Dragonfly, an Orange-Tip Butterfly, and a Caterpillar (1725–83), a realistic gouache over graphite drawing by Barbara Regina Dietzsch, a trained specialist in botany and drawing who came from a noted family of botanical illustrators in Nuremberg, Germany (loan from the National Gallery of Art, Washington, D.C.);

Diomède assailli par les Troyens, son écuyer tué à côté de lui (Diomedes Assaulted by the Trojans, His Horseman Killed at His Side), a 1756 drawing by sculptor Augustin Pajou exhibited at the Paris Salon, pointing to the era’s new appreciation for drawings as autonomous works of art (loan from the Musée du Louvre);


The Money Devil, an elaborate undated drawing by Roger Lorrain that could be a satirical critique of France’s economic situation in the 1780s, on the eve of the French Revolution (loan from Harvard Business School’s Baker Library; first museum exhibition and publication of this work);

Two copperplate engravings with silk borders by Manchu artist Ilantai from the volume Changchun yuan shuifa tu (Pictures of the European Palaces and Waterworks), created for the Qianlong emperor depicting the emperor’s private residence in Yuanming Yuan, in northwest Beijing (loan from Houghton Library, Harvard University);

Louis Carrogis de Carmontelle’s spectacular 12-foot-long watercolor Figures Walking in a Parkland (1783–1800), an idealized countryside scene painted on conjoined sheets of translucent paper and wound around rollers inserted into a backlit box to create a moving image and now presented with a custom lightbox (loan from the J. Paul Getty Museum).

Developed over several years and involving research consultation and collaboration between Harvard University and MIT, Dare to Know includes loans from 31 international and U.S. lenders. Multidisciplinary in its approach, the exhibition puts the works on view in new contexts, as seen through new lenses. Research from disparate fields, particularly history, comparative religion, gender studies, and history of science, was brought to bear in the analysis of works in the exhibition, offering new ways to interpret their impact during the 18th century. 

The curators extend their special thanks to Heather Linton, Curatorial Assistant for Special Exhibitions and Publications in the museums’ Division of European and American Art, and Christina Taylor, Associate Paper Conservator, Straus Center for Conservation and Technical Studies. Research contributions were made by Austėja Mackelaitė, Stanley H. Durwood Foundation Curatorial Fellow (2016–18) and by these Ph.D. candidates in Harvard’s Department of History of Art and Architecture and former graduate interns in the Division of European and American Art: J. Cabelle Ahn, Thea Goldring, and Sarah Lund. 

Publication 

A generously illustrated catalogue with 26 thematic essays—an A to Z exploration of the Enlightenment quest for understanding and change—accompanies the exhibition. With a multidisciplinary approach, the book probes developments in the natural sciences, technology, economics, and more—all through the lens of the graphic arts. The essays, along with 11 object-specific spotlights, consider the disparate and often incongruous aspects of the period, with a particular focus on scientific investigation, religious belief, empathy, colonialism, the study of ancient civilizations worldwide, and political revolution. Edited by Edouard Kopp (John R. Eckel, Jr., Foundation Chief Curator at the Menil Drawing Institute in Houston), Elizabeth Rudy, and Kristel Smentek, with contributions by a range of leading scholars representing a variety of expertise and diversity of opinion. Published by the Harvard Art Museums and distributed by Yale University Press.

 

Most Comprehensive Study to Date on this Topic

(New York, September 22, 2022)—Of the approximately thirty-four paintings attributed to Johannes Vermeer—whose extraordinary art has captivated viewers since his rediscovery in the nineteenth century—wall maps and other cartographic objects are depicted in nine of them, including The Frick Collection’s renowned Officer and Laughing Girl and the artist’s masterpiece in Vienna’s Kunsthistorisches Museum, The Art of Painting. With stunning reproductions and incisive text, the Frick’s new publication, Vermeer’s Maps, is the most comprehensive study of the artist's depiction of wall maps to date. Drawing on rare surviving examples of the physical maps and other primary sources, author Rozemarijn Landsman examines this intriguing aspect of Vermeer’s work, greatly enriching and expanding our understanding of the art and life of the “Sphinx of Delft.” As Landsman writes in the book’s introduction, “While scholars continue to remark on the prominence of maps in Vermeer’s art, these objects are rarely the center of attention. […] Questions about the maps in Vermeer’s paintings linger: What kinds of maps are they? How were they made? For whom were they produced? What were their functions? Above all, the questions of what maps meant for Vermeer and his art and what may have motivated him to choose these specific objects to adorn his painted walls remain to be addressed.” A doctoral candidate at Columbia University, Landsman was the 2019–21 Anne L. Poulet Curatorial Fellow at The Frick Collection. Vermeer’s Maps is being published October 2022 by The Frick Collection in association with DelMonico Books/D.A.P. New York. The 128-page hardcover volume includes 68 color images and 30 in black and white ($39.95, member price $31.96). It includes a foreword by Ian Wardropper, Anna-Maria and Stephen Kellen Director of the Frick, followed by Landsman’s introduction and her essays on maps and mapmakers in seventeenth-century Holland and Vermeer’s particular interest in rendering cartographic works, interpreting their significance to him and to his audience. The publication can be pre-ordered online at shop.frick.org, by emailing sales@frick.org, or by calling 212.547.6849. It will also be available for purchase at the Museum Shop at Frick Madison this fall.

 Helicline offers American and European modernist artwork from the first half of the 20th Century. Look at HeliclineFineArt.com for others.

The core of our offerings are 1930s and 40s American art. The WPA era. Modernism.  Attached are seven work we are pleased to offer.. Some are depression era works. One shows the birth of television, a protest. family, the effects of war, a fight and more, All are figurative paintings and drawings that capture an era.    Daniel Celentano (1902 – 1980) Going to the Festival 14 1/2 x 10 1/2 Watercolor on paper, c. 1930s Signed lower left Robert Riggs (1896-1970) The Knockout 22 x 30 inches watercolor on paper Signed lower right Leon Bibel (1912-1995) Shattered 24 x 20 inches Oil on canvas, c. 1937 Estate stamp verso

Chris Ritter (American, 1906 – 1976) Animated Discourse 19 x 24 inches Watercolor on paper Signed lower left

Stowell Sherman (1886 – 1973) Pawns 16 x 20 Oil on board, c. 1930’s Signed lower left

Harry Sternberg (1904 – 2002) Television #2 19 x 30 inches Oil on Canvas, 1949 Signed lower right, Signed and titled verso

Boris Deutsch (1892 – 1978) Three Young Men 24 x 30 inches oil on canvas signed and dated 1930 lower right

 

The J. Paul Getty Museum presents Dutch Drawings from a Collector’s Cabinet, an exhibition showcasing for the first time a magnificent group of 17th-century drawings acquired from a private collector in 2019. On view at the Getty Center from October 11, 2022, to January 15, 2023, the exhibition features 50 works by artists from the Dutch Republic, including Rembrandt van Rijn, Adriaen van de Velde, Jacob van Ruisdael, and Aelbert Cuyp, among others.   “This exhibition celebrates a landmark acquisition for the Getty Museum, one that enables us to showcase a more complete history of Dutch art and makes our holdings in this area one of the strongest in the United States,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “This marks the first time these works are being publicly displayed together, and we are delighted to be able to share them with visitors and scholars for their study and enjoyment.”   “One of the things that makes this acquisition particularly significant is that several of the drawings in the group are by artists whose work is very rarely available on the market,” says Stephanie Schrader, curator of Drawings at the Getty Museum and co-curator of the exhibition. “The exhibition spotlights the collection and invites visitors to explore the subjects and techniques that made artists of the Dutch Republic so renowned and beloved.”   The Dutch Republic was the most prosperous nation in Europe in the 17th century, a time when its global trade, military, science, and art were highly regarded. The exhibition showcases this period of great artistic achievement when drawings became increasingly valued as independent works of art.   The exhibition presents a diverse range of genres and subjects, from a selection of rare landscapes and seascapes, religious scenes, figure studies and portraits, to colorful botanical illustrations. A standout landscape drawing in the exhibition is Adriaen van de Velde’s The House with a Little Tower Seen from the Northeast, which offers a quintessential evocation of the Dutch flat countryside framed by stretches of sky and water. Another landscape, Jacob van Ruisdael’s A Cottage among Trees, boldly rendered in black chalk, documents the artist’s travels to Bentheim in Westphalia.   While Dutch artists often rendered naturalistic subjects emblematic of their native land, many also flocked to Rome to immerse themselves in the study of ancient monuments. “Dutch artists were enchanted by the warm, golden Italian sunlight and vibrant history of the landscape,” said Casey Lee, curatorial assistant in the Drawings Department at the Getty Museum. “This exhibition offers insight into the significant influence Italian subjects played in Dutch art during this time, from Roman ruins to Corinthian columns.”   The exhibition includes several religious and historical scenes, including a striking work titled Crucifixion by Samuel van Hoogstraten, one of Rembrandt’s most talented pupils, along with an elaborate compositional study by Gerrit van Honthorst titled Allegorical Portrait of the Four Eldest Children of the King and Queen of Bohemia.    Among the many portraits and figure studies featured in the exhibition is Peasants Playing Backgammon and Merry-making in a Tavern, a comical scene by Cornelis Dusart portrayed in vibrant watercolors on luxurious vellum. Two more standout works are Young Woman at a Balustrade, a highly detailed portrait of a woman by Jan de Bray, and Young Man Leaning on a Stick, a rare early figure study by Rembrandt, made while he was working in Leiden, Netherlands at the beginning of his career. Five botanical drawings in the exhibition demonstrate the fascination with the natural world and the interaction of art and science in the Netherlands. Jacob Marrel’s imposing watercolor of Four Tulips speaks to “tulipmania,” a period when the speculative prices for tulip bulbs reached astonishing heights before the market collapse in 1637. Maria Sibylla Merian’s watercolor Metamorphosis of a Small Emperor Moth on a Damson Plum is a meticulous rendering of the metamorphosis of an emperor moth from egg to caterpillar based on a counterproof from her Caterpillar Book of 1679.

To complement the exhibition, Getty will hold a lecture, Tulipmania: Money, Honor, and Knowledge in the Dutch Golden Age, on October 30 with Dr. Anne Goldgar, author of Tulipmania, who will debunk myths about the 17th-century phenomenon of “tulipmania.”   Dutch Drawings from a Collector’s Cabinet is curated by Stephanie Schrader, curator of Drawings, and Casey Lee, curatorial assistant in the Drawings Department at the Getty Museum.

The Met Fifth Avenue

October 10, 2022–January 8, 2023

Opening October 10, the first exhibition in the United States focusing on art created during the Tudor dynasty will feature more than 100 paintings, tapestries, sculptures, and more

From King Henry VII’s seizure of the throne in 1485 to the death of his granddaughter Queen Elizabeth I in 1603, England’s Tudor monarchs used art to legitimize and glorify their tumultuous reigns. On view at The Met from October 10, 2022, to January 8, 2023, The Tudors: Art and Majesty in Renaissance England will trace the transformation of the arts under their rule through more than 100 objects—including iconic portraits, spectacular tapestries, manuscripts, sculpture, and armor—from both the Museum collection and international lenders. 

The exhibition is organized by The Metropolitan Museum of Art and The Cleveland Museum of Art, in collaboration with the Fine Arts Museums of San Francisco.

“This magnificent exhibition brings the stunning majesty and compelling drama of the Tudor dynasty to life,” said Max Hollein, Marina Kellen French Director of The Met. “By examining the wider political and societal context in which these sumptuous goods and extraordinary portraits were made, we can appreciate both their exquisite beauty as works of art and the complex and often turbulent stories they tell.”

Exhibition co-curator Elizabeth Cleland, Curator in the Department of European Sculpture and Decorative Arts, added: “The sense of majesty that the Tudors crafted around themselves was so successful that, even now, we need to take a step back and remind ourselves just how tenuous their claim to the throne actually was and how many challenges they were facing.”

“English Renaissance literature of this time, particularly the plays of William Shakespeare, continues to be world famous today,” added exhibition co-curator Adam Eaker, Associate Curator in the Department of European Paintings. “This exhibition gives us the opportunity to introduce The Met’s audiences to the stunning visual arts of the period and the ways that both artists and patrons used imagery to navigate the treacherous waters of court life. Rather than an illustrated history of the Tudor monarchy, it offers a fresh look at the incredible figurative and decorative arts made or acquired for the court.”

Exhibition Overview

England under the volatile Tudor dynasty was a thriving home for the arts. An international community of artists and merchants, many of them religious refugees from across Europe, navigated the high-stakes demands of royal patrons against the backdrop of shifting political relationships with mainland Europe. The Tudor courts were truly cosmopolitan, boasting the work of Florentine sculptors, German painters, Flemish weavers, and Europe’s best armorers, goldsmiths, and printers, while also contributing to the emergence of a distinctly English style. This exhibition features works of art made under the patronage of all five Tudor monarchs: Henry VII (reigned 1485–1509), Henry VIII (1509–47), Edward VI (1547–53), Mary I (1553–58), and Elizabeth I (1558–1603). It is organized thematically in five sections within an overall exhibition design that evokes the long galleries and intimate alcoves that defined Tudor palace architecture.

 

Deriving their power from Henry VII’s seizure of the throne in 1485, concluding the Wars of the Roses, all five monarchs of the Tudor dynasty grappled with crises of legitimacy and succession. Beginning with a spectacular group of Italian bronze sculptures (reunited here for the first time since the 17th century) from a never-completed tomb for Henry VIII, the exhibition’s first section, “Inventing a Dynasty,” shows how the Tudors devoted vast resources to crafting a public image as divinely ordained sovereigns, shoring up their tenuous claim to the throne. A series of portraits will introduce visitors to the five Tudor monarchs; included here are the exceptional loans of Hans Holbein the Younger’s portrait of Henry VIII from the Museo Nacional Thyssen Bornemisza in Madrid and the “Sieve Portrait” of Elizabeth I by Quentin Metsys the Younger from the Pinacoteca Nazionale in Siena. 

The next section, “Splendor” evokes the ornately layered interiors of Tudor palaces, filled with figurative plasterwork, tapestries, metalwork, and the lavishly dressed bodies of the courtiers themselves. As monarchs traveled between residences, portable furnishings transported their magnificence with them. Tapestries woven in richly dyed wools, silks, and metal-wrapped threads enveloped rooms. Private chapels offered devotional manuscripts and images. Games, music, and athletic tournaments provided opportunities for ostentatious displays. This section highlights the Tudor monarchs’ taste for luxurious imports from the continent, but also the work of local artists and newly arrived Flemish and French immigrants. Examples include Henry VIII’s personal book of psalms (British Library), featuring handwritten annotations by the king himself; a rare French-made “Sea-Dog” Table with Italian marble inlay (National Trust, Hardwick Hall, The Devonshire Collection); and a dazzling London-made rock crystal vase mounted in gold with the devices of Henry VIII and his first wife, Katherine of Aragon (Museo delle Cappelle Medicee, on permanent loan to the Tesoro di San Lorenzo, Basilica di San Lorenzo, Florence).

“Public and Private Faces” spotlights the dominance of portraiture in Tudor painting and the transformative impact that Hans Holbein the Younger (c. 1497–1543) had on the genre. In 16th-century England, portraits recorded status, lineage, piety, and political affiliation, as well as physical appearance. They allowed for physically distant relatives to keep in touch, or for royals to gauge the attractiveness and health of potential future spouses. The emergence of the portrait miniature, intended to be held in the hand or worn on the body, heightened the association between portraiture and intimacy and portraiture’s role in bridging geographic separation. Highlights of this section include Holbein’s portrait of the royal falconer Robert Cheseman, on loan from the Mauritshuis, along with a group of the artist’s portrait drawings in the collection of HM Elizabeth II at Windsor Castle. Also featured is Marcus Gheeraerts the Younger’s elegant portrait of the Welsh aristocrat Ellen Maurice, recently acquired and conserved by The Met.

“Languages of Ornament” illuminates how Tudor arts combined the classical, the natural, and the neo-medieval, forming a uniquely English Renaissance aesthetic. Like other elites of Renaissance Europe, the Tudors were interested in the artistic legacy of ancient Greece and Rome, as seen in the classical whimsy of The Apotheosis of Henry VIII, a drawing on loan from the Victoria and Albert Museum, London. In the decorative arts of 16th-century England, however, this classical tradition was also often blended with a new taste for motifs from the natural world. They drew upon both longstanding conventions of floral symbolism as well as a new fascination with untamed wilderness as a place of liberation. Meticulously woven vines of Tudor and Lancastrian roses, for example, decorate a velvet cope from a lavish suite of vestments commissioned by Henry VII, on loan from the British Jesuit Province. Additionally, elaborate court performances and choreographed tournaments revealed a nostalgia for the Middle Ages—nodding to the Tudors’ shrewd appropriation of King Arthur as a legendary ancestor. Interlacing geometric straps evoking Celtic knotwork and Anglo-Saxon manuscripts flourished in patterning on everything from armor to textiles, like the boldly colored Luttrell Table Carpet from the Burrell Collection in Glasgow.

The exhibition culminates with “Allegories and Icons,” a collection of striking depictions of Elizabeth I, the last Tudor monarch, including the celebrated “Ditchley” and “Rainbow” portraits, on loan from the National Portrait Gallery (London) and the Marquess of Salisbury, respectively. Facing enormous pressure as an unmarried female ruler, the queen exerted tight control over her image. Her carefully vetted portraitists drew upon the elaborate allegories devised by court poets to pay tribute to the queen and her immense powers. As the Protestant Reformation had brought about the destruction or removal of religious images from English churches, most artists focused on investing the monarch—as newly proclaimed head of the church—with an enchanted and sacred authority. At the same time, printmakers created mass-produced images that celebrated Elizabeth as a protector of the Protestant cause. The exhibition concludes with a portrait, from The Met collection, of Henry Frederick, Prince of Wales, a dynamic depiction of the Stuart dynasty that came to the throne after Elizabeth’s death in 1603, ushering in a new age of artistic styles.

The Tudors: Art and Majesty in Renaissance England is curated by Elizabeth Cleland, Curator in the Department of European Sculpture and Decorative Arts, and Adam Eaker, Associate Curator in the Department of European Paintings. Additional support was provided by Sarah Bochicchio, former Curatorial Research Assistant at The Met. The exhibition design is by Senior Exhibition Designer Fabiana Weinberg.

Catalogue

A fully illustrated catalogue will accompany the exhibition. Published by The Metropolitan Museum of Art and distributed by Yale University Press, it will be available for purchase from The Met Store. 

 Bilbao Fine Arts Museum 

9/28/22 - 1/22/23

Complete article

Sketches for Torre de la Parada

ARKEN Museum of Modern Art

17 September 2022 until 15 January 2023. 

The exhibition will subsequently be shown at Fundación MAPFRE in Madrid

Leonora Carrington was one of Surrealism's key figures. She rebelled against power hierarchies and conventions with a magical universe filled with humour, witchcraft and spirit, yet she remained an overlooked figure in art history. Today, interest in Carrington is immense. The exhibition is organized in collaboration with Fundación MAPFRE, Madrid. 

Exhibition curator Sarah Fredholm who is in charge of the Leonora Carrington exhibition at ARKEN explains why the surreal artist resonates so much today: "Leonora Carrington's artistic vision of freedom and equality is more relevant than ever in times of global warming, natural disasters, and war. In response to the crises of our time, spirituality, the occult and the forces of nature are being increasingly cultivated, for instance through astrology, tarot cards and witchcraft. 

Carrington was also taken with witchcraft and sprituality, which is why she is relevant to audiences today," says Fredholm. 

British-Mexican artist Leonora Carrington (1917-2011) grew up in a wealthy family near Lancaster in England as the daughter of an Irish mother and a father who was a textile factory owner. However, Carrington rebelled against her strict upper-class childhood and was repeatedly expelled from Catholic boarding schools. At 20, Carrington moved to Paris to pursue a life as an artist. Here she became part of the inner circle of Surrealism and started an intense love affair with surrealist artist Max Ernst. When World War II broke out, Carrington first fled to New York, then to Mexico, where she settled. Together with Mexican artist colleagues, Carrington cultivated a shared vision of witchcraft, drive, community and freedom. 

"Carrington possessed incredible power and mystery. She remained unique, created her own version of Surrealism and did not allow herself to be restricted by either men or the surreal movement. This is really relevant today, when a lot of people feel under pressure on many fronts. As an artist, she challenges our way of seeing the world," says Sarah Fredholm. 

Marvelous stories of transformation Carrington’s art takes you into enchanted worlds of magical creatures undergoing transformations – powerful female figures turning into horses, and witches and old women as expressions of zest for life and resistance. Alchemy and astrology captured Carrington's heart and she even created her own tarot cards. For seven decades, she expressed herself in a range of media – painting, sculpture, drawing and tapestries, and as an author. 

With the exhibition at ARKEN, this is the first time a Scandinavian audience will be able to experience a large retrospective exhibition that unfolds Carrington’s life’s work. Here, you will see key works from England, the US and Mexico, important works from private collections that have never been exhibited before, as well as photographs and letters.

 The Leonora Carrington exhibition will be on view at ARKEN from 17 September 2022 until 15 January 2023. The exhibition will subsequently be shown at Fundación MAPFRE in Madrid. 

The exhibition is curated by Tere Arcq, Sarah Fredholm (ARKEN), Carlos Martín, Stefan van Raay, Naja Rasmussen and Dorthe Juul Rugaard (ARKEN). The exhibition is organized in collaboration with Fundación MAPFRE

 Worcester City Art Gallery and Museum