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Paintings by Fernando Botero - Gallery and Auction

March 12, 2016, 2:26 pm
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Heather James Fine Art

Heather James Fine Art is offering (March 2016) a selection of paintings by Fernando Botero.

Colombian artist Fernando Botero, best known for his voluptuously rotund human figures, took an early interest in his artistic forbearers – strands of early modernists, Latin American mural painters, and even elements of the German Expressionist movement appear in Botero’s paintings, certainly influenced by his travels to Madrid, Paris, Florence, and eventually settling in Mexico City.

Two still life paintings are included in the exhibition,



 Fernando Botero
Still Life Oranges
oil on canvas
67 x 77 1/2 in.
1989


one of oranges that was painted in 1989,




 Fernando Botero
Still Life
oil on canvas
64 x 76 3/4 in.
1974

and the other a bounty of citrus alongside serving tins dated to 1974.

These works are monumental in scale, around 65 x 75 inches, and reflect the artist’s exploration and reworking of a traditional genre – Botero's still lifes are at once familiar to the spherical fruit and slanted tables of Cezanne, as it is uniquely his own in the smooth, rounded edges and exaggerated volume of the citrus and tins. These canvases are radiant and truly envelop the viewer.






Botero’s Seated Nude evokes neoclassical portraiture generally, such as the   




The Turkish Bath of Ingres,

and Picasso’s neoclassicism in particular. The smooth voluptuousness and monumentality of the seated nude within the frame and the soft pastel palette remind the viewer of Picasso’s bathers.

Together, these paintings highlight the artist’s unique style and his indebtedness to art historical precedents.  

 Christie's Latin American Art 20 - 21 November 2015 


Christie’s offered a selection of important works by one of Latin America’s most celebrated and cherished modern masters, Fernando Botero . With an international career spanning six decades, Botero is one of the most distinguished and sought after artists of his generation. Today, he is recognized throughout the world for his singular style that consistently blurs the boundaries between reality and fiction, and his ubiquitous rotund figures that reflect his witty approach to the history of art and visual representation.

Christie’s Latin American Sale (November 20-21) and Latin American Online Sale (16 November 16 – 2 December) feature 26 exceptional works by Fernando Botero, including paintings, sculptures and drawings. Traditional subjects such as portraits, landscapes and still lifes are well represented in this season’s curated offerings, which includes monumental-sized paintings such as Man and The Tree as well as intimate studies of oranges, cherries and onions. An impressive selection of sculptures of animals, human figures and mythological subjects, including The Rape of Europa and Man on a Horse, complete the sale.

At once satirical and humorous, yet also brilliantly earnest and replete with wonderment and abandon, Botero’s oeuvre depicts a vision of the world that is simultaneously familiar, uncanny, and imbued with a baroque sense of exuberance and joie de vivre.



Man

Fernando Botero (b. 1932)


Man

Estimate


  • $500,000 - $700,000 
Price Realized


  • $521,000 



The Tree (Tree with Bird)

Fernando Botero (b. 1932)


The Tree (Tree with Bird)


Estimate


  • $400,000 - $600,000


Price Realized



  • $785,000 


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Myth, Allegory and Faith: The Kirk Edward Long Collection of Mannerist Prints

March 14, 2016, 3:31 pm
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February 10–June 20, 2016

More than 180 works, selected from one of the most extensive private collections of Mannerist prints in the world, epitomize the 16th-century’s extravagant and sophisticated style. Opening at Stanford University’s Cantor Arts Center on February 10, Myth, Allegory and Faith: The Kirk Edward Long Collection of Mannerist Prints reveals the scope and depth of this exemplary collection for the first time. The exhibition of engravings, etchings, woodcuts and chiaroscuro woodcuts by renowned artists and famous printmakers of the era continues through June 20, 2016.

The exhibition familiarizes visitors with the development of the Mannerist style in Italy, traces its dissemination through Europe, shows its adaptation for both secular and religious purposes and follows its eventual transformation into the baroque style at the end of the century. In conjunction with the exhibition, the Cantor Arts Center is co-publishing an illustrated catalogue of Kirk Edward Long’s entire collection of 700 works with essays by 10 scholars and 146 entries discussing individual works and suites.

“We are delighted that the Cantor has had a long and fruitful collaboration with such an astute and dedicated collector, resulting in this beautiful exhibition and the enlightening publication cataloguing Mr. Long’s complete holdings of 16th-century prints,” said Connie Wolf, the John and Jill Freidenrich Director. “These works provide extraordinary opportunities for new and important scholarship, allow for unique interdisciplinary perspectives on this dynamic moment in history and support exciting collaborations with students and faculty. I am thrilled that we can bring these important works to Stanford University and share them with our colleagues and students on campus as well as the greater community. The exhibition and the accompanying publication are invaluable to scholars of the period as well as anyone interested in art and history. This exhibition shows what a dedicated scholar-collector can accomplish, and the catalogue shares new knowledge of an important period in art history.”

The Exhibition



Aegidius Sadeler II (ca. 1570–1629) after Bartolomeus Spranger (1546–1611),  
Wisdom Conquers Ignorance, ca. 1600
Private collection of Kirk Edward Long 


  
 Hendrick Goltzius (1558–1617), Apollo, 1588

 Private collection of Kirk Edward Long

The exhibition begins with Mannerism’s primary sources, a fascination with classical antiquity and the overwhelming influence of Michelangelo. Curated by Bernard Barryte, the Cantor’s Curator of European Art, the exhibition is organized by region, tracing the style’s path from Florence, Rome and Central Italy to Venice and the rest of Europe. One section illuminates the way in which Mannerism was transformed in the Low Countries, where the Italianate artist Maarten van Heemskerck was an important innovator and where Hendrick Goltzius and his circle were responsible for the extraordinary flowering of the style in Haarlem during the last decades of the 16th century. Another portion of works illustrate Mannerism’s French variant. Known as the School of Fontainebleau, it was developed by Rosso Fiorentino and Francesco Primaticcio, Italian artists imported by King François I to decorate his palace at Fontainebleau in the most opulent and fashionable style.



Photo: Cantor Arts Center
“The Vision of Ezekiel” (1554), engraving by Giogrio Ghisi, from “Myth, Allegory, and Faith: The Kirk Edward Long Collection of Mannerist Prints.”


The exhibition concludes with works that demonstrate the shift away from the artifice of the Mannerist aesthetic. Included are prints by Annibale Carracci, pioneer of a new naturalism that was influenced in part by the impetus of the Counter-Reformation and the dictates of the Council of Trent, which encouraged artists to create clearer and more emotionally engaging images to counteract the impact of Protestantism and win new converts.

Throughout the exhibition, visitors can enjoy the accomplishments of the print designers Raphael, Giulio Romano and Maarten van Heemskerck—as well as the virtuosity of printmakers Marcantonio Raimondi, Ugo da Carpi, Giorgio Ghisi, Cornelis Cort and Hendrick Goltzius. Some images may be familiar, but many rare works by artists of less renown are also on view.

The Kirk Edward Long Collection

Long has spent his life collecting art. He first focused on the Symbolists and Surrealists, both of whom had found inspiration in Mannerism. Following the symbolist and surrealist artists’ gaze back to 16th-century Mannerism, Long acquired several exemplary prints and in 2003 began collaborating with Barryte. The goal was to create a comprehensive collection focused on Mannerist prints that would stimulate ongoing research. Representing 15 years of attentive effort, the collection now numbers more than 700 sheets and is among the most extensive repositories of this material in private hands. The sampling of the works featured in Myth, Allegory and Faith is representative of the collection, illustrating in graphic form the sources, evolution and diffusion of what art historian John Shearman called “the stylish style.”

Mannerism

Mannerism, the style dominant throughout Europe from about 1520 to 1590, followed the High Renaissance and then led into the Baroque. Mannerists broke with the naturalistic idealism of the High Renaissance, rejecting the imitation of nature in favor of subjective imagination and the aesthetic values of the artist. Mannerist art—painting and sculpture as well as prints—typically shares characteristics that include elongated figures in graceful, complex and stylized poses; complex compositions, often with multiple figures; a stress on contour; ornamental embellishments; and high finish. Pressure from the Catholic church at the end of the century lead to new styles of representation and the Baroque period. The Long collection represents the range of 16th-century styles, with an emphasis on Mannerism.

Print-Making in 16th-Century Europe

Prints played a crucial role in the dissemination of the Mannerist style through Europe. The 16th century, encompassed by the Kirk Edward Long Collection, is notable for the multitude of printmakers who published a remarkable variety of compelling images. In addition, the emergence of professional print publishers advanced the dissemination and development of the medium during this period. European printmaking was invented in the 15th century: first came the woodcut, then engraving and etching. In the early 16th century, the painter Raphael was key among those who recognized the artistic as well as the fiscal potential of prints and integrated them into their studio production. The success of the enterprise continued after Raphael’s death in 1520 with the next generation of artists, printmakers and publishers. Mannerism was further spread by the artistic diaspora that followed the Sack of Rome in 1527.

“Through prints we can trace lines of filiation that connected the centers of European art throughout the 16th century, contributing to the formation of a common Mannerist language that was inflected by local traditions as the style evolved outside Florence and Rome, or that retained the native accent of the artists who worked in Italy, where they assimilated classical traditions at their source and contributed to their modern expression,” Barryte explained in an essay for the collection catalogue. “In terms of style, in the 16th century all roads did lead to Rome, and they were paved with prints.”

Catalogue of the Kirk Edward Long Collection



A fully illustrated catalogue accompanies the exhibition. Supported by the Hohbach Family Fund and an anonymous donor and co-published by Silvana Editoriale, Milan, it features an illustrated checklist of the entire Long collection, 146 detailed entries, and 10 essays by an international array of scholars—Bernadine Barnes, Jonathan Bober, Suzanne Boorsch, Patricia Emison, Jan Johnson, Dorothy Limouze, Walter S. Melion, Larry Silver, Edward H. Wouk and Henri Zerner—on various aspects of 16th-century printmaking. An introduction by Barryte, curator of the Kirk Edward Long Collection, describes the formation of the collection. The entries, which discuss individual prints and suites, include contributions by international specialists on various artists.

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Picasso: The Great War, Experimentation and Change

March 15, 2016, 12:52 pm
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The Barnes Foundation, in partnership with the Columbus Museum of Art, Ohio, presents Picasso: The Great War, Experimentation and Change. On view February 21 through May 9, 2016, at the Barnes, the exhibition will travel to the Columbus Museum of Art in June. Curated by Simonetta Fraquelli, an independent curator and specialist in early 20th-century European art, the exhibition examines the dramatic fluctuations in Picasso’s style during the period surrounding the First World War, from 1912 to 1924.


Inspired by 




the Columbus Museum’s Still Life with Compote and Glass (1914–1915) by Picasso and the Barnes’s extensive Picasso holdings, Picasso: The Great War, Experimentation and Change features some 50 works by Picasso drawn from major American and European museums and private collections. The show includes oil paintings, watercolors, drawings, and four costumes the artist designed for an avant-garde ballet, Parade, in 1917. The show also features several pieces by Picasso’s contemporaries, including Georges Braque and Henri Matisse.

Unlike other members of the Parisian avant-garde, Picasso never directly addressed the First World War as a subject in his art. Instead, he began experimenting with naturalistic representation, turning out classical figure drawings that outraged many of his avant-garde colleagues—this was quite a shift from the radical cubist approach he had been developing since 1907. Picasso did not give up cubism, however. Instead, he shuttled back and forth between two different styles for over a decade, breaking forms apart and making them whole again. This exhibition looks closely at the strange ambivalence that characterized Picasso's wartime production, exploring it in connection with changes to his personal life and with the political meanings ascribed to cubism during the war.

“A radical shift occurred in Picasso’s work in 1914,” notes curator Simonetta Fraquelli. “Following seven years of refining the visual language of cubism, he began to introduce elements of naturalism to his work.” This change in his production can be viewed against the backdrop of an unsteady cultural climate in Paris during the First World War. Many people identified the fragmented forms of cubism with the German enemy and therefore perceived it as unpatriotic. This negative impression reverberated throughout Paris during the First World War and may have been a factor in Picasso’s shift in styles. However, Fraquelli says, “what becomes evident when looking at Picasso’s work between 1914 and 1924, is that his two artistic styles—cubism and neoclassicism—are not antithetical; on the contrary, each informs the other, to the degree that the metamorphosis from one style to the other is so natural for the artist that occasionally they occur in the same works of art.”
Major works from the Picasso museums in Barcelona and Paris will be included in the exhibition, including 



Seated Woman (1920).

The exhibition also features four costumes that Picasso designed for the avant-garde ballet, Parade, which premiered in Paris in 1917: the original Chinese Conjurer costume and reproductions of the American Manager, French Manager, and Horse costumes. Performed by Sergei Diaghilev’s Ballets Russes, with music by Erik Satie, story by Jean Cocteau, and the choreography of Léonide Massine, Parade was the first cross-disciplinary collaboration of its kind. The ballet, which tells the story of an itinerant circus group performing a sideshow, was viewed as a revolutionary approach to theater. Picasso was the first avant-garde artist involved in such a production—not only designing the costumes, but also the theater curtain and set. A watercolor and graphite sketch of the curtain design and a pencil sketch of the Chinese Conjurer costume are included in the exhibition. Picasso drew inspiration for his designs from the modern world—everything from circuses and carousels to music halls and the cinema. With Picasso’s inventive geometric costumes and naturalistic curtain design, Parade may be the ultimate fusion of cubist and classical forms.

Picasso’s juxtaposition of figurative and cubist techniques can be seen as an expression of artistic freedom during a time of great conflict, and his shifts in style became a means of not repeating, in his words, “the same vision, the same technique, the same formula.” The works by Picasso’s contemporaries, such as 



Diego Rivera’s Still Life with Bread Knife from 1915 



and Matisse’s Lorette in a Red Jacket from 1917, offer further insight into the shifting cultural climate in France during this transformative period.

Managing curator for Picasso: The Great War, Experimentation and Change at the Barnes Foundation is Martha Lucy. Managing curator at the Columbus Museum of Art is David Stark.


Catalogue


Picasso: The Great War, Experimentation, and Change examines the work that Pablo Picasso made in Paris during the tumultuous years of World War I. Focusing on Picasso's oeuvre from 1912 to 1924, when he utilised both Cubist and classical modes in his art, this fully illustrated catalogue highlights one of the most important periods in the history of modern art. Picasso's shifts in style became a means of not repeating, in his words, 'the same vision, the same technique, the same formula.' With that approach in mind, the book also includes the work of Picasso's peers and friends, artists who were also exploring themes relevant to the difficult times in which they lived. Published to accompany a major exhibition of the same name at the Barnes Foundation and the Columbus Museum of Art, this elegantly designed book is essential reading for all those interested in Picasso's work and the dramatic and innovative period of art history during the Great War.
  • Examines Pablo Picasso's use of both Cubist and classical styles in his art during the tumultuous years of World War I
  • Accompanies a major exhibition opening at the Barnes Foundation (February 21 to May 9, 2016) and the Columbus Museum of Art (June 10 to September 11, 2016)
  • Features new scholarship from leading experts from around the world
  • Includes images and discussion of costumes by Picasso for the ballet Parade (1917), and photographs by Jean Cocteau showing the artist and friends in Paris (1916)
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Women’s Contributions to Modernism: O’Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York

March 15, 2016, 1:13 pm
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The Norton Museum of Art, as part of a season celebrating the work of women artists, will present the first exhibition to examine the art and careers of modernists Georgia O’Keeffe, Florine Stettheimer, Helen Torr, and Marguerite Zorachin parallel.The exhibition reveals how each of these women sought recognition as artists in their own right, and how their identity as women shaped the circumstances under which they worked, the forms their art took, and the way their work was interpreted—and often discounted. 

All four women lived and worked in New York between about 1910 and 1935. Zorach and Stettheimer were particularly close friends, and Zorach drew Stettheimer several times. Zorach and O’Keeffe attended Stettheimer’s avant-garde salon, and O’Keeffe eventually gave Stettheimer’s eulogy at her funeral. 

Helen Torr was more isolated, but knew O’Keeffe well, and O’Keeffe admired Torr’s work. Torr also likely knew Stettheimer and Zorach.

These artists came of age during the era of the New Woman, when women increasingly explored the public realm, attended college,entered the labor force, and fought for the right to vote.

Aspart of a larger bohemian dedication to equality,New York’s avant-garde artistic community ostensibly supported women’srights in this era. Yet the art world still treated women artists differently from men, especially as the market reorganized itself around a more exclusive commercial gallery and dealer system,which gave fewer opportunities to women.

This showcases each of these artists’ distinctive, modernist style through nearly 65 paintings, works on paper, and textiles created between 1910 and 1935. Exhibition highlights include:

  • Five paintings from Georgia O’Keeffe’s Jack-in-the-Pulpit series from 1930, demonstrating the artist’s exploration of the suggestive abstraction underlying the natural world:
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  • Florine Stettheimer’s Spring Sale at Bendel’s (1921), which illustrates the artist’s use of humor and satire to capturethe chaotic dance of shoppers in her upper-middle-class world;· 
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  • Two haunting and unflinching 1934-35 self-portraits by Helen Torr, which have never been displayed together; 
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  •  Key paintings of the female nude by Marguerite Zorach, illustrating both her early Fauvist adoption of the subject to express the joys and energies of nature and later use of it to suggest women’s ambiguous position in American society of the 1920s.  

An in-depth look at the contemporary reception of these works reveals that each artist suffered from having her works interpreted asan expressionof her intrinsic femininity, rather than her own artistic voice. Florine Stettheimer’s work was easy to dismiss because she rarely exhibited it publically, refused to sell it, and used delicate forms and personal subjects that seemed archetypally feminine. Marguerite Zorach’s reputation suffered when she began creating work in the seemingly feminine media of embroidery and batik because she found the demands of oil painting difficult to balance with the responsibilities of motherhood. Helen Torr and her husband Arthur Dove worked alongside one another to develop their artistic styles, but critics described her work as imitating his. Georgia O’Keeffe was the most critically and commercially successfulof the four, but her art was consistently marketed and interpreted as embodying general female sexuality rather than her own distinct aesthetic vision.

These modernists created work that was particularly open to such reductive understandings since it used modes of abstraction, leaving its meaning open-ended. Such interpretations purely in terms of gender were also particularly frustrating for these artists since, as modernists, they sought to express their complex individuality in their art.

“The exhibition showcases each of these artists’ distinctive modernism apart from their gender. Yet, at the same time,their identity as women affected their art,especially how it was interpreted,” said Ellen Roberts, exhibition curator and the Norton’s Harold and Anne Berkley Smith Curator of American Art. “Exposing the inadequacies of this initial understanding of their work is crucial because it still influences how we look at their work a century later. Seeing these four artists’ work in this new context reveals the factors that have limited appreciation not only of their art, but also of that of American women modernists in general. This project thus sheds light on women’s key role in the history of modernism.”

The exhibition is organized by the Norton Museum of Art, West Palm Beach, Florida,where it will run through May 15, 2016 with the support of the Portland Museum of Art, Maine, where the exhibition will travel and run from June 23 to September 18, 2016.

A fully illustrated catalogue by curator Ellen Roberts accompanies the show.

About Georgia O’Keeffe

Georgia O’Keeffe (1887-1986)was born in Sun Prairie, WI.She studied at the School of the Art Institute of Chicago and Art Students’League in New York but was most influenced by the classes she took at Columbia University with Arthur Wesley Dow, who encouraged her to look beyond her academic training.O’Keeffe produced a substantial body of work over 70 years and is widely understood as having played a pivotal role in the development of American modernism. She became recognized for her innovative, large-scale close-ups of natural subjects. O’Keeffe received the first retrospective given to a woman artist at the Museum of Modern Art in 1946.Her work is held in the collections of the Art Institute of Chicago, Los Angeles County Museum of Art, Metropolitan Museum of Art, Minneapolis Institute of Art, Museum of Modern Art, National Gallery of Art, Washington, Norton Museum of Art, and Whitney Museum of American Art, among others.




  • Georgia O’Keeffe(American, 1887-1986), Jack-in-the-Pulpit No. IV, 1930. Oil on canvas. 40 x 30 in (101.6 x 76.2 cm). National Gallery of Art, Alfred Stieglitz Collection, Bequest of Georgia O'Keeffe, 1987.58.3. ©Board of Trustees, National Gallery of Art, Washington.


About Florine Stettheimer

Florine Stettheimer (1871-1944) was born in Rochester, NY. She grew up largely abroad and took her first art classes in Germany, continuing her training at New York’s Art Students’ League when the family moved there in 1892.After more years in Europe, she returned to New York at the outbreak of World War I in 1914 and there began to formulate her own characteristic modernist style using expressively attenuated forms and brilliant colors to incisively and satirically explore her world. Afterher 1916 solo show at Knoedler Gallery, which was a financial failure, she rarely displayed her work publicly. She had her greatest critical success in 1934 as the set and costume designer for Gertrude Stein’s avant-garde opera Four Saints in Three Acts. Her work is now held in the collections of the Fine Arts Museums of San Francisco, Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, and Whitney Museum of American Art among others.



Florine Stettheimer (American, 1871–1944), Spring Sale at Bendel’s, 1921. Oil on canvas. 50 x 40 in (127 x 101.6 cm). Philadelphia Museum of Art, Gift of Miss Ettie Stettheimer, 1951.


About Helen Torr

Helen Torr (1886-1967) was born in a Philadelphia suburb, likely Roxbury, PA.She studied at the Pennsylvania Academy of the Fine Arts between 1906 and 1912. In 1921, she and fellow artist Arthur Dove left their spouses and began a lifelong partnership in which they together formulated a distinct take on modernism. Torr alternated between pure abstraction and more figurative subjects, using drawing and painting to explore especially the energies underlying the natural world. During her lifetime, her work was exhibited publicly only twice–once in a group show organized by O’Keeffe in 1927 at the Opportunity Gallery and a second time alongside Dove’s paintings in 1933 at Alfred Stieglitz’s An American Place.Her work is now held in the collections of the Art Institute of Chicago, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Modern Art, and Terra Foundation for American Art, among others.




Helen Torr (American, 1886–1967), I, 1935. Oil on canvas. 19 ¼ x 13 ¼ in (49 x 33.7 cm). Smith College Museum of Art, Gift of Nancy Stein Simpson, class of 1963, in memory of Samuel Stein.  
 
More information and images- Helen Torr

About Marguerite Zorach

Marguerite Thompson Zorach (1887-1968) was born in Santa Rosa, CA.In 1908, she moved to Paris, where she saw the work of European modernists,such as Henri Matisse and Pablo Picasso,and became one of the first Americans to master Fauvist Expressionism. In 1912, she married fellow artist William Zorach, whom she pushed to be more bold and experimental in his work. The two presented themselves as a creative pair to the art world and often exhibited together. When she began to work more frequently in embroidery and batik rather than painting following the birth of the couples’ children, her art began to be seen as less important. Her work is now held in the collections ofthe Norton Museum of Art, Portland Museum of Art, Smithsonian American Art Museum, Virginia Museum of Fine Arts, and Williams College Museum of Art, among others.



Marguerite Thompson Zorach (American, 1887-1968), Bathers, circa 1913-1914. 24 x 20 in (61 x 50.8 cm). Oil on canvas. Norton Museum of Art, Purchase, R.H. Norton Trust, 2015.72.
 


Excellent review with more information and images for all of the above









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Questroyal Fine Art’s Annual Hudson River School Show

March 16, 2016, 12:24 pm
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The Hudson River School continues to be celebrated as the first true movement in American art. Once disparagingly named by British critics to refer to a group of New York landscape painters, the movement flourished in the late nineteenth century, representing a growing appreciation for depictions of the American wilderness. Encouraged by the transcendentalist ideology of Ralph Waldo Emerson and Henry David Thoreau, the Hudson River School painters applied the idea of the sublime to American landscape painting. Their success is evident in the enduring love for Hudson River School paintings among today’s collectors, who continue to appreciate and acquire these works. 

The continuing legacy of these masters is evident in the ongoing success of Questroyal Fine Art’s annual Hudson River School show, one of the most anticipated exhibitions among American collectors. No Boundaries: Important Hudson River School Paintings, which opened at Questroyal Fine Art on March 11, is a rare opportunity to see some of the finest examples of the Hudson River School in one exhibition. Comprised of over ninety paintings, the exhibition brings together some of the best works of painters such as Albert Bierstadt, Alfred Thompson Bricher, Jasper Francis Cropsey, Asher B. Durand, John Frederick Kensett, Sanford Robinson Gifford, and Thomas Moran, among others. In the words of gallery owner Louis M. Salerno, “To all those who cherish the meditative solace found hiking in the woods, the tranquility of a mountain lake, and the enchanting stillness of the night, their universal language will forever be understood.” 



Ralph Albert Blakelock (1847–1919)
Fall Landscape, Catskills, with Hikers
oil on canvas
18 ½ x 32 ¾ inches
signed lower left
Available at Questroyal Fine Art, LLC, New York, New York



Jasper Francis Cropsey (1823–1900)
Autumn Landscape, 1885
Oil on canvas
67⁄8 x 13 5/16 inches
Signed and dated lower right: J. F. Cropsey / 1885.
Available at Questroyal Fine Art, LLC, New York, New York 



Asher B. Durand (1796–1886)
Dutchess County, New York
Oil on canvas
14 1/16 x 21 5/16 inches
Initialed lower right: ABD
Available at Questroyal Fine Art, LLC, New York, New York 
  



 Sanford Robinson Gifford (1823–1880)
Echo Lake, New Hampshire
Oil on canvas
12 x 10 inches
Signed lower right: S. R. Gifford
Available at Questroyal Fine Art, LLC, New York, New York 




Homer Dodge Martin (1836–1897)
In the Catskills
Oil on canvas
14 1/8 x 24 1/8 inches
Signed lower right: H. D. Martin
Available at Questroyal Fine Art, LLC, New York, New York 





Thomas Moran (1837–1926)
Sunset, Amagansett, 1905
Oil on canvas
301⁄2 x 401⁄2 inches
Monogrammed and dated lower right: TMoran 1905
Available at Questroyal Fine Art, LLC, New York, New York 



William Trost Richards (1833–1905)
Bouquet Valley in the Adirondacks,1863
Oil on canvas
25⅛ x 36⅛ inches
Signed and dated lower right: Wm. T. Richards / 1863. Phila
Available at Questroyal Fine Art, LLC, New York, New York  
 
 
Charles Volkmar (1841–1914)
On the Hudson,1867
Oil on canvas
9 ½ x 17 7/16 inches
Signed and dated lower right: C. Volkmar / 1867.; on verso: On the Hudson / C. Volkmar
Available at Questroyal Fine Art, LLC, New York, New York   
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CHRISTIE'S NEW YORK, APRIL 14 and LONDON, 7 JULY 2016

March 17, 2016, 9:31 am
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CHRISTIE'S NEW YORK, APRIL 14

Old Masters: Part I | April 14
Encompassing many of the great names of the European artistic tradition from before the Renaissance to the early 19th century, the auction is comprised of many fresh to the market works from private collections.



Top lots include El Greco’s The Entombment of Christ, (more information on history and attribution here) (2013 AUCTION RESULT here)



Daddi’s The Madonna and Child Enthroned with Saints,  (2011 sale here)



 Gandolfi’s (The Birth of Venus), (MORE INFORMATION here)

and Natoire’s pair of hunting scenes.

The sale offers exciting re-discoveries such as works by Allori, Joos van Cleve and Vermeyen, as well as a selection of beautiful view paintings from Venice to Rome.

Old Masters: Part II | April 14



The continuation of the Part I sale will offer property from the collection of Walter and Nancy Liedtke, and a strong selection of Italian, French, early Netherlandish and Dutch Golden Age works. With more than 150 lots, estimates range from $1,000 to $300,000.

CHRISTIE’S  OLD MASTER & BRITISH PAINTINGS EVENING SALE LONDON, 7 JULY 2016



Sir Peter Paul Rubens’s masterpiece, Lot and his Daughters (circa 1613-1614) will be sold by Christie’s as the centerpiece of a curated week of sales, Classic Week*, in London this July. An outstanding example of Rubens’s early maturity and one of the most important paintings by the artist to have remained in private hands. The work has been hidden from public view for over a century and will be exhibited during Christie’s New York Classic Week (8 – 12 April 2016) and in Hong Kong (26 - 30 May 2016), before being offered in London Classic Week, leading the Old Master & British Paintings Evening Sale on 7 July.

Lot and his Daughters boasts a distinguished provenance, once forming part of the collections of wealthy Antwerp merchants; a Governor-General of the Spanish Netherlands; Joseph I Holy Roman Emperor; and the Dukes of Marlborough. It was included in the first volume of The English Connoisseur from 1766 and has since been listed in all the major publications on Rubens’s work. The sale of this painting by the quintessential artist of the Northern Baroque presents a rare opportunity for both international collectors and institutions.

At the time that Rubens painted Lot and his Daughters, his reputation as the most important and fashionable artist in Antwerp had already put him at the centre of the European artistic stage. Having worked in Rome at the court of Vincenzo I Gonzaga, Duke of Mantua, he was appointed court painter in Brussels to the Archdukes Albert and Isabella in 1609. During this period, Rubens produced some of the most well-known works of his œuvre, including two monumental altarpieces, The Raising of the Cross, commissioned in 1610 for the church of St Walburga, and The Descent from the Cross, painted in 1611–1614 for Antwerp Cathedral. In addition to these public works, Rubens carried out a number of private commissions, instilling traditional religious subjects, such as Lot and his Daughters, with an exciting new energy.

Exceptional Provenance

The recorded provenance of Lot and his Daughters begins with the first known owner Balthazar Courtois, an Antwerp merchant who died in 1668. Listed in the inventory of his estate, the painting was described as a ‘schouwstuck’ (chimneypiece). It has not been established whether Courtois commissioned the painting from Rubens, but the description of it in his Antwerp house accords with the almost certain appearance of this picture in an Interior Scene (circa 1625-1630), Frans Francken II (1581-1642) and attributed to Cornelis de Vos (1584/85–1651).

This magnificent painting has changed hands on only a few occasions. In 1668 it was inherited by Courtois’s son Jan Baptist, it then passed to the wealthy Antwerp merchant Ghisbert van Colen. In 1698 it was bought from van Colen by the military commander and avid collector Governor-General of the Spanish Netherlands, Maximilian II Emanuel (1662–1726), the Wittelsbach Elector of the Holy Roman Empire until his exile. The painting was then given to John Churchill, 1st Duke of Marlborough (1650–1722) in 1706 by Joseph I, Holy Roman Emperor (1678–1711), as a trophy in gratitude for the victories at Blenheim and Ramillies.

Marlborough’s collection included at least 10 other pictures by Rubens and placed Lot and his Daughters in the Great Room at Marlborough House in 1740 until eventually being moved to England's greatest early 18th-century country house, Blenheim Palace, where it was hung in the Library in 1766 and in the Dining Room by 1810, paired with Rubens’s Venus and Adonis (also from the collection of Maximilian II Emanuel). Around 1710-1720 the canvas was slightly extended at the top and bottom edges and the fine Blenheim frame in which it still hangs was added to complement the furniture of Blenheim Palace, designed by James Moore. The work remained in the Marlborough collection for at least a century until acquired by the entrepreneur, philanthropist and collector Baron Maurice de Hirsch de Gereuth (1831–1896) from whom it has been passed by descent.

Lot and his Daughters

The Old Testament tale, Lot and his Daughters (Genesis XIX: 30–38), had been a favoured subject with Northern European artists since the Renaissance with notable examples portrayed by Lucas van Leyden, Jan Massys, Joachim Wtewael and Hendrick Goltzius. Exploring the themes of vice and virtue, Lot and his Daughters is a cautionary story, which Rubens returned to throughout his career. Pulsating with life, this canvas illustrates the events after Lot and his family have fled the immoral city of Sodom having escaped to the desolate mountain town of Zoar. His two chaste daughters, fuelled by the desire to continue their lineage following the destruction of Sodom and Gomorrah, conspired to seduce their father and from who, according to the Bible, Jesus Christ was directly related through David’s great-grandmother Ruth, who was descended from Moab.

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International Pop at the Philadelphia Museum of Art

March 17, 2016, 12:31 pm
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The Philadelphia Museum of Art is presenting International Pop, a groundbreaking survey of this important movement that explores Pop Art as a global phenomenon that was shaped by artists working in many different countries throughout the world. The exhibition features paintings, sculpture, assemblage, installation, printmaking, and film by eighty artists, drawn from public and private collections around the world, and offers an intriguing new look at a subject that is familiar.

Viewing Pop Art through a much wider lens that amplifies a history commonly associated with major American figures like Andy Warhol and Roy Lichtenstein, it is sure to delight audiences and broaden their understanding of one of the most significant chapters in the history of contemporary art. Organized by the Walker Art Center, this is the first traveling exhibition in the United States to present a comprehensive account of the development of Pop Art during the 1960s and 1970s. The Philadelphia Museum of Art will be its final venue and the only East Coast presentation.

Highlights of International Pop will include works of major British and American artists presented in juxtaposition with works by artists from other countries that were centers for the development of Pop Art.  


 Hers is a Lush Situation, 1958, Richard Hamilton, (Pallant House Gallery, Chichester, UK, Wilson Gift through the Art Fund, 2006), ©R. Hamilton. All rights reserved DACS, London/Artists Rights Society (ARS), New York

Hers is a Lush Situation, a work painted in 1958 by one of the seminal figures of this movement, the British artist Richard Hamilton, offers a witty commentary on the advertising adage that sex sells. It treats the forms and shapes of a Buick as an evocation of the human body, punctuated by a cut-out of Sophia Loren’s lips. Other artists would look at this issue in a different light.


In O Beijo (The Kiss) of 1967, for example, the Brazilian Waldemar Cordeiro turns the lips of Bridget Bardot into a mechanized image of a kinetic sculpture, fusing pop culture and emerging computer technology. By contrast, in Ice Cream, the Belgian artist Evelyne Axell paints a woman licking an ice cream cone from a radically feminized perspective, at once quoting and challenging notions of sexual desire.

A key work shown only in Philadelphia will be



Jasper Johns's Flag, 1958, in which the artist represents the iconic image of the American flag in a literal way and at the same time utilizes it as a vehicle for exploring new possibilities for contemporary painting.



Other works, such as Antônio Henrique Amaral's Homenagem ao Século XX/XXI (20th/21st Century Tribute), 1967, suggest that such an image could not be separated from the dominance of America as a cultural power in Brazil at this time.



Ushio Shinohara's Coca-Cola Plan (After Rauschenberg) of 1964 reflects the complex relationship between Japanese artists and their American counterparts, whose work they largely experienced through print media. Also seen only in Philadelphia are



Mimmo Rotella’s The Hot Marilyn, 1962—a décollage of an Italian movie poster—



and Ed Ruscha’s Felix, 1960, an early example of his work in the idiom of Pop Art, of which he was one of this country’s pioneering figures.

Emerging first in the United Kingdom and the United States, Pop Art soon become an international phenomenon, finding expression in a bewildering variety of different forms and media. It was a product of a revolutionary social and political era as well as a response to the proliferation of consumer culture in the decades after World War II and the media—magazines, television, and motion pictures—that fueled its growth. The exhibition will give visitors a rare opportunity to see Pop Art in a new light. It will examine the factors that shaped artistic activity in the social democracies of Europe, the military regimes of Latin America, and Japan in the aftermath of U.S. occupation. It will include sections closely examining vital hubs of Pop activity in Great Britain, Brazil, Argentina, Germany, the United States, and Japan. International Pop will also bring together works from diverse geographic regions and different periods during the development of the movement to explore common themes and subjects.

Among the other artists featured in International Pop are James Rosenquist, Claes Oldenburg, Jim Dine, Rosalyn Drexler, and Andy Warhol (United States); Peter Blake, and Pauline Boty (Great Britain); Konrad Lueg, Sigmar Polke, and Gerhard Richter (Germany); Keiichi Tanaami, and Genpei Akasegawa (Japan); Antônio Dias (Brazil); and Marta Minujín, Dalila Puzzovio, and Edgardo Costa (Argentina); Sergio Lombardo and Mario Schifano (Italy); and Yves Klein, Niki de Saint Phalle, and Martial Raysse (France).

Organizer

International Pop is organized by the Walker Art Center where it was curated by Darsie Alexander (now Executive Director, Katonah Museum of Art) and Bartholomew Ryan (now independent curator). At the Philadelphia Museum of Art, the presentation is organized by Erica F. Battle, The John Alchin and Hal Marryatt Associate Curator of Contemporary Art.

Publication




The exhibition is accompanied by a fully-illustrated catalogue. It is the first major survey to chronicle the emergence and development of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, the catalogue offers important new scholarship on the period. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, integrating many classics of Pop art with other rarely seen works. Published by the Walker Art Center, the hardbound 368-page volume is distributed by Distributed Art Publishers.

More images from the exhibition:



Zone, 1961, by James Rosenquist (Philadelphia Museum of Art: Purchased with the Edith H. Bell Fund, 1982-9-1) ©James Rosenquist/Licensed by VAGA, New York, NY


Look Mickey, 1961, by Roy Lichtenstein (National Gallery of Art, Washington, Gift of Roy and Dorothy Lichtenstein in Honor of the 50th Anniversary of the National Gallery of Art, ©Board of Trustees, National Gallery of Art, Washington, DC


Still Life #35, 1963, by Tom Wesselmann (Collection of Claire Wesselmann) ©Estate of Tom Wesselman, Licensed by VAGA, New York


Standard Station, Amarillo, Texas, 1963, by Edward Ruscha (Hood Museum of Art, Dartmouth College, Hanover, New Hampshire: Gift of James Meeker, class of 1958, in memory of Lee English, Class of 1958, scholar, poet, athlete and friend to all) © Edward Ruscha, courtesy Gagosian Gallery  


Ice Cream, 1964, by Evelyne Axell (Collection of Serge Goisse, Belgium), ©Artists Rights Society (ARS), New York/ADAGP, Paris  



Epiphany, 1964-1989, by Richard Hamilton (Collection of Rita Donagh), ©R. Hamilton. All rights reserved DACS, London/Artists Rights Society (ARS), New Yor


LOOK! 1964, by Joe Tilson (Walker Art Center, Minneapolis: Art Center Acquisition Fund, 1966) ©Artists Rights Society (ARS), New York/DACS, London  


Foodscape, 1964, by Erró, Oil on canvas, (Moderna Museet, Stockholm), ©Artists Rights Society, New York/ADAGP, Paris



Dalila doble plataforma, 1967, by Dalila Puzzovio (Mock Galeria, Buenos Aires), Courtesy of the artist


Oiran, 1968, by Ushio Shinohara (Museum of Contemporary Art Tokyo) © Ushio and Noriko Shinohara 


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Paul Strand: Photography and Film for the 20th Century: Victoria and Albert Museum

March 17, 2016, 1:13 pm
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 19 March –3 July 2016

In March 2016, the V&A will present the first retrospective of the American artist Paul Strand (1890-1976) in the UK for over 30 years. Revered as one of the greatest photographers of the 20th century, Strand defined the way fine art and documentary photography is understood and practiced today. Part of a tour organised by Philadelphia Museum of Art, in collaboration with Fundación MAPFRE and made possible by the Terra Foundation for American Art,the V&A exhibition will reveal Strand’s trailblazing experiments with abstract photography, screen what is widely thought of as the first avant-garde film and show the full extent of his photographs made on his global travels beginning in New York in 1910 and ending in France in 1976.

Newly acquired photographs from Strand’s only UK project will be shown–a 1954 study of the island of South Uist in the Scottish Hebrides–supplemented by further works already in the V&A’s own collection. 

Paul Strand: Photography and Film for the 20th Century will encompass over 200 objects from exquisite vintage photographic prints to films, books, notebooks, sketches and Strand’s own cameras to trace his career over sixty years. Arranged both chronologically and thematically, the exhibition will broaden understanding to reveal Strand as an international photographer and filmmaker with work spanning myriad geographic regions and social and political issues.

The exhibition will begin in Strand’s native New York in the 1910s, exploring his early works of its financial district, railyards, wharves and factories. During this time he broke with the soft-focus and Impressionist-inspired ‘Pictorialist’ style of photography to produce among the first abstract pictures made with a camera. 

The influence of photographic contemporaries Alfred Stieglitz and Alvin Langdon Coburn as well European modern artists such as Braque and Picasso can be seen in Strand’s experiments in this period.

On display will be early masterpieces such as 

 



Title: Wall Street, New York
 Artist: Paul Strand
 Date: 1915
 Credit line: © Paul Strand Archive, Aperture Foundation

Wall Street which depicts the anonymity of individuals on their way to work set against the towering architectural geometry and implied economic forces of the modern city. Strand’s early experiments in abstraction, 



 
Title: White Fence, Port Kent, New York
 Artist: Paul Strand
 Date: 1916 (negative); 1945 (print)
 Credit line: © Paul Strand Archive, Aperture Foundation

Abstraction, Porch Shadows and White Fence will also be shown, alongside candid and anonymous street portraits made secretly using a camera with a decoy lens, such as 

 
 

Title: Blind Woman, New York
 Artist: Paul Strand
 Date: 1916
 Credit line: © Paul Strand Archive, Aperture Foundation

Blind Woman.

The exhibition explores Strand’s experiments with the moving image with the film Manhatta(1920-21), the first time it has been screened in its entirety in the UK. A collaboration with the painter and photographer Charles Sheeler, Manhatta was hailed as the first avant-garde film, and traces a day in the life of New York from sunrise to sunset punctuated by lines of Walt Whitman poetry. 




Strand’s embrace of the machine and human form is a key focus of the exhibition. In 1922, he bought  an Akeley movie camera. The close-up studies he made of both his first wife Rebecca Salsbury and the Akeley during this time will be shown alongside the camera itself. Extracts of Strand’s later, more politicised films, such as Redes (The Wave), made in cooperation with the Mexican government are featured, as well as the scarcely-shown documentary Native Land, a controversial film exposing the violations of America’s workforce. 

Strand travelled extensively and the exhibition will emphasise his international output from the 1930s to the late 1960s, during which he collaborated with leading writers to publish a series of photo books. As Strand’s career progressed, his work became increasingly politicised and focused on social documentary.

The exhibition will feature Strand’s first photobook  





Time in New England (1950), 

alongside others including a homage to his adopted home France and his photographic hero Eugène Atget, 



La France de profil,made in collaboration with the French poet, Claude Roy. 

 

Title: The Family, Luzzara (The Lusettis)
 Artist: Paul Strand
 Date: 1953 (negative); mid- to late 1960s (print)
 Credit line: © Paul Strand Archive, Aperture Foundation

One of Strand’smost celebrated images, The Family, Luzzara, (The Lusetti’s) was taken in a modest agricultural village in Italy’s Po River valley for the photobook




Un Paese, for which he collaborated with the Neo-Realist writer, Cesare Zavattini. On display, this hauntingly direct photograph depicts a strong matriarch flanked by her brood of five sons, all living with the aftermath of the Second World War. 

The images Strand took during his 1954 trip to the Scottish Hebrides reveal his methodical and meticulous approach to photography, much like a studio photographer in the open air. Strand conjured the sights, sounds and textures of the place steeped in the threatened traditions of Gaelic language, fishing and agricultural life of pre-industrial times.
 
The intimate set of black and white photographs include the V&A’s newly acquired image of a brooding youth, 





Angus Peter MacIntyre, South Uist, Hebrides; 

the patinated geology of  




Rock, Lock Eynort, South Uist, Hebrides 


and the all-encompassing expanse of the Atlantic Ocean depicted in 


Sea Rocks and Sea, The Atlantic, South Uist, Hebrides. 

 From the late 1950s to the mid-1960s, Strand photographed Egypt, Morocco and Ghana,all of which had gone through transformative political change.The exhibition will show Strand’s most compelling pictures from this period, including his tender portraits, complemented by remarkable street pictures showing meetings, political rallies and outdoor markets.

The exhibition will conclude with Strand’s final photographic series exploring his home and garden in Orgeval, France, where he lived with his third wife Hazel until his death in 1976. 





(See the book and website here for more images from the garden)

The images are an intimate counterpoint to Strand’s previous projects and offer a rare glimpse into his own domestic happiness. 
Paul Strand: Photography and Film for the 20th Century is part of an international tour organized by the Philadelphia Museum of Art in collaboration with Fundación MAPFRE and made possible by theTerra Foundation for American Art. It is curated by Peter Barberie, the Brodsky Curator of Photographs, Alfred Stieglitz Center at the Philadelphia Museum of Art, with the assistance of Amanda N. Bock,former Project Assistant Curator of Photographs·The exhibition is adapted for the V&Aby Martin Barnes, Senior Curator of Photography, V&A ·The nine newly acquired photographs from Paul Strand’s1954 Tir A’Mhurain series were purchased for the V&A with assistance from the Photographs Acquisitions Group.




The exhibition is accompanied by a substantial scholarly catalogue, Paul Strand: Master of Modern Photography, published by the Philadelphia Museum of Art in collaboration with Fundación MAPFRE; it is distributed in the trade by Yale University Press.



MORE IMAGES 



 

Title: Couple, Rucăr, Romania
 Artist: Paul Strand
 Date: 1967
 Credit line: © Paul Strand Archive, Aperture Foundation

Title: Driveway, Orgeval
 Artist: Paul Strand
 Date: 1957
 Credit line: © Paul Strand Archive, Aperture Foundation 




Title: Milly, John and Jean MacLellan, South Uist, Hebrides
 Artist: Paul Strand
 Date: 1954
 Credit line: © Paul Strand Archive, Aperture Foundation




Title: New Mexico
 Artist: Paul Strand
 Date: 1930
 Credit line: © Paul Strand Archive, Aperture Foundation





Title: Rebecca, New York
 Artist: Paul Strand
 Date: 1921
 Credit line: © Paul Strand Archive, Aperture Foundation








Title: Young Boy, Gondeville, Charente, France
 Artist: Paul Strand
 Date: 1951 (negative); mid- to late 1960s (print)
 Credit line: © Paul Strand Archive, Aperture Foundation




 
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Signac Une vie au fil de l’eau

March 16, 2016, 9:44 am
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Paul Signac (1863-1935)
Saint-Briac, Les balises, opus 210, 1890
Huile sur toile - 65 x 81 cm
Collection particulière
Photo : Maurice Aeschimann





Paul Signac (1863-1935)
Port de Saint-Tropez, étude de reflets, 1894
Aquarelle, plume et encre de Chine - 10,2 x 17 cm
Collection particulière
Photo : Maurice Aeschimann



Paul Signac (1863-1935)
Saint-Tropez, le sentier côtier, vers 1894
Aquarelle, plume et encre de Chine - 19,7 x 27,5 cm
Collection particulière
Photo : Maurice Aeschimann

The Fondation de l'Hermitage will be showing a prestigious collection of works by Paul Signac (1863-1935) through 22 May 2016. Almost140 oil paintings, watercolours and drawings will illustrate the prolific career of this neo-Impressionist master.



Paul Signac (1863-1935) 
 L’arc-en-ciel (Venise), 1905
huile sur toile, 73 x 92 cm
collection privée
© photo Maurice Aeschimann




Paul Signac
La Baie (Saint-Tropez), vers 1908
aquarelle et encre de Chine, 20,8 x 25,7 cm
collection privée
© photo Maurice Aeschimann
 

This unique collection was assembled by a family with a passion for Signac’s art and constitutes one of the largest set of his works to be held in private hands. It offers a complete panorama of Signac’s artistic development, from his early Impressionist paintings through the heroic years of neo-Impressionism, the dazzle of Saint Tropez and flamboyant portrayals of Venice, Rotterdam and Constantinople to the late watercolours of the Ports of France series. 


Paul Signac
Juan-les-Pins. Soir, 1914
huile sur toile, 73 x 92 cm
collection privée
© photo Maurice Aeschimann

The collection is also exceptional for the diversity of techniques on display, juxtaposing the Impressionist ardour of the studies from nature with the limpid polychromy of the pointillist paintings and the bold Japonism of the watercolours with the freedom of the plein air works. 



Paul Signac
Sallanches, vers 1920
aquarelle, 26,5 x 41,2 cm
collection privée
© photo Maurice Aeschimann


Meanwhile the great preparatory washes with drawings in Indian ink reveal the secrets of serene compositions that were long pondered in the studio. So as well as an introduction to Signac’s chromatic harmonies, this exhibition will also be a true voyage of discovery. Visitors will be invited on a tour arranged by chronology and theme, enabling them to discover the many facets of a man of conviction, fascinated by the sea and boats, and to experience the chromatic harmonies of this painter whose first love was colour.




Paul Signac (1863-1935)
Croix-de-Vie, 1929
Aquarelle- 20,3 x 28,6 cm
Collection particulière
Photo : Maurice Aeschimann

An extensive documentary section will provide an introduction to the colour theories of the neo-Impressionists, including a room showing paintings by the movement’s main exponents (Pissarro, Luce, Van Rysselberghe, Cross). 

The exhibition is curated by Marina Ferretti, Scientific Director at the Musée des impressionnismes, Giverny and co-custodian of the Signac Archives. It is being mounted in partnership with the Museo d’Arte della Svizzera italiana,Lugano, where it will be on view from September 2016 to January 2017.




The exhibition is accompanied by a richly illustrated catalogue, co-published with Skira.


More images here 
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Giorgio de Chirico “The Enigma of the World”

March 18, 2016, 8:20 am
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24 February – 1 May 2016

Pera Museum is presenting an exhibition of Giorgio de Chirico, The Enigma of the World.  Realized in collaboration with the Fondazione Giorgio e Isa de Chirico in Rome, the exhibition includes a broad selection of 70 paintings, 2 lithography series, and 10 sculptures of the iconic Italian painter Giorgio de Chirico.

The inventor of the Metaphysical Art and one of the most extraordinary artists of the 20th century, Giorgio de Chirico’s father Evaristo de Chirico was born in Istanbul. This exhibition represents an ideal return and an occasion of genuine discovery. Birthplace of the artist’s father, Evaristo, a railway engineer and 19th century gentleman, Istanbul was the family’s city of residence while the grandfather, Giorgio Maria (whom the artist would be named after), was working as a dragoman, or diplomatic interpreter, for the Sublime Porte. The family, of Italian origins, with strong ties to their native land, was actively involved outside Italy particularly in Turkey and Greece.

During the years he studied at the Munich Academy of Fine arts between 1906 and 1909, de Chirico was influenced by the works of philosophers such as Nietzsche, Schopenhauer, and Otto Weininger, as well as the art of Arnold Böcklin and Max Klinger. His invention of Metaphysical Art in Florence in 1910, his theoretical writings and the corpus of his early period metaphysical paintings would prove to be a strong source of inspiration for the Surrealists. The artist was both a versatile and colourful individual; focusing on the subjects of memory, dreams, and the enigma of the world, he distinguished himself from other great artists of his period. He was a trailblazing, multitalented artist that had a profound impact on masters like Magritte and Dali.

The elegant exhibition design retraces almost 70 years of de Chirico’s artistic career from the dawn of Metaphysical Art to the iconographic themes of the 1920s and 1930s, to research into classical painting technique, up to the splendid ultimate period of Neo-metaphysical Art of 1968-1976 in which a renewed painterly, conceptual and philosophical vision comes to light in works in tune with contemporary Pop Art. The exhibition brings together a striking collection of extraordinary inventions and recurrent innovations, which, seen as a whole, bring to mind Nietzsche’s idea of ‘Eternal Return’.

The exhibition, which also includes one of the artist’s earliest paintings (1909), encompasses a large selection of works extending particularly from the 1920s until his final period of the mid-1970s. As Fabio Benzi, the curator of the exhibition mentions in his article in the exhibition catalogue, “Among the foremost artists of the 20th century avant-garde, in 1910, de Chirico fine-tuned a vision, ‘Metaphysical Art’, which together with those of his contemporaries Picasso, Matisse, Kandinsky, Balla and Malevic, constitute the great pillars of contemporary art. In particular de Chirico, whilst avoiding formalist and abstractive research such as the chromatic and expressionistic exaggerations of his great colleagues, projected his own quest into the theretofore unexplored territories of the dream, the mystery of the world and of memory, thus tracing a high road that would lead to Surrealism and to all artistic expression that refer to the unconscious.”









‘Mercury’s Meditation’, c 1973, oil on canvas, 65 x 50 cm, Fondazione Giorgio e Isa de Chirico Collection
 
Giorgio de Chirico is one of the most extraordinary figures of the 20thcentury, a period marked by consecutive avant-garde movements. During this rich period that brought to fore different forms and modes of expression rather than themes in painting, de Chirico, as distinct from his contemporaries, created a unique metaphysical universe in which he developed a variegated complexity of subjects. His Metaphysical Art was seminal and eye opening both for his contemporaries and for the subsequent generations.



‘The Meditator’, 1971, oil on canvas, 90 x 70 cm, Fondazione Giorgio e Isa de Chirico Collection

Throughout his 70 year-long career, de Chirico moved from hermetic representations and images evoking the pathos of antiquity, to works akin to great classical painting, to paintings of a luminous naturalism and other, brilliantly ironic and playful images. At 80 years of age, during his final neometaphysical period, he revisited his most iconic subjects such as the Italian Piazza, the Mannequin and the Metaphysical Interior, newly interpreting these with bright colours and serene atmospheres compared to the severe and disquietening ones of his early years. The exhibition at Pera Museum sheds light upon the artist’s unique, free and endless search and the artistic adventure he undertook and which would reshape the course of 20thcentury art.


Giorgio de Chirico: The Enigma of the World is on view at Pera Museum until 1 May 2016. 





The exhibition is accompanied by a fully illustrated catalogue published by Pera Museum.


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Major Gifts of American Art - Philadelphia Museum of Art - Twombly, Guston, Hopper, Hartley, Pippin, Eakins

March 18, 2016, 8:35 am
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The Philadelphia Museum of Art has announced that its collection has been enriched by the bequest of more than fifty works of American art from the late philanthropist and art collector Daniel W. Dietrich II. Additionally, the Museum has received an endowment gift of $10 million from Mr. Dietrich’s charitable funds that will support a broad range of initiatives in the field of contemporary art.

The collection is rich in works by contemporary artists such as Cy Twombly, Philip Guston, Agnes Martin, Eva Hesse, and Paul Thek, and by other major twentieth-century American artists, among them Edward Hopper, Charles Demuth, Marsden Hartley, and Horace Pippin. Mr. Dietrich was also a lifelong admirer of the nineteenth-century Philadelphia realist Thomas Eakins and bequeathed to the Museum a major portrait by Eakins as well as photographs, drawings, and a large cache of Eakins-related archival materials.

The works in the Dietrich bequest wonderfully complement the Museum’s holdings of nineteenth-century, modern, and contemporary art. It includes two important works by Cy Twombly:




Untitled (Roma) (1961),



and Untitled (Bolsena) (1969),

from a series of fourteen large-scale canvases that the artist painted during a stay at Lake Bolsena, located north of Rome. Both paintings exemplify the artist’s distinctive style of mark-making and the profound lyricism that characterized his work. They represent a welcome addition to a collection of Twombly’s work that already includes his celebrated series, Fifty Days at Iliam (1978), which has been a cornerstone of the Museum’s collection since it was acquired in 1989.

The donation also includes two monumental paintings by Philip Guston:



 Night (1977),



and Kettle (1978).

Each is emblematic of Guston’s provocative—and much admired—return to figuration following several decades of work as a painter of abstractions. These are the first paintings from this important period in the artist’s career to enter the Museum’s collection, and as such now enable the Museum to represent fully Guston’s remarkable achievements.

Dietrich was also a good friend of the artist Agnes Martin, who lived for many years in New Mexico. Martin made use of simple grid-like compositions to create the “ego-less” structure of paintings in which she sought to express a timeless sense of beauty. This donation includes four exceptional paintings by Martin, among them Leaf, Hill, and Play II, all from 1965, which was a critical moment in the artist’s career.

The bequest also includes fifteen works by Paul Thek, which makes the Philadelphia Museum of Art a major repository of the artist’s work and comes at a time when his remarkable accomplishments in many different media are the subject of renewed appreciation.



Edward Hopper’s Road and Trees (1962), the gift of which is accompanied by a closely related charcoal drawing, conveys a wistful, glancing view, perhaps from a car window, of a seemingly prosaic subject: a road that runs parallel to a copse of trees, their boughs silhouetted against sky, some gently outlined in sunlight. As with all of Hopper’s greatest paintings, the subject is simple, but its treatment is nuanced and deeply compelling. As the first painting by the artist to enter the collection, it complements the Museum’s extensive holdings of graphic works by one of the greatest American artists of the twentieth century.



Marsden Hartley’s The Rope and the Wishbone (1936), in which a braided loop of twine and a chicken bone occupy a shallow space of muted tones, may relate to the artist’s visits to Nova Scotia in 1935 and 1936. This painting adds significant depth to the Museum’s holdings of work from this important period in Hartley’s career.

The Dietrich bequest includes three important works by the self-taught African American painter Horace Pippin, including  



The Getaway(1939), a stark winter scene in which a fox makes off with a bird in its mouth;  



Study for Barracks (1945), which conveys the everyday activity of African American combat soldiers in a dugout during World War II;



and The Park Bench (1946), which is often interpreted as a psychological portrait of the artist and was painted in the last year of his life.

These paintings join three others in the Museum’s collection, which now comprises one of the richest holdings of Pippin’s work to be found anywhere in this country.

The work of Thomas Eakins, an artist for whom the donor had a special affinity, is represented in the bequest by



a handsome three-quarter-length 1903 portrait of Eakins’s friend William B. Kurtz, who is depicted informally in a sports jacket that speaks to the sitter’s passion for cricket and cycling.

The gift also includes many oil sketches, drawings, and photographs, as well as archival materials that add greater depth and breadth to the Museum’s renowned Eakins collection, which is the most comprehensive in the world. The oil sketches bequeathed by Dietrich relate closely to such major works in the Museum’s collection as




The Old Fashioned Dress,

and there is a rare life study of a nude woman’s back.

 Among the photographs by Eakins and his circle are several portraits of Walt Whitman that served as studies for an oil painting of the poet, and the frontispiece of the complete edition of Leaves of Grass. Sketches of the artist by his wife, Susan MacDowell Eakins, are included, as well as Eakins’s own palette and brushes and a tilt-top table that is most likely the one depicted in many of his paintings, such as the Museum’s



Professionals at Rehearsal.

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Van Dyck: The Anatomy of Portraiture: The Frick Collection

March 19, 2016, 7:18 am
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March 2 through June 5, 2016

Anthony van Dyck (1599–1641), Mary, Lady van Dyck, née Ruthven, ca. 1640, oil on canvas, Museo Nacional del Prado VanDyck,The Princesses Elizabeth and Anne, Daughters of Charles I, 1637, oil on canvas, Scottish National Portrait Gallery, Edinburgh; purchased with the aid of the Heritage Lottery Fund, the Scottish Office, and the Art Fund 


Anthony van Dyck(1599–1641), one of the most celebrated and influential portraitists of all time, enjoyed an international career that took him from his native Flanders to Italy, France, and, ultimately, the court of Charles I in England. Van Dyck’s elegant manner and convincing evocation of a sitter’s inner life—whether real or imagined—made him the favorite portraitist of many of the most powerful and interesting figures of the seventeenth century. His sitters—poets, duchesses, painters, and generals—represent the social and artisticelite of his age, and his achievement in portraiture marked a turning point in the history of European painting. 

Van Dyck: The Anatomy of Portraiture, on view only at New York’s Frick Collection, looks comprehensively at the artist’s activity and process as a portraitist. It is also the first major exhibition devoted to his work to be held in the United States in more than twenty years. Through approximately one hundred works, the show explores the versatility and inventiveness of a portrait specialist, the stylistic development of a draftsman and painter, and the efficiency and genius of an artist in action. 

Organized chronologically around the different geographic chapters of Van Dyck’s career, the exhibition documents the artist’s development from an ambitious young apprentice into the most sought-after portrait painter in Europe.The show also includes a small selection of comparative works by Van Dyck’s contemporaries, including Rubens, Jordaens, and Lely, and a special installation of the Iconographie, Van Dyck’s celebrated series of portrait prints.

Lenders to the exhibition include the Palazzo Pitti in Florence, the Kunsthistorisches Museum in Vienna, the British Museum and National Gallery in London, the Prado Museum in Madrid, and major private collectors such as the Duke of Devonshire and the Duke of Buccleuchand Queensberry.

ABOUT VAN DYCK 

Born in 1599 to a family of patrician merchants, Anthony van Dyck endured a childhood marred by his mother’s early death and his father’s financial instability. In 1610, he enrolled as an apprentice to the painter Hendrick van Balen, although Peter Paul Rubens, Antwerp’s most celebrated artist, would exert a far greater influence on his development. By his late teens, the young Van Dyck was already assisting Rubens on large-scale commissions. A brief sojourn in England followed by a stay of roughly six years in Italy cemented his emergence as a mature painter in his own right, familiar with the great masters of the Italian Renaissance and the most sophisticated courts of Europe. One of the most important loans in the exhibition was painted during this period: 



Van Dyck’s 1623 portrait of Cardinal Guido Bentivoglio, from the Galleria Palatina at the Palazzo Pitti in Florence. In the Baroque period,Van Dyck's depiction of Bentivoglio was much emulated and became the benchmark for any portrait of a prince of the Church. Its exclusive trip to the Frick marks only the second time in the painting's history that it has left Italy. 

Van Dyck was appointed principal painter to Charles I of England. The portraits he produced over the following decade, before his premature death in 1641, are among his most celebratedand feature heavily in the exhibition. Included in the exhibition is 



a horizontal portrait of Charles I and his queen Henrietta Maria, now in the collection of Archiepiscopal Castle and Gardens, Kroměříž, The Czech Republic.This remarkable canvas has never before traveled to the United States.

 

Coming from the National Gallery of Art, Washington D.C., is Van Dyck’s portrait Queen Henrietta Maria with Jeffrey Hudson. 



A more intimate work of Princesses Elizabeth and Anne comes to New York from the Scottish National Portrait Gallery. 

In addition to showcasing notable works from European collections, Van Dyck: The Anatomy of Portraiture will also shine a spotlight on important paintings by Van Dyck from American private and public collections, many of which have not been included in previous exhibitions on the artist. These paintings are a legacy of the longtime fascination that Van Dyck has exerted on American collectors, including Henry Clay Frick, who acquired no fewer than eight paintings by the artist. Among these is 



the portrait of Frans Snyders, a fellow painter and close artistic collaborator, purchased in the summer of 1909 by Frick, 



who also acquired that same year the pendant portrait of Snyders’s wife, Margareta de Vos. 

Painted about 1620 when the artist was roughly twenty years old, the two portraits reveal the prodigy’s startling talent, expressed in likenesses that combine supreme elegance with a subtle element of melancholy. 

Other Frick-owned works included in the exhibition will be the full-length canvas 

 

Lady Anne Carey, Later Viscountess Claneboye and Countess of Clanbrassil, 



and the recently conserved Portrait of a Genoese Noblewoman.

APPROACH TO PREPARATION OF PORTRAITS A MAJOR THEME

Van Dyck’s singularity is most apparent in his approach to preparing a portrait, and initial sketches and unfinished paintings compose one of the major themes of the show. Portrait drawings by his contemporaries, including Peter Lely and Jacob Jordaens, will highlight the distinct way he created his celebrated portraits. Whereas many artists made detailed studies of a sitter’s face before beginning work on a painting, Van Dyck preferred rough sketches that mapped a sitter’s pose but left many details unresolved. He would then usually paint the sitter directly from life, studying his or her face without an intermediary drawing. 

This approach is apparent especially in unfinished works, such as the



Portrait of a Woman from the Speed Museum in Louisville. 

Here, the haunting depiction of the unknown woman’s face contrasts with passages intended to be completed by studio assistants. 

The Frick’s exhibition will reunite preparatory works and finished paintings, in some cases for the first time since they left Van Dyck’s studio several hundred years ago. 



A preparatory drawing of the English court musician and painter Nicholas Lanier from the Scottish National Gallery, for example, will be displayed alongside 



the related portrait, on loan from Vienna’s Kunsthistorisches Museum. 

In the drawing, Van Dyck worked with black and white chalk on blue paper, swiftly laying out the fall of fabric of Lanier’s cloak, the play of his curls, his elegant hands, and his almost supercilious expression. Nonetheless, the artist made a number of changes in the final composition: instead of holding out a glove in his right hand, Lanier’s arm is akimbo, the hand tucked invisibly at his side. Less obviously, Van Dyck removed a lock of hair to leave Lanier’s temple exposed. These alterations indicate how Van Dyck continued to think through his composition as he transitioned from preparatory drawing to canvas. Remarking on the artist’s meticulous process, Lanier told the painter Peter Lely that he “sat seven entire days” for his portrait, but “was not permitted so much as once to see it till [Van Dyck] had perfectly finished the face to his own satisfaction.” Such anecdotes combine with the physical evidence of Van Dyck’s works to allow for the exhibition’s reconstruction of the artist’s working method.

PAN-EUROPEAN DISTRIBUTION OF HIS WORK IN PRINT

Van Dyck made astute use of reproductive prints to ensure that his portraits had a pan-European distribution. This is particularly apparent in his so-called Iconographie series of printed portraits, depicting a range of sitters who included fellow Flemish artists,learned scholars, statesmen, and aristocratic ladies. The Iconographie will receive its own special installation at the Frick, encompassing prints, drawings, oil sketches, and one of the earliest bound volumes of Van Dyck’s portrait prints, on loan from the Rijksmuseum.

As well as the work of professional engravers, the Iconographie features some of Van Dyck’s autograph etchings, which are among the greatest prints ever made. 

 

These include Van Dyck’s etching after his portrait of Frans Snyders. In his paintings of Snyders and his wife, the young Van Dyck depicted the pair amidst various trappings of prosperity—elegant clothing, furniture, and a distant view of parkland. In his print, made more than a decade later, Van Dyck stripped Snyders’s portrait down to just head and shoulders. Translated from oil on canvas into a new medium, the etching reveals the variety of Van Dyck’s graphic vocabulary. Stippling maps the contours of Snyders’s brow, cheekbones, and forehead, yielding to loose crosshatching in areas of greater shadow. Calligraphic lines, meanwhile, convey Snyders’s nonchalantly arranged hair and upturned mustache. Such a minimal etching was intended to appeal to the most sophisticated collectors, but Van Dyck also collaborated with highly skilled professional engravers to create more traditional prints for wider distribution. To assist these engravers, Van Dyck prepared both drawings and exquisite grisailles, or gray-scale oil sketches. In the exhibition, four of these grisailles, one of which is shown at right, will demonstrate Van Dyck’s unusual mastery of this refined medium.
 

BEYOND SOCIETY: FAMILY AND SELF-PORTRAITS 

Van Dyck used portraiture to represent the very pinnacle of contemporary society, but it also provided him with a vehicle to explore intimate relationships and his own identity. The exhibition will include portraits of 



Van Dyck’s wife, Mary 



as well as the woman believed to have been his mistress, the courtesan Margaret Lemon. 

Lemon appears in three-quarter profile, delicately touching the fabric at her shoulder in a gesture of refinement that would fascinate subsequent generations of artists. The painting, long considered lost but now in a New York private collection, inspired a spate of imitations during the seventeenth century. 

Van Dyck was an avid self-portraitist throughout his career, and four of his self-portraits will be included in the exhibition. 



In the earliest of these, executed about 1613–15, an adolescent Van Dyck turns his head to study his own likeness. His piercing stare and the boldness of his brushwork presaged a career that would prove seminal for the history of European painting.

PUBLICATION



A landmark volume accompanies the exhibition, providing a comprehensive survey of the portrait drawings, paintings, and prints of Anthony van Dyck(1599–1641), one of the most celebrated portraitists of all time. Written by Stijn Alsteens and Adam Eaker with contributions by An Van Camp, Ashmolean Museum; Xavier F. Salomon, The Frick Collection; and Bert Watteeuw, Rubenianum, Antwerp; the book showcases the full range of Van Dyck’s fascinating international career and makes a compelling case for the distinctiveness and importance of his work. Published by Yale University Press in association with The Frick Collection.

Images from the exhibition with full credits:


1. Anthony van Dyck (1599–1641) Queen Henrietta Maria with Jeffery Hudson, 1633 Oil on canvas National Gallery of Art, Washington; Samuel H. Kress Collection


2. Anthony van Dyck (1599–1641) The Princesses Elizabeth and Anne, Daughters of Charles I, 1637 Oil on canvas Scottish National Portrait Gallery, Edinburgh; purchased with the aid of the Heritage Lottery Fund, the Scottish Office and the Art Fund 1996



3. Anthony van Dyck (1599–1641) Mary, Lady van Dyck, née Ruthven, ca. 1640 Oil on canvas Museo Nacional del Prado, Madrid


4. Anthony van Dyck (1599–1641) Charles I and Henrietta Maria Holding a Laurel Wreath, 1632 Oil on canvas Arcibiskupský zámek a zahrady v Kroměříži, Kroměříž



5. Anthony van Dyck (1599–1641) Prince William of Orange and Mary, Princess Royal, 1641 Oil on canvas Rijksmuseum, Amsterdam


6. Anthony van Dyck (1599–1641) Pomponne II de Bellièvre, ca. 1637–40 Oil on canvas Seattle Art Museum


7. Anthony van Dyck (1599–1641) Margaret Lemon, ca. 1638 Oil on canvas Private collection, New York


8. Anthony van Dyck (1599–1641) Self-Portrait, ca. 1620–21 Oil on canvas The Metropolitan Museum of Art, New York; The Jules Bache Collection, 1949




9. Anthony van Dyck (1599–1641) Frans Snyders, ca. 1620 Oil on canvas The Frick Collection; Henry Clay Frick Bequest Photo: Michael Bodycomb


10. Anthony van Dyck (1599–1641) Margareta de Vos, ca. 1620 Oil on canvas The Frick Collection; Henry Clay Frick Bequest Photo: Michael Bodycomb


11. Anthony van Dyck (1599–1641) Lady Anne Carey, Later Viscountess Claneboye and Countess of Clanbrassil, ca. 1636 Oil on canvas The Frick Collection; Henry Clay Frick Bequest Photo: Michael Bodycomb


12. Anthony van Dyck (1599–1641) James Stanley, Lord Strange, Later Seventh Earl of Derby, with His Wife, Charlotte, and Their Daughter, ca. 1636 Oil on canvas The Frick Collection; Henry Clay Frick Bequest Photo: Michael Bodycomb


13. Anthony van Dyck (1599–1641) John Suckling, ca. 1638 Oil on canvas The Frick Collection; Henry Clay Frick Bequest Photo: Michael Bodycomb


14. Anthony van Dyck (1599–1641) Genoese Noblewoman, ca. 1625–27 Oil on canvas The Frick Collection; Henry Clay Frick Bequest Photo: Michael Bodycomb


15. Anthony van Dyck (1599–1641) Portrait Study of a Man, Facing Right, ca. 1634 Oil on canvas, with paper extensions along the four sides Private collection


16. Anthony van Dyck (1599–1641) Cardinal Guido Bentivoglio, 1623 Oil on canvas Galleria Palatina, Palazzo Pitti, Florence


17. Anthony van Dyck (1599–1641) Nicolaas Rockox, 1636 Oil on panel Collection Howard and Nancy Marks



18. Anthony van Dyck (1599–1641) Self-Portrait, ca. 1613–15 Oil on panel Gemäldegalerie der Akademie der bildenden Künste, Vienna



19. Anthony van Dyck (1599–1641) Nicholas Lanier, ca. 1628 Oil on canvas Kunsthistorisches Museum, Vienna



20. Anthony (1599–1641) Van Dyck, Portrait of a Woman, ca. 1640 Oil on canvas Speed Art Museum, Louisville; Museum Purchase, Preston Pope Satterwhite Fund



21. Anthony van Dyck (1599–1641) Adriaen Brouwer, ca. 1634 
Oil on panel The Duke of Buccleuch and Queensberry, KBE, Boughton House, Northamptonshire 



22. Anthony van Dyck (1599–1641)
Frans Snyders, ca. 1627–35
Etching (first state)
Fogg Museum, Harvard Art Museums, Cambridge; Gift of Walter C. Klein, Class of 1939
 




23. Anthony van Dyck (1599–1641)
Portrait Study of Nicholas Lanier, ca. 1628
Black chalk, heightened with white chalk, on blue paper Scottish National Gallery, Edinburgh; Lady Murray of Henderland gift 1860 as a memorial of her husband, Lord Murray of Henderland


24. Anthony van Dyck (1599–1641)
Portrait Study of a Man on Horseback with His Groom, 1620–21 (or 1628–32?)
Pen and brown inkThe Metropolitan Museum of Art, New York; Gift of Harold K. Hochschild


25.Anthony van Dyck (1599–1641)
François Langlois Playing a Musette, 1641(?)
Black chalk, heightened with white chalk, on buff paper, framing line in pen and brown ink; laid downFrits Lugt Collection, Fondation Custodia, Paris


26.Anthony van Dyck (1599–1641)
Hendrick van Steenwijck the Younger, ca. 1632−38 
Black chalk, gray wash; incised for transfer Städel Museum, Frankfurt am Main


27.Anthony van Dyck (1599–1641)
Inigo Jones, 1632–36 
Black chalk, pen and brown ink, squared for transfer in black chalk; laid down The Duke of Devonshire and the Trustees of the Chatsworth Settlement, Chatsworth, Derbyshire8



28.Anthony van Dyck (1599–1641)
Self-Portrait, ca. 1627–35 
Etching (first state)The Fitzwilliam Museum, Cambridge


29.Anthony van Dyck (1599–1641)
Lucas Vorsterman, ca. 1631 (?)
Etching (first state)The Fitzwilliam Museum, Cambridge


30.Anthony van Dyck (1599–1641)
Queen Henrietta Maria with Jeffery Hudson, 163 3
Black chalk, red and yellow (fabricated?) chalks, heightened with white chalk, on blue paper; laid down École Nationale Supérieure des Beaux-Arts,
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Replica Frames For Great Art of The Americas

March 23, 2016, 7:58 am
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Eli Wilner & Company is a resource for antique American and European frames. As a specialist in period framing for nearly 40 years, Eli Wilner has completed over 15,000 framing projects for collectors and museums. The gallery is held in high regard by both institutions and private collectors for our expertise, extensive inventory, and superior quality of craftsmanship. This regard and confidence is evidenced by customers such as The White House, The Metropolitan Museum of Art, the Detroit Institute of Arts, Yale University Art Gallery and many private individuals.

Replica frame prices typically range from $3,500 to $125,000 except for unusual requests. Replica frames can be even more expensive than period frames based on the labor involved in creating them. As an example, to replicate the frame for Washington Crossing the Delaware by Emanuel Leutze would cost $2.5 million.

Washington Crossing the Delaware
by Emmanuel Leutze at The Metropolitan Museum of Art



Eli Wilner & Company's most-known project is the hand-carved and gilded replica of the lost original frame for  



Washington Crossing the Delaware by Emanuel Leutze. 


This frame is the focal point of the renovated American Wing at The Metropolitan Museum of Art in New York City. The frame's opening size is over 12 x 21 feet, and is surmounted by an elaborate construction twelve feet across displaying an eagle, flags, pikes, a banner and other regalia.


Eli Wilner re-creates a lost original frame for the New-York Historical Society


Eli Wilner & Company had the privilege of becoming part of the history of the New-York Historical Society's monumental painting,  




Return of the 69th Regiment, by Louis Lang.

The painting depicts the "Irish Brigade" of the New York State Militia returning to the city during the Civil War on July 27th, 1861 after a 3 month tour of duty in Washington, DC. Ranks of soldiers fill the midsection of the painting having just disembarked from the steamer John Potter, which is seen in the distance docked at Pier 1 on Bowling Green, with a view of the bustling New York harbor beyond.

Along with the decision to have the painting expertly conserved, the New-York Historical Society examined in detail the only documentation of the original frame: a partial view of the painting captured in a stereoscopic image of the Great Central Fair in Philadelphia in 1864. Though not a detailed image, it was clear that the frame was a wide molding of dark wood with a gilded sight edge. The New-York Historical Society wanted to re-create the original frame as closely as possible, and so they turned to Eli Wilner & Company.



Working together the NYHS curators and Wilner frame historians deduced that the original frame had an angled mahogany panel, with a reeded top rail and a strap motif at the corners. The width of the frame was determined to be a massive 14 ½ inches.

In preparing to handle such a large frame, the NYHS requested that the frame be created in such a way that it could be separated at the corners and re-assembled repeatedly by museum technicians. Wilner's craftspeople installed specially-designed support blocks and removable bolts at each corner to enable the miters to be joined securely. The corner elements were carved separately in mahogany so that when installed they cover the seam at the corner. Lang’s painting now hangs in the Eli Wilner replica of the original mahogany frame. This video, from PBS's Treasures of New York series, details the project: https://www.youtube.com/watch?v=tQE6jAbZuDA

The White House Selected Frames

One the company's most important projects was the framing of twenty-eight paintings for The White House, including artworks by Martin Johnson Heade,  William Merritt Chase, John Singer Sargent, Severin Roesen and


The Avenue in the Rain by Childe Hassam



that hangs in the Oval Office.

More White House art framed by Eli Wilner & Company:


Albert Bierstadt

Storm Clouds


Alfred Bricher

Castle Rock, Nahant, Massachusetts



William Merritt Chase

Shinnecock Hill, Long Island




Frederic Church

Rutland Falls, Vermont




Jasper Cropsey

Autumn Landscape on the Hudson River




Thomas Eakins

Ruth

 



Martin Johnson Heade


Florida Sunrise






Martin Johnson Heade

Sailing Off the Coast

 

Samuel F.B. Morse

James Monroe
 
 

Severin Roesen

Still Life with Fruit, Goblet, and Canary

 



John Singer Sargent

Mosquito Net



The Metropolitan Museum of Art Selected Frames

 


Mary Cassatt

Lydia Crocheting


Thomas Eakins

Arcadia






Thomas Eakins

The Writing Master






Theodore Robinson

The Old Mill




John Singer Sargent

Madame X

Sotheby's Selected Frames

 

Frida Kahlo

Roots
12 x 19 ½ inches
Circa 1943
Sold at Sotheby’s on May 24th, 2006 for $5,616,000 


Norman Rockwell

The Gossips
1948
Sotheby's - American Art
December 4th, 2013




Norman Rockwell

Saying Grace
Sotheby's - American Art
December 4th, 2013



Christie's Selected Frames

 

 

Mary Cassatt

Children Playing with a Dog
39 ½” x 29 inches
Circa 1907
Sold at Christie’s on May 24th, 2007 for $6,200,000



Childe Hassam

Fifth Avenue, Evening
21 ¾ x 15 ½ inches
Circa 1890-93
Sold at Christie’s on December 4th, 2008 for $902,500 



Andy Warhol

Marilyn Monroe
20 x 16 inches
Circa 1962
Sold at Christie’s on May 16th, 2007 for $28,040,000






Norman Rockwell

The Rookie
1957
Christie's - American Art,
May 22nd, 2014




John Singer Sargent

Girl Fishing in San Vigilio
1913
Christie's - American Art,
May 22nd, 2014




Edward Hopper

Eastwind over Weehawken
1934
Christie's - American Art,
December 5th, 2013






Sanford Robinson Gifford

Sunday Morning in the Camp of the Seventh Regiment near Washington
1861
Christie's - American Art,
December 5th, 2013
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Sotheby’s Evening Auction of Contempora ry Art in New York on 11 May 2016- Bacon, Twombly

March 24, 2016, 10:16 am
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A rare Francis Bacon self-portrait is set to come to auction for the first time in May, having remained in the same private collection since soon after it was painted over forty-five years ago. Widely acknowledged as the finest self-portrayal Bacon ever produced, 



Two Studies for a Self-Portrait (1970) will lead Sotheby’s Evening Auction of Contemporary Art in New York on 11 May 2016, with an estimate of US$22-30 million. 

While Bacon is renowned for capturing the tortured psychological depths of human existence in his portraits, the overwhelming positivity of Two Studies for a Self-Portrait renders this work almost unique in the artist’s oeuvre . Here we see an elated Francis Bacon on the cusp of his career-defining retrospective at the Grand Palais in 1971 (Bacon was only the second living artist, after Picasso, to be afforded this honour), and in the throes of his relationship with George Dyer, whose suicide a year later was to haunt Bacon (and shape his art) for decades to come. 

Little known to the public eye, Two Studies for a Self-Portrait has been exhibited only twice before - first at the acclaimed 1971 Grand Palais retrospective and then most recently at Marlborough Fine Art Small Portrait Studies exhibition in London in 1993. 

However, perhaps the work’s iconic status lies in the fact it was chosen to adorn the cover of Milan Kundera and France Borel’s definitive book 




Francis Bacon: Portraits and Self-Portraits,confirming its position at the ab solute zenith of Francis Bacon’s most significant and enduring body of work. 

“Two Studies for a Self-Portrait goes straight in at number one of all the paintings I’ve handled in my career. Discovering a work such as this is like finding gold du st To my mind, the painting is worthy of a place alongside the very finest self-portraits of Rembrandt, Van Gogh and Picasso. It’s certainly among the greatest self-portraits ever offered at auction.” - Oliver Barker, Senior International Specialist in Contemporary Art

 “...he was never more brilliant, more incisive or more ferocious when it came to depicting himself. In this he helped revive a genre, and Bacon’s self-portraits can now be seen as among the most pictorially inventive and psychologically re vealing portraits of the Twenti eth Century” - Michael Peppiatt in: Exhibition Catalogue, Rome, Galleria Borghese, Caravaggio Bacon , 2009-10

A masterpiece of self-analysis, Bacon’s dramatic brushstrokes, Impressionistic palette, use of corduroy fabric, and exigent marks recount the story of this work's creation as the artist brushed, smeared and lifted the paint in his drive to define his likeness. Photos of the artist’s Reece Mews studio in London show radiant pink, red, blue, and white hues smea red across his studio door, echoing those used in Two Studies for a Self Portrait as the artist scraped clean his brush as he reworked, and layered this canvas. Bacon created only two other self-portraits in this dual format. One of them, 



Two Studies for a Self- Portrait (1977) sold at Sotheby’s in February 2015 for £14.7m ($22.4m). 

2016 is set to be a red-letter year for Francis Bacon with exhibitions of his work planned at the Grimaldi Forum in Monaco (sponsored by Sotheby’s) , at Tate Liverpool, and at the Getty Museum in Los Angeles. 




The most significant publication on the artist for 30 years, Francis Bacon: Catalogue Raisonné , edited by Martin Harrison, is set to be released in the next few months.

Francis Bacon: Catalogue Raisonné is a landmark publishing event that presents the entire oeuvre of Bacon’s paintings for the first time and includes over 100 previously unpublished works. The impeccably produced five-volume, slipcased publication, containing each of Bacon’s 584 paintings, has been edited by Martin Harrison, FSA, the pre-eminent expert on Bacon’s work, alongside research assistant Dr Rebecca Daniels. An ambitious and painstaking project that has been ten years in the making, this seminal visual document eclipses in scope any previous publication on the artist and will have a profound effect on the perception of his work.

Containing around 800 illustrations across 1,538 pages within five cloth-bound hardcover volumes, the three volumes that make up the study of Bacon’s entire painting oeuvre are bookended by two further volumes: the former including an introduction and a chronology, and the latter a catalogue of Bacon’s sketches, an index, and an illustrated bibliography compiled by Krzysztof Cieszkowski. Printed on 170 gsm GardaMatt Ultra stock in Bergamo, Italy at Castelli Bolis, Francis Bacon: Catalogue Raisonné are boxed within a cloth- bound slipcase, and supplied within a bespoke protective shipping carton.

In addition to the 584 paintings, the catalogue will contain illuminating supporting material. This includes sketches by Bacon, photographs of early states of paintings, images of Bacon’s furniture, hand-written notes by the artist, photographs of Bacon, his family and circle, and fascinating x-ray and microscope photography of his paintings.


 On 11 May 2016 Sotheby’s New York will offer Untitled (New York City) by Cy Twombly in the Contemporary Art Evening Sale. The work is the only painting from the famed Blackboard series executed with blue loops on grey ground and boasts a remarkable history. It was acquired by the current owner from the artist’ s studio immediately after it 2 was executed in 1968, and has not been seen in public since. Untitled (New York City) is expected to fetch in excess of $40 million.



 Untitled (New York City) is a one-off example of the artist’s most hallowed series of Blackboard paintings through which he forged a new visual language in a period of great convergence in postwar art. However, unlike every other Blackboard painting that bears white loops, in Untitled (New York City) Twombly used a blue, rather than white, wax crayon to create the endless ove rlapping loops on the wet paint. At over 28 square feet, the work belongs to the elite group of large-scale works by Twombly that can be found in the world's great museums including: The Museum of Contemporary Art, Los Angeles; The Menil Collection, Houston; and The Solomon R. Guggenheim Museum, New York. 

The appearance of Untitled (New York City) at auction comes just six months after Sotheby’s set a record for the artist with 



Untitled [New YorkCity], 1968from the collection of Los Angeles philanthropist Audrey Irmas. That work was the second Twombly Blackboard to exceed $65 million in the previous 18 months. 



The sale will also include a major late Twombly: Untitled (Bacchus 1st Version V) . The appearance of the 2004 work in May marks the first time an example from the series, that is widely recognized as defining the artist’s late work, has appeared at auction. The painting is expected to fetch in excess of $20 million and will also be on view in Los Angeles alongside highlights by Franci s Bacon and Andy Warhol.
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Julian Schnabel - Infinity on Trial

March 28, 2016, 7:17 am
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Blum & Poe, Los Angeles 
March 18 - April 30, 2016

http://www.blumandpoe.com/exhibitions/julian-schnabel#images

Blum & Poe is pleased to present forty years of painting by artist Julian Schnabel. This exhibition marks Schnabel’s first solo presentation with Blum & Poe.

After a hiatus from the West Coast art scene for nearly a decade, this first exhibition at Blum & Poe takes the form of a concise overview of an exhilaratingly divergent painting practice—making a forceful case for the historical importance of Schnabel’s oeuvre as well as his ever-growing relevance to a new generation of artists.

Twelve important paintings made between 1975 and 2015 will be displayed in the gallery’s ground floor. Together these paintings make manifest the scope and depth of Schnabel’s work—his groundbreaking material experimentation, his exceptional formal range and simultaneous mastery of both figurative and abstract idioms.  Not only will this exhibition serve as an introduction to this artist’s legendary work for younger viewers, it positions Schnabel as one of the great auteurs of the postwar period. 

Transcending the question of recognizable style, Schnabel’s practice, while wildly heterogeneous, is connected together by his unmistakable personal vision—his distinctive aesthetic touch, the audacity and freedom of his varied gestures, the insistence on the physicality of his surfaces, and the unapologetic emotional inflection in all of his works. As Schnabel wrote in an attempt to locate his unique approach to making work, “feeling cannot be separated from intellect…what is expressed is a feeling of love for something that has already existed, a response to something already felt.”

Giving evidence to Schnabel’s singular authorship, the distilled selection of paintings includes:  





Julian Schnabel
The Patients and the Doctors, 1978
Oil, plates, bondo on wood
96 x 108 x 12 inches
© Julian Schnabel Studio

The Patients and the Doctors (1978),




Julian Schnabel
Jack the Bellboy or a Season in Hell, 1975
Joint compound, Rhoplex, oil, plaster, wire mesh on canvas
72 x 48 inches
© Julian Schnabel Studio

his first work deploying an abstracted mosaic of ceramic shards and sculptural picture planes; Jack the Bellboy (1975),



Julian Schnabel
The Tunnel (Death of an Ant Near a Powerplant in the Country), 1982
Oil, enamel on wood
143 1/2 x 95 inches
© Julian Schnabel Studio
 
 an early wax painting that Schnabel considers his first mature painting; The Tunnel (Death of an Ant Near a Power Plant in the Country) (1982),




Julian Schnabel
Rebirth II, 1986
Oil, tempera on Kabuki theater backdrop
148 x 134 inches
© Julian Schnabel Studio

Rebirth II (1986) a painting that incorporates an antique Kabuki theater backdrop;



Julian Schnabel
The Edge of Victory, 1987
Gesso, gaffer tape, sweat and blood on boxing ring floor
136 x 192 inches
© Julian Schnabel Studio

and The Edge of Victory (1987), a magisterial tableau made upon a tape-encrusted and stained boxing tarp from the old Gramercy Gym that Schnabel inscribed  and painted with sweeping white marks. 

Without regard to chronology, this selection of radical, foundational pictures is hung in relationship to works from the past fifteen years. 



Julian Schnabel
Untitled, 2015
Inkjet print, oil on polyester
144 x 156 inches
© Julian Schnabel Studio


These more recent examples feature one of Schnabel’s Goat Paintings from 2015, from a series begun in 2012;



Julian Schnabel
Untitled (Spray paint painting), 2014
Inkjet print, spray paint on polyester
132 x 88 inches
© Julian Schnabel Studio

a spray paint composition from 2014;



Julian Schnabel
Untitled, 2015
Spray paint, gesso on found fabric
114 x 94 inches
© Julian Schnabel Studio

an abstract “pink” painting made in 2015 from the sun-faded canopy Schnabel found in Mexico;



Julian Schnabel
Portrait of Tantiana Lisovskaia As The Duquesa De Alba II, 2014
Oil, gesso, resin on canvas
132 x 96 inches
© Julian Schnabel Studio

and a regal full-length Portrait of Tatiana Lisovskaia As The Duquesa De Alba II (2014) referencing Goya.

Accompanying these compositions, the upstairs gallery features approximately forty drawings made between 1976 to the present that echo the formal and conceptual range of the paintings in the downstairs gallery.

In sum, this exhibition attempts to foreground the emotive punctum that runs throughout Schnabel’s work—otherwise stated, the wounding point or touching detail where his unconventional methods and materials are fused with emotive, tactile, and deeply narrative meaning.  Despite the range in dates in which these works have been made, looking at these pieces together reveal a consistent artistic “touch” or transformational element that Schnabel is able to imbue in the found materials he assimilates into his work.

Running throughout the exhibition is a pictorial vocabulary that is consistent throughout Schnabel’s career but takes on many forms.  The trope of the white stroke—curvilinear swirls of white paint that often disrupt both figurative and abstract compositions—or the haphazard traces of splashed purple pigment are seen in numerous paintings selected in the show. Likewise, dedications, proper names, and other literary references in titles are used to evoke a narrative imaginary that runs through Schnabel’s oeuvre.

As Schnabel wrote about the seminal painting Jack the Bellboy, featured in the last room of the exhibition, “The difference between the physical and pictorial elements of the painting confounded an easy viewing; it was hard to look at. It activated a sensation, like color blindness, that yielded a sensory disorder that I thought was an analogue for my emotional state. It was also about the third intangible element between the viewer and itself: the blind spot. It was like a sort of dyslexia where a letter’s proximity to another makes it disappear.”[1] In many ways Schnabel’s attempt to describe the alchemical reaction simultaneously generated by the retinal, conceptual, and emotional affects of his work could be applied to all of the paintings selected for this exhibition.

Schnabel’s work has been exhibited all over the world.  His paintings, sculptures, and works on paper have been the subject of numerous exhibitions: the Stedelijk Museum, Amsterdam (1982); Tate Gallery, London (1982); Whitechapel Gallery, London (1987); Kunsthalle Düsseldorf (1987); Centre Georges Pompidou, Paris (1987); Whitney Museum of American Art, New York (1987); San Francisco Museum of Modern Art (1987); Museum of Fine Arts, Houston (1987); Musée d’Art Contemporain de Nîmes, France (1989); Staatliche Graphische Sammlung, Munich (1989); Palais des Beaux-Arts, Brussels (1989); Fruitmarket Gallery, Edinburgh (1989); Museum of Contemporary Art, Chicago (1989); Museo de Arte Contemporáneo de Monterrey, Mexico (1994); Fundació Joan Miró, Barcelona (1995); Galleria d’Arte Moderna di Bologna (1996); Schirn Kunsthalle, Frankfurt/Main (2004); Museo Nacional Centro de Arte Reina Sofía, Madrid (2004); Rotonda della Besana, Milan (2007); Tabakalera, Donostia-San Sebastián (2007); Museo di Capodimonte, Naples (2009); Art Gallery of Ontario, Toronto (2010); Museo Correr, Venice (2011); J.F. Willumsens Museum, Frederikssund, Denmark (2013); Brant Foundation Art Study Center, Greenwich, CT (2013); Dallas Contemporary (2014); Dairy Art Centre, London (2014); Museu de Arte de São Paulo, (2014); NSU Art Museum Fort Lauderdale, FL (2014); and University of Michigan Museum of Art, Ann Arbor (2015).

[1] Julian Schnabel, CVJ: Nicknames of Maitre D's and Other Excerpts from Life (New York: Random House, 1987), 64.

More images from the exhibition:



Julian Schnabel
Resurrection: Albert Finney Meets Malcolm Lowry, 1984
Oil, spray paint, modeling paste on velvet
120 x 108 inches
© Julian Schnabel Studio
 

Julian Schnabel
Untitled (Phil), 2015
Oil on plastic
156 x 121 inches
© Julian Schnabel Studio
 
 

Julian Schnabel
Untitled, 1984
Oil, ink on plaster
84 x 72 inches
© Julian Schnabel Studio




Julian Schnabel
Untitled (Fox Farm), 1989
Spray paint, marker on paper mounted on canvas with engraving
Framed Dimensions: 90 x 70 x 3 1/4 inches
© Julian Schnabel Studio
 
 
 
Julian Schnabel
Julian Schnabel, 2012
Oil on map
104 x 88 inches
© Julian Schnabel Studio
 
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Search

Georgia O’Keeffe opens at Tate Modern on 6 July 2016

March 28, 2016, 11:56 am
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6 July – 30 October 2016
Tate Modern, The Eyal Ofer Galleries

In July 2016 Tate Modern opens a major retrospective of American modernist painter Georgia O’Keeffe (1887-1986), the first UK exhibition of her work for over twenty years. Marking a century since O’Keeffe’s debut in New York in 1916, this ambitious and wide-ranging survey will reassess the artist’s place in the canon of twentieth-century art and reveal her profound importance. With no works by O’Keeffe in UK public collections, the exhibition will be a once-in-a-generation opportunity for audiences outside of America to view her oeuvre in such depth.

Widely recognised as a founding figure of American modernism, O’Keeffe gained a central position in leading art circles between the 1910s and the 1970s. She was also claimed as an important pioneer by feminist artists of the 1970s. Spanning the six decades in which O’Keeffe was at her most productive and featuring over 100 major works, this exhibition will chart the progression of her practice from her early abstract experiments to her late works, aiming to dispel the clichés that persist about the artist and her painting.

Opening with the moment of her first showings at ‘291’ gallery in New York in 1916 and 1917, the exhibition will feature O’Keeffe’s earliest mature works made while she was working as a teacher in Virginia and Texas.

Charcoals such as



 No. 9 Special 1915



and Early No. 2 1915

will be shown alongside a select group of highly coloured watercolours and oils, such as  



Sunrise 1916


and Blue and Green Music 1919.

These works investigate the relationship of form to landscape, music, colour and composition, and reveal O’Keeffe’s developing understanding of synaesthesia.

A room in the exhibition will consider O’Keeffe’s professional and personal relationship with Alfred Stieglitz (1864-1946); photographer, modern art promoter and the artist’s husband. While Stieglitz increased O’Keeffe access to the most current developments in avant-garde art, she employed these influences and opportunities to her own objectives. Her keen intellect and resolute character created a fruitful relationship that was, though sometimes conflictive, one of reciprocal influence and exchange. A selection of photography by Stieglitz will be shown, including portraits and nudes of O’Keeffe as well as key figures from the avant-garde circle of the time, such as Marsden Hartley (1877-1943) and John Marin (1870-1953).

Still life formed an important investigation within O’Keeffe’s work, most notably her representations and abstractions of flowers. The exhibition will explore how these works reflect the influence she took from modernist photography, such as the play with distortion in  



Calla Lily in Tall Glass – No. 2 1923



 and close cropping in Oriental Poppies 1927.




​Georgia O'Keeffe Jimson Weed/White Flower No. 1 1932
Georgia O'Keeffe
Jimson Weed/ White Flower No. 1 1932
Crystal Bridges Museum of American Art, Arkansas USA © 2016
Georgia O'Keeffe Museum/DACS, London.
Photograph by Edward C. Robison III

One of the highlights of the major Georgia O’Keeffe (1887-1986) retrospective opening at Tate Modern this summer will be the celebrated flower painting,Jimson Weed, White Flower No. 1 1932. This iconic painting is an important example of the artist’s investigations into still life, and particularly the flowers for which she is most famous.

 The painting of a humble garden weed is being loaned to Tate Modern from Crystal Bridges Museum of American Art in Arkansas. This will be the first time the work is displayed outside the US since being acquired by the Museum in 2014. It is the most expensive painting sold at auction by a female artist.

The Jimson weed bloom is native to New Mexico and the focus O’Keeffe affords it in the painting reflects her growing affinity with the region in the 1930s - an association that would continue throughout her lifetime. Being fond of this particular plant, she allowed Jimson weed to flourish around her patio at her home in Abiquiu and made it the subject of multiple works, each time presenting a new viewpoint. The frontal perspective on the flower in Jimson Weed, White Flower No.1 1932 and the symmetry this gives the composition, makes it a particularly striking work in the series.

The painting reveals the profound influence O’Keeffe took from modernist photography – its concern with the study of form, use of close up or magnification and cropping - a practice that was influenced by her professional and personal relationship with husband and photographer Alfred Stieglitz (1865-1946), as well as her close friendships with a number of other photographers.

Widely recognised as a founding figure of American modernism, O’Keeffe gained a central place within the avant-garde art scene between the 1910s and the 1970s. Spanning the six decades in which O’Keeffe was at her most productive and featuring over 100 major works, the forthcoming exhibition at Tate Modern will chart the progression of her practice from her early abstract experiments to her late works from the 1950s and 1960s, aiming to dispel the clichés that persist about the artist and her painting.


O’Keeffe’s most persistent source of inspiration however was nature and the landscape; she painted both figurative works and abstractions drawn from landscape subjects. Black Mesa Landscape, New Mexico / Out of Black Marie’s II 1930 and Red and Yellow Cliffs 1940 chart O’Keeffe’s progressive immersion in New Mexico’s distinctive geography, while works such as Taos Pueblo 1929/34 indicate her complex response to the area and its layered cultures. Stylised paintings of the location she called the ‘Black Place’ will be at the heart of the exhibition.


Georgia O’Keeffe opens at Tate Modern on 6 July 2016, curated by Tanya Barson, Curator, Tate Modern with Hannah Johnston, Assistant Curator, Tate Modern. The exhibition is organised by Tate Modern in collaboration with Bank Austria Kunstforum, Vienna and the Art Gallery of Ontario, Toronto.
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Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art

March 28, 2016, 5:19 am
$
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North Carolina Museum of Art
March 19, 2016 – June 19, 2016
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Art features some of the most important drawings from the superlative collection of the Minneapolis Institute of Art. 
The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.

This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.

• “ Spark of Creation” features “first draft” sketches and inventions. This portion of the exhibition, showcasing the immediacy of the artistic process, features works such as



Giuseppe Bazzani’s Pan and Syrinx, c. 1760,



and George Romney’s Study for ‘The Lapland Witch,’ completed c. 1775–77.

• “ From Life” is a section which features various observational studies drawn from nature throughout history. Notable works include


Käthe Kollwitz’s c. 1903 Two Studies of a Woman’s Head


and Pierre-Joseph Redouté’s Amaryllis lutea. c. 1800-06.
 
• “ Portrait Drawings” presents works such as

Lovis Corinth’s Self-Portrait completed in 1908


and Egon Schiele’s Standing Girl, c. 1910.

• “Figural Abstraction” a section which documents artists’ studies of human forms and expression. Works featured in this section include


Guercino’s Hercules, (1641–42)


and Ernst Kircher’s Seated Woman in the Studio, completed in 1909.
 
• “ Storytelling” presents drawings with a narrative theme, such as



Arthur Rackham’s Little Red Riding Hood, 1909,


and Ludovico Carracci’s Judith Beheading Holoferenes, c. 1581–85.



Other themes include “Sense of Place” with Emil Nolde’s Heavy Seas at Sunset, c. 1930–35,



and “Appropriation” with Roy Lichtenstein’s 1962 Bratatat!


Catalogue 



Master Drawings from the Minneapolis Institute of Art

This sumptuously illustrated book celebrates the superb yet little-known collection of drawings at the Minneapolis Institute of Art. The probing catalogue entries, written by a number of scholars, tell the story of each drawing and examine its place within the artist’s oeuvre, supported by new research, provenance documentation, and bibliographic information.

The book includes more than 225 illustrations, essays by Rachel McGarry and Thomas Rassieur, and contributions by Rachel McGarry, Tom Rassieur, Dennis Michael Jon, Marla J. Kinney, Roberta Bartoli, Patrick Noon, Eike D. Schmidt and Erika Holmquist-Wall.



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American Impressionist: Childe Hassam and the Isles of Shoals

March 31, 2016, 11:17 am
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North Carolina Museum of Art
March 19, 2016 – June 19, 2016

Peabody Essex Museum of Salem, Massachusetts
July 16, 2016 to November 6, 2016

http://ncartmuseum.org/exhibitions/view/12597

America’s finest impressionist painter, Childe Hassam spent many summers painting on the Isles of Shoals six miles off the coast of Maine and New Hampshire. 

This exhibition features 39 of the artist’s finest Shoals paintings in oil and watercolor, borrowed from distinguished museums and private collections. Taken together, these paintings offer a sustained reverie on nature and the pleasure of painting. They possess a rapturous sense of place: the blue Atlantic breaking against rocks and swirling in tidal pools, dense thickets of laurel wedged in granite crags, a splendid island garden with its gemlike blossoms, and the whole island world suffused with a silvered northern light.

The exhibition is jointly organized with the Peabody Essex Museum of Salem, Massachusetts, with the cooperation of the Shoals Marine Laboratory.

Hassam's many portrayals of the old-fashioned gardens, rocky coast, and radiant sunlight of the Isles of Shoals, Maine, are among his most cherished works and were represented extensively. Among them are the 1894 interior scene



The Room of Flowers (private collection)

and the 1901 view



Coast Scenes, Isles of Shoals,

the first canvas by the artist to enter the collection of the Metropolitan Museum of Art.



Childe Hassam, Poppies, Isles of Shoals, 1891, oil on canvas, 19 3/4 x 24 in., National Gallery of Art, Washington, Gift of Margaret and Raymond Horowitz, 1997.135.1


 Childe Hassam. Isles of Shoals, Broad Cove, 1911. Oil on canvas. Honolulu Museum of Art.



 Childe Hassam Isles of Shoals Hartford Steam Boiler Inspection & Insurance Co

Publication:






Childe Hassam (1859–1935) was the foremost American impressionist of his generation. Prolific in oil paintings and watercolors, he found his native New England to be a touchstone for his art. Hassam had a fascination with Appledore, the largest island of the Isles of Shoals off the coast of Maine and New Hampshire, and he traveled there almost every summer for thirty years.

This fascinating book traces Hassam’s artistic exploration of Appledore and reveals a complex portrait of the island created over time. John W. Coffey, working with the marine biologist Hal Weeks, revisits Hassam’s painting sites, identifying where, what, and how the artist painted on the island. Kathleen M. Burnside considers the range of the artist's stylistic responses to the island's nature. A photo essay by Alexandra de Steiguer reveals Appledore’s enduring beauty.
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The Poetry of Nature: A Golden Age of American Landscape Painting - Hudson River School

March 31, 2016, 12:35 pm
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Brandywine River Museum of Art

March 19 through June 12







Niagara Falls
Louisa Davis Minot (1788-1858). Niagara Falls, 1818. Oil on canvas, 30 x 40 5/8 in. Collection of the New-York Historical Society, Gift Mrs. Waldron Phoenix Belknap, Sr., to the Waldron Phoenix Belknap, Jr., Collection, 1956. 1956.3

A stunning array of over 40 paintings from the New-York Historical Society’s collection by renowned Hudson River School artists, including Thomas Cole, Asher Durand, Albert Bierstadt, Jasper Cropsey, John F. Kensett, and William T. Richards, will be on view for the first time at the Brandywine River Museum of Art from March 19 through June 12. Painted between 1818 and 1886, the works illustrate America’s scenic splendor as seen through the eyes of some of the country’s most important painters.

“The Hudson River School created some of the most beautiful paintings in American art. Their works forged a new vision for landscape painting and embodied the expansive and optimistic spirit of 19th- century America,” noted Thomas Padon, Director of the Brandywine River Museum of Art.

In the first decade of the 19th century, the expansive landscapes of the Hudson River Valley and adjacent areas, such as the Catskills and the Adirondack Mountains, inspired an elite group of American artists known as the Hudson River School. Coming together under the influence of British émigré painter Thomas Cole (1801–1848), they shared a philosophy and appreciation for the natural landscape. Today their collective works are considered the first uniquely American art movement. In their idyllic depictions of the landscape, these artists conveyed not only the majesty of America, but an image of man living in harmonious balance with nature.

The Poetry of Nature: A Golden Age of American Landscape Painting opens with seminal works by Thomas Cole and Asher B. Durand (1796–1886). The former artist first traveled up the Hudson in 1825. His tableaux capture the wildness of the American landscape. The latter frequently worked alongside Cole and was instrumental in leading the group after Cole’s untimely death in 1848. Cole’s romantic interpretations of the American landscape—represented in the exhibition by two paintings, one of a tranquil sunset view on the Catskill Creek and another of a sublime mountain landscape with jagged peaks piercing the clouds—demonstrate his mastery of perspective; he is able to convey vast open spaces and create rich atmospheric effects.

Durand favored tighter views and closely observed details of nature. Paintings in the exhibition will present his vivid compositions, from majestic mountain ranges to tranquil woodland interiors and studies of trees. Durand’s influential Letters on Landscape Painting (1855–1856), promoted the movement for plein air painting, calling such excursions, “hard-work-play.” As president of the National Academy of Design, he advocated for the landscape paintings by his Hudson River School colleagues at that institution and facilitated the patronage and rise of the Hudson River School.
Coinciding with an increase in leisure travel, the Hudson River painters also journeyed to regions noted for their beauty outside of New York State;   New Hampshire, coastal New England, and even the Brandywine Valley were among the areas featured in their works.

The exhibition has been organized by the New-York Historical Society, which features one of the most renowned collections of Hudson River School paintings. Dr. Linda S. Ferber, the director emerita of The New-York Historical Museum and a leading authority on Hudson River School artists, is the curator for this extraordinary exhibition.


Excellent review (Some images added) - please read:

...“Woodland Brook” (1859), by Cole's close associate Asher Durand, has a grand scale and immersive quality, but is actually constructed of various elements to heighten the depth and drama of the scene.

The extremely detailed depictions of bark, leaves and dappled sunlight in “June Woods (Germantown)” by W.T. Richards adhere strictly to reality and serve to put you right on the shady path.
Speaking of drawing you in, the monumental “Autumn Woods” by Albert Bierstadt has such a razor-sharp glow in its depiction of fall foliage and a leaf-strewn stream that you can almost feel the autumn breeze.

Times of day were meticulously rendered as well,


shown in the glowing sky in “Seashore (Sunset on the Coast)” by John Kensett,
 

and the magnificent “Morning in the Blue Ridge Mtns., Virginia” by William Sonntag.

The clouds spread out for miles in “Sunset in the Berkshire Hills” by Frederic Edwin Church...

In the small painting “Catskill Mountains, Haying” by Thomas Hotchkiss, workers toil in a tiny field, still in harmony with nature but almost lost amidst all the natural splendor. 

People do actually play a large role in the foreground composition of “Hudson River Valley From Fort Putnam, West Point” by George Henry Boughton. They are shown, in their 1800s finery, as they take in the view from a footpath over the ruins of the fort from the Revolutionary War...
Another fine review
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FROM KANDINSKY TO POLLOCK. The Art of the Guggenheim Collections

April 4, 2016, 1:03 pm
$
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Palazzo Strozzi, 
Florence 19 March–24 July 2016 


Starting 19 March through 24 July2016, Palazzo Strozzi hosts amajor exhibition bringing to Florence over onehundred works of European and American art from the 1920s to the 1960s, in a narrative that reconstructs relationships and ties across the Atlantic through the museums of two American collectors, Peggy Guggenheim and Solomon R. Guggenheim.   

 Curated by Luca Massimo Barbero, associate curator of the PeggyGuggenheim Collection, Venice, the exhibition – a joint venture of the Fondazione Palazzo Strozzi and the Solomon R. Guggenheim Foundation in New York – offersvisitorsanexceptionalopportunity to viewtogetherpartsofthe  collectionsofthemuseums ofboth Solomon and his niece Peggy through the work of some of the greatest figures in 20thcentury art. 

Opening with masterpieces by such major artists as Kandinsky, Duchampand MaxErnst, the exhibition goes on to explorepostwar developments on both sides of the Atlantic, with the Art informelof such European masters as Alberto Burri, Emilio Vedova, Jean Dubuffetand Lucio Fontana, and with work by leading figures on the American art scene from the 1940s to the 1960s: Jackson Pollock, with no fewer than eighteen works, Mark Rothkowith six, and Alexander Calderwith five sculptures, the so-called ‘mobiles’, alongside work by Willem de Kooning,  Robert Motherwell, Roy Lichtenstein,  Cy Twomblyand others.    

The opening of this exceptional exhibition in Florence evokes atie that goes back many years. Palazzo Strozzi was the venue that Peggy Guggenheim (who had only recently arrived in Europe) chose in February 1949 to show the collection that was later to find a permanent home in Venice.  The exhibition includes twenty-five of the same works of art that were displayed in that exhibition, the firstto be held in Palazzo Strozzi's then newly-restored Strozzina cellars.    

The  paintings,  sculptures,  engravings  and  photographs  from  the  Guggenheim  CollectionsinNewYork  and Venice, as well as from a small number of other museums and private collections, offer the visitor a unique opportunity to admire and compare some of the great masterpiece  s which played a crucial role in defining the veryconcept of modern art, from Surrealism and Action Painting toArtinformeland Pop Art. 

The works of art on display include   



Dominant Curve (Courbe dominante)
Vasily Kandinsky (1866–1944),
April 1936. Oil on canvas, 129.2 x 194.3 cm. Solomon R. Guggenheim Museum, New York. Solomon R. Guggenheim Founding Collection 45.989.
Photo by Kristopher McKay

Vasily Kandinsky's monumental Dominant Curve   (1936), which Peggy wasto sell during the war  (one of the "seven tragedies in her life as a collector");    



The Kiss (Le Baiser)
Max Ernst (1891–1976), 1927, Oil on canvas, 129 x 161.2 cm, Peggy Guggenheim Collection, Venice, 76.2553.
Photo by David Heald © Max Ernst, by SIAE 2016.

Max Ernst's The Kiss(1927), a manifesto of Surrealist Art and the painting used to advertise the Strozzina exhibition in 1949;   



Study for Chimpanzee
Francis Bacon (1909–1992), March 1957. Oil and pastel on canvas, 152.4 x 117 cm. Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald. © The Estate of Francis Bacon / All rights reserved / by SIAE 2016

Francis Bacon's StudyforChimpanzee  (1957), rarely shown outside Venice, of which Peggy Guggenheim was so fond that she hung it in her bedroom;    



Shining Back
Sam Francis (1923–1994), 1958, oil on canvas 202.6 x 135.4 cm, Solomon R. Guggenheim Museum, New York 59.1560
Photo by Kristopher McKay © 2016 Sam Francis Foundation, California, by SIAE 2016

works of American Abstract Expressionism such asSam Francis's Shining Back(1958), 



Gray Scramble
Frank Stella (b. 1936), 1968– 69. Oil on canvas, 175,3 x 175,3 cm. Solomon R. Guggenheim Foundation, Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012, 2012.101
Photo by David Heald. © Frank Stella, by SIAE 2016

of Color-Field and Post-Painterly Abstractionsuchas Frank  Stella's GrayScramble (1968–9), 


Preparedness
Roy Lichtenstein (1923–1997), 1968. Oil and Magna on three joined canvases, 304.8 x 548.6 cm overall. Solomon R. Guggenheim Museum, New York 69.1885
Photo by Kristopher McKay. © Estate of Roy Lichtenstein New York, by SIAE 2016

andofPopArt,such asRoyLichtenstein's grandiose Preparedness(1968), in which the artist turned his characteristic cartoon-like styletoprotest the war in Vietnam.     

ART FROM THE GUGGENHEIM COLLECTIONS    

The exhibition testifies to the importance of the two collections and confirms the crucial role played by Peggy and Solomon Guggenheim in the history of 20thcentury art.On the one hand Solomon Robert Guggenheim (1861–1949), under the guiding hand of  German painter the Baroness Hilla Rebay von Ehrenwiesen, who was to become  the first director of the Guggenheim in New York, opened a Museum of Non-Objective Painting in 1939 based on the purist notion of abstraction as an absence of figures, and on Kandinsky's art in particular. Four years later hecommissioned innovative and visionary architect FrankLloyd Wright to design the celebrated museum on Fifth Avenue that was to open in 1959. 

On the other hand, Peggy Guggenheim (1898–1979) opted for more transversal collecting, open to a variety of movements of her time. Her engagement with contemporary art began when she was almost forty years of age. On the advice of historian and critic Herbert Read and of friends such as Marcel Duchamp, Howard Putzel and Nellie van Doesburg, she focused on European movements such as Cubism and Surrealism, in addition to the various avant- gardes of abstraction. Her collection was eventually to include works of American Abstract Expressionism by artists such as Jackson Pollock and Robert Motherwell, which she showed in New York in the course of the short but intense and fertile period during which she operated her Art of This Century Gallery (1942–47), prior to opening her museum in Venice in 1951. 

When Solomon died in 1949, his New York museum was named for him and, under its new director James Johnson Sweeney, it expanded its collecting beyond abstraction and its sources, focusing in particular on post-war European and American work, thus becoming a truly comprehensive museum of modern and contemporary art. 

Solomon's original collection was to grow over the years, acquiring other collections such as the legacy of Karl Nierendorf (1948), the Justin K. Thannhauser collection (1976), the collection of Giuseppe Panza di Biumo (1990–2), major donations from the Robert Mapplethorpe Foundation (1992) and the Bohen Foundation (2001), and, most recently (2012) eighty works of postwar American and European art, including several masterpieces, from the collection of Hannelore B. and Rudolph B. Schulhof. A crucial moment in the Solomon R. Guggenheim Foundation’s internationalisation was marked by Peggy Guggenheim's donation to the Foundation of her collection in Venice in 1976. 

THE EXHIBITION 

The exhibition occupies nine rooms. The first offers an introduction to the two great collectors in the Guggenheim family: Peggy with the Art of This Century Gallery, New York, and Solomon with the celebrated Frank Lloyd Wright museum. 

 The second room illuminates Peggy's career as a collector and her affinity to Surrealism. 

The third room is devoted to Jackson Pollock and to his astonishingly original painting. Rooms four and five focus on the Abstract Expressionism of de Kooning and on pictorial trends that were coming to maturity in Europe in the same years. 

A small adjacent room showcases four sculptures by Laurence Vail, Peggy’s first husband, in an evocative atmosphere reminiscent of a Wunderkammer. 

The sixth room is devoted to Color Field Painting, to Post-Painterly Abstraction and to Calder's mobiles, some suspended from the ceiling. Room seven is given over to the work of Mark Rothko, whose potential Peggy recognized early. 

The exhibition concludes with artistic research in Europe and in the United States in the 1960s, with Roy Lichtenstein's outsize Preparedness, painted in 1968, ideally closing the circle of the Guggenheim family's story as collectors of 20th century Modernism. 

More Images from the Exhibition:

http://www.palazzostrozzi.org/immagini/?lang=en&idmostra=3608


The Guggenheims and Their Collections


The Gentle Afternoon (Le Doux Après-midi)
Giorgio de Chirico (1888–1978), 1916. Oil on canvas, 65.3 x 58.3 cm, Peggy Guggenheim Collection, Venice 76.2553.
Photo by David Heald © Giorgio de Chirico, by SIAE 2016 









Upward (Empor) Vasily Kandinsky (1866–1944), October 1929. Oil on cardboard, 70 x 49 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald


Portrait of Frau P. in the South (Bildnis der Frau P. im Süden) Paul Klee (1879–1940), 1924. Watercolor and oil transfer drawing on paper, mounted on gouache-painted board, 42.5 x 31 cm including Mount, Peggy Guggenheim Collection, Venice 76.2553
Photo by Carmelo Guadagno














The Break of Day (L’Aurore) Paul Delvaux (1897–1994), July 1937, Oil on canvas, 120 x 150.5 cm. Peggy Guggenheim Collection, Venice 76.2553.
Photo by David Heald. © Paul Delvaux Fondation, St Idesbald, Belgique, by SIAE 2016



Europe–America. Surrealism and the Birth of the New Avant-Gardes



Armour (L'Armure) André Masson (1896–1987), January–April 1925, oil on canvas, 80.6 x 54 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo David Heald © André Masson by SIAE 2016


The Sun in Its Jewel Case (Le Soleil dans son écrin)Yves Tanguy (1900–1955), 1937, oil on canvas, 115,4 x 88,1 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald © Yves Tanguy, by SIAE 2016



''The Antipope” Max Ernst (1891–1976), ca. 1941, oil on cardboard, mounted on board, 32.5 x 26.5 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo by Carmelo Guadagno © Max Ernst, by SIAE 2016


Oink (They Shall Behold Thine Eyes) Leonora Carrington (1917-2011),1959, oil on canvas, cm 40 x 90,9, Peggy Guggenheim Collection, Venice, 76.2553
Photo by David Heald © Leonora Carrington, by SIAE 2016













The Parachutists William Baziotes (1912–1963), 1944, uco enamel on canvas 76.2 x 101.6 cm, The Solomon R. Guggenheim Foundation. Gift, Ethel Baziotes 2004.89
Photo by David Heald


Jamais Clyfford Still (1904–1980), May 1944, oil on canvas, 165.2 x 82 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald. © Clyfford Still, by SIAE 2016


Untitled Arshile Gorky (1904–1948), summer 1944, oil on canvas, 167 x 178.2 cm, Peggy Guggenheim Collection, Venice 76.2553.
Photo by David Heald © Arshile Gorky by SIAE 2016


 Jackson Pollock


The Moon Woman Jackson Pollock (1912–1956), 1942, oil on canvas, 175.2 x 109.3 cm. Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016


Untitled Jackson Pollock (1912–1956), ca. 1946. Gouache and pastel on paper, 58 x 80 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016




The Water Bull (from the Accabonac Creek series) Jackson Pollock (1912–1956), 1946. Oil on canvas, 76.5 x 213 cm. Stadelijk Museum, Amsterdam A 2970. Gift of Peggy Guggenheim © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016




Watery Paths Jackson Pollock (1912–1956), 1947. Oil on canvas, 114 x 86 cm. GNAM-Galleria di Arte Moderna e Contemporanea, Rome, inv. 4554. Gift of Peggy Guggenheim, 1950 © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016




Enchanted Forest Jackson Pollock (1912–1956), 1947, oil on canvas, 221.3 x 114.6 cm, Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald. © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016





Untitled (Green Silver) Jackson Pollock (Cody 1912 - East Hampton 1956), ca.1949. Enamel and aluminium paint on paper, mounted on canvas, cm 57,8 x 78,1. New York, Solomon R. Guggenheim Museum, Gift, Sylvia and Joseph Slifka, 2004.63 © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016



Number 18 Jackson Pollock (Cody 1912 - East Hampton 1956), 1950, oil and enamel on Masonite, cm 56 x 56,7. New York, Solomon R. Guggenheim Museum, Gift, Janet C. Hauck, in loving memory of Alicia Guggenheim and Fred Hauck, 91.4046 © Pollock-Krasner Foundation / Artists Rights Society, ARS, New York, by SIAE 2016


Abstract Expressionism


Composition Willem de Kooning (1904–1997), 1955, oil, enamel, and charcoal on canvas, 201 x 175.6. Solomon R. Guggenheim Museum, New York 55.1419
Photo by Kristopher McKay




The Gate Hans Hofmann (1880–1966), 1959–60, oil on canvas, 190.5 x 123.2 cm, Solomon R. Guggenheim Museum, New York 62.1620
Photo by David Heald © Hans Hofmann, by SIAE 2016



Nude Figure–Woman on the Beach Willem de Kooning (1904–1997), 1963, oil on paper, mounted on canvas, 81.3 x 67.3 cm. Solomon R. Guggenheim Foundation. Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012, 2012.44
Photo by David Heald ©The Willem de Kooning Foundation, by SIAE 2016

Postwar Europe


Fleshy Face with Chestnut Hair (Châtaine aux hautes chairs) Jean Dubuffet (1901–1985), August 1951, oil-based mixed-media on Masonite, 64.9 x 54 cm. Peggy Guggenheim Collection, Venice 76.2553. Photo by David Heald © Jean Dubuffet, by SIAE 2016






Portrait of Soldier Lucien Geominne (Portrait du soldat Lucien Geominne) Jean Dubuffet (1901–1985), December 1950. Oil-based mixed-media on Masonite, 64.8 x 61.6 cm. Solomon R. Guggenheim Foundation. Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012, 2012.49
Photo by David Heald. © Jean Dubuffet, by SIAE 2016


Image of Time (Barrier) Emilio Vedova (Venezia 1919-2006), 1951. Egg tempera on canvas, cm 130,5 x 170,4. Peggy Guggenheim Collection, Venice 76.2553. Photo by Kristopher McKay. © Fondazione Emilio e Annabianca Vedova.



Composition Tancredi Parmeggiani (Feltre 1927-Rome 1964), 1955, oil and tempera on canvas, cm 129,5 x 181. Peggy Guggenheim Collection, Venice 76.2553
Photo by David Heald.

 


























Great American Painting


Elegy to the Spanish Republic No. 110 Robert Motherwell (1915–1991), Easter Day, 1971. Acrylic with graphite and charcoal on canvas, 208.3 x 289.6 cm. Solomon R. Guggenheim Museum, New York. Gift, Agnes Gund 84.3223
Photo by Kristopher McKay. © Dedalus Foundation, Inc. /Licensed by SIAE 2016





Canal Helen Frankenthaler (1928–2011), 1963. Acrylic on canvas 205.7 x 146 cm. Solomon R. Guggenheim Museum, New York. Purchased with the aid of funds from the National Endowment for the Arts, in Washington, D.C., a federal agency; matching funds contributed by Evelyn Sharp 76.2225. Photo by Masood Kamandy.
© Helen Frankenthaler, by SIAE 2016




Birth Kenneth Noland (1924–2010), 1961. Oil on canvas, 91.4 x 91.4 cm. Solomon R. Guggenheim Foundation, Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012, 2012.90
Photo by David Heald. © Kenneth Noland, by SIAE 2016




 Mark Rothko



No.18 (Black. Orange on Maroon) Mark Rothko (1903–1970), 1963, oil on canvas, 175.6 x 163.5 cm. New York, Solomon R. Guggenheim Museum. Gift, The Mark Rothko Foundation, Inc., 86.3421
Photo by David Heald. © Kate Rothko Prizel & Christopher Rothko / ARS, New York, by SIAE 2016



 


Untitled (Red) Marc Rothko (1903–1970), 1968. Oil on paper mounted on canvas, 83.8 x 65.4 cm. Solomon R. Guggenheim Foundation, Hannelore B. and Rudolph B. Schulhof Collection, bequest of Hannelore B. Schulhof, 2012, 2012.92
Photo by David Heald © Kate Rothko Prizel & Christopher Rothko / ARS, New York, by SIAE 2016
 




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