Major Series of Paintings by Spanish Master Francesco de Zurbarán

August 9, 2016, 8:09 pm

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Coming to the United States for the First Time in 2017 and 2018

In conjunction with The Meadows Museum, Dallas, Texas, and the Auckland Castle Trust, County Durham, England, The Frick Collection is co-organizing an exhibition of Jacob and His Twelve Sons, an ambitious series of thirteen life-size paintings that depict the Old Testament figures. On loan from Auckland Castle, the works by the Spanish Golden Age master Francisco de Zurbarán (1598–1664) have never travelled outside Europe. 

They will be on view first in Dallas from September 17, 2017, through January 7, 2018, after which they will be shown in New York at The Frick Collection from January 31 through April 22, 2018. 

In preparation for this unprecedented U.S. tour, these important seventeenth-century Spanish paintings will undergo an in-depth technical analysis at the Kimbell Art Museum, Fort Worth. The project includes art historical and technical research, an exhibition, and publication. This international collaboration will offer the most extensive study related to Zurbarán’s series. For its New York showing in 2018, the exhibition will be organized by The Frick Collection’s Senior Curator, Susan Grace Galassi.

About the Series of Paintings

The iconography of Zurbarán’s remarkable series—which was painted between 1640 and 1644—is derived from the Book of Genesis, Chapter 49. On his deathbed, Jacob called together his twelve sons, who would become the founders of the twelve tribes of Israel, which, essentially, represents the beginning of the Jewish faith. He bestowed on each a blessing, which foretold their destinies and those of their tribes. Jacob’s prophesies provide the basis for the manner in which the figures are represented in Zurbaran’s series. The story also has significance to Christians and Muslims.

The series is believed to have originally been destined for the New World, where in the seventeenth century it was commonly believed that indigenous inhabitants of the Americas were descended from the dispersal of the so-called “lost tribes of Israel.” The works were purchased by Richard Trevor, Bishop of Durham, at auction in 1756 from the collection of a Jewish merchant named Benjamin Mendez. Trevor redesigned Auckland Castle’s Long Dining Room to house the series, which constitutes one of the most significant public collections of Zurbarán’s work outside Spain. The upcoming restoration of Auckland Castle—which involves the temporary deinstallation of the series from the room where it has hung for more than 250 years—presents this extraordinary study and exhibition opportunity.

Comments Frick Director Ian Wardropper, “We are thrilled to collaborate with Auckland Castle and the Meadows Museum on the first North American showing of Francisco de Zurbarán’s extraordinary series Jacob and his Twelve Sons. The technical analysis to be carried out at the Kimbell will greatly enrich our understanding of the master’s methods, while other catalogue essays commissioned for the show will explore the works in historical, cultural, and religious contexts. The sheer visual power and rich narrative content of this series will draw visitors in and will be beautifully complemented by the Frick’s strong holdings in Spanish art, which include paintings by Velázquez and Murillo—Zurbarán’s Sevillian contemporaries—as well as by El Greco and Goya.”

Francisco de Zurbarán (Spanish, 1598–1664)

Jacob, ca 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Reuben, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Simeon, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Levi, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Judah, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Zebulun, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Issachar, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Dan, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Gad, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Asher, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán

(Spanish, 1598–1664)

Naphtali, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

Francisco de Zurbarán (Spanish, 1598–1664)

Joseph, ca. 1640–45

Oil on canvas, 77 15/16 × 40 3/

16 inches (198 × 102 cm)

Photo credit: Colin Davison, courtesy of Auckland Castle

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Icon of Modernism: Representing the Brooklyn Bridge, 1883–1950

August 10, 2016, 12:10 pm

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The Georgia Museum of Art at the University of Georgia will present the exhibition “Icon of Modernism: Representing the Brooklyn Bridge, 1883–1950,” from Sept. 17 to Dec. 11, 2016.

“Icon of Modernism” includes 42 paintings, watercolors, works on paper and photographs that all take the Brooklyn Bridge as a subject. Sarah Kate Gillespie, the museum’s curator of American art, chose works of art created between the completion of the bridge (1883) and the mid-20th century to show how artistic representations of it changed over time, even as it symbolized modernity for different generations. From American impressionism to abstract expressionism, the details of how artists presented the bridge changed, but its ability to stand for the modern era remained.

“When it opened, the Brooklyn Bridge was a phenomenon, and many commemorative objects featuring the bridge were produced. Other museums have shown the wide variety of these objects, but we decided to focus on the aesthetic portion alone,” explains Gillespie, who was tasked with organizing the exhibition when the museum hired her in 2014.

Although it may seem strange for Athens, Georgia, to host an exhibition on a structure so tied to New York City, descendants of John A. Roebling, who designed the bridge, lived in Athens for many years.

In the words of scholar Alan Trachtenberg, “the Brooklyn Bridge symbolized and enhanced modern America.” From its opening in 1883 to the present day, artists have repeatedly depicted the bridge as a stand-in for both the city of New York and for the idea of modernity as defined by that city’s urban life. Such representation was particularly true during the period this exhibition treats, when artists were engaging with new forms of visual representation such as Impressionism, Cubism and Precisionism. Artists utilized newly built structures such as the bridge, the Woolworth building and the Flatiron building in conjunction with these innovative formal techniques to underscore the contemporary nature of their artistic production. By compiling a selection of works in varying media that feature the Brooklyn Bridge from artists on both sides of the Atlantic, this exhibition examines these modes of representation and how artists grappled with a particularly American brand of modernity as both positive and negative from U.S. and European perspectives.

This show will feature approximately 40 paintings, works on paper and photographs by major American and European artists. Four works in the exhibition come from the museum’s own collection, but the remainder are on loan from museums, corporate collections and private collections across the country.Artists include Edward Steichen, Joseph Stella, George Luks, Jonas Lie, William Louis Sonntag Jr., Reginald Marsh, Louis Lozowick, John Marin, Childe Hassam, Ernest Lawson and Samuel Halpert, among others.

Jonas Lie (American, b. Norway, 1880–1940), Bridge and Tugs, 1911–15. Oil on canvas, 34½ x 41½ inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by
C. L. Morehead Jr., GMOA 2001.179.





Millard Sheets (American, 1907–1989), Brooklyn Bridge, 1933. Watercolor on paper, 15¾ x 22¾ inches. Georgia Museum of Art, University of Georgia; Extended loan from the collection of Jason Schoen, GMOA 2005.123E.




Joseph Stella (American, b. Italy, 1877–1946), Study for New York Interpreted: The Bridge, 1917–22.
Watercolor and pencil on paper, 24 x 18 inches. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, 85.22




Joseph Stella (American, b. Italy, 1877–1946), Study for New York Interpreted: Brooklyn Bridge, 1920–22. Watercolor and ink on paper, 13 15/16 x 9 15/16”. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, 66.4775.



Yun Gee Wheels: Industrial New York
1932
oil on canvas
84 x 48 inches

Private Collection

O. Louis GuglielmiAmerican, b. Egypt, 1906–1956The Bridge1942Oil on canvasCanvas: 34 × 26 in. (86.4 × 66 cm)Collection Museum of Contemporary Art ChicagoGift of Mary and Earle Ludgin Collection1981.35Photo © MCA Chicago

Georgia O'Keeffe (1887-1986)
Brooklyn Bridge
charcoal and chalk on paper
39 7/8 x 29 ½ in. (101.3 x 74.9 cm.)
Executed in 1949.
Elie Hirschfeld,  private art collection

 

"Brooklyn Bridge," Ernest Lawson, 1917-20



An illustrated catalogue published by the museum will accompany “Icon of Modernism,” with scholarly essays by Gillespie, Janice Simon (Josiah Meigs Distinguished Teaching Associate Professor of Art History in the Lamar Dodd School of Art, UGA), Meredith Ward and Kimberly Orcutt.

COLOUR: The Art and Science of Illuminated Manuscripts

August 15, 2016, 8:51 am

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Through 30 December 2016 

Fitzwilliam Museum, Cambridge, UK

Dazzling treasures combining gold and precious pigments-some of the finest illuminated manuscripts in the world-are on display in celebration of the Fitzwilliam Museum’s bicentenary.

The majority of the exhibits are from the Museum’s own rich collections, and those from the founding bequest of Viscount Fitzwilliam in 1816 can never leave the building and can only be seen at the Museum. For the first time, the secrets of master illuminators and the sketches hidden beneath the paintings are revealed in a major exhibition presenting new art historical and scientific research.

Spanning the 8th to the 17th centuries, the 150 manuscripts and fragments in COLOUR: The Art andScience of Illuminated Manuscripts guide us on a journey through time, stopping at leading artisticcentres of medieval and Renaissance Europe. Exhibits highlight the incredible diversity of the Fitzwilliam’s collection: including local treasures, such as the Macclesfield Psalter made in East Anglia c.1330-1340, a leaf with a self-portrait made by the Oxford illuminator William de Brailes c.1230-1250, and a medieval encyclopaedia made in Parisc.1414 for the Duke of Savoy.

Four years of cutting-edge scientific analysis and discoveries made at the Fitzwilliam have traced the creative process from the illuminators’ original ideas through their choice of pigments and painting techniques to the completed masterpieces.

 Detail: Jean Corbechon, Livre des proprietés des choses, Adam and Eve in the Garden of Eden, France, Paris, 1414, Master of the Mazarine Hours (act. c.1400-1415) 

Leading artists of the Middle Ages and early Renaissance did not think of art and science as opposing disciplines,” says curator, Dr Stella Panayotova, Keeper of Manuscripts and Printed Books. “Instead,drawing on diverse sources of knowledge, they conducted experiments with materials and techniques to create beautiful works that still fascinate us today.”

Merging art and science, COLOUR shares the research of MINIARE (Manuscript Illumination: Non-Invasive Analysis, Research and Expertise), an innovative project based at the Fitzwilliam. Collaborating with scholars from the University of Cambridge and international experts, the Museum’s curators,scientists and conservators have employed pioneering analytical techniques to identify the materials and methods used by illuminators.

A popular misconception is that all manuscripts were made by monks and contained religious texts, but from the 11thcentury onwards professional scribes and artists were increasingly involved in a thriving book trade, producing both religious and secular texts. Scientific examination has revealed that illuminators sometimes made use of materials associated with other media, such as egg yolk, which was traditionally used as a binder by panel painters.

Other discoveries include pigments rarely associated with manuscript illumination– such as the first ever example of smalt detected in a Venetian manuscript. Smalt, obtained by grinding blue glass, was found in a Venetian illumination book made c.1420. Evidently, the artist who painted it had close links with the famed glassmakers of Murano. This example predates by half a century the documented use of smalt in Venetian easel paintings.

Analyses of sketches lying beneath the paint surfaces, and of later additions and changes to paintings help to shed light on manuscripts and their owners. One French prayer book, made c.1430, was adapted over three generations to reflect the personal circumstances and dynastic anxieties of a succession of aristocratic women. Adam and Eve were originally shown naked in an ABC commissioned c.1505 by the French Queen,Anne of Brittany (1476-1514) for her five-year-old daughter. However, a later owner, offended by the nudity, gave Eve a veil and Adam a skirt. Infrared imaging techniques and mathematical modelling have made it possible to reconstruct the original composition without harming the manuscript.

The Museum’s treasures will be displayed alongside carefully selected loans —celebrated manuscripts from Cambridge libraries as well as other institutions in the UK and overseas. These include an 8th century Gospel Book from Corpus Christi College, the University Library’s famous Life of Edward the Confessor, magnificent Apocalypses from Trinity College and Lambeth Palace, London, and a unique model book from Göttingen University.

Catalogue entries and essays by leading experts offer readers insight into all aspects of colour from the practical application of pigments to its symbolic meaning.

 Detail:The Macclesfield Psalter

 

From The Arts Desk Ltd:

Book of Hours, Use of Rome, 'The Three Living and the Three Dead', Western France, c. 1490-1510All images © The Fitzwilliam Museum, Cambridge

 

It is sobering to think that the medieval and Renaissance paintings that fill our galleries represent just a fraction of the artistic output of that period. Panel paintings – not to mention exquisitely fragile wall paintings – have for the most part succumbed to the ravages of time, and those not destroyed by fire or flood, acts of war or vandalism, or abortive attempts at restoration have simply faded, darkened or discoloured.

Safely tucked away in libraries, illuminated manuscripts have survived in far greater numbers and, as such, form the most substantial, if most easily overlooked, legacy of medieval and Renaissance visual culture. The bland anonymity of a bound volume shelved amongst thousands was not much of a draw for the vandals and looters of the past, and served to shield the richly decorated pages from light and the elements.


Of the world’s many illuminated manuscript collections, that of the Fitzwilliam Museum in Cambridge is reputedly the finest, the books cocooned in fenland isolation, the terms of the founder’s bequest ensuring that much of the collection remains forever inside the museum (pictured above: The Macclesfield Psalter, c.1330-1340).

In this spellbound state, the Fitzwilliam perpetuates the conditions that have kept these books safe for centuries, and the knowledge of this makes looking at them a strangely timeless experience. In galleries darkened to protect light-sensitive pigments, pages embellished with gold and silver leaf twinkle convincingly, just as they must have done when seen by candlelight...



In another beguiling example, an eagle marks the beginning of an eighth-century St John’s Gospel, the intricate but spare design with large areas of blank parchment typical of manuscripts made at Lindisfarne. We are told that the organic purple used to colour the eagle’s head is derived from a lichen found locally, over which yellow orpiment has been applied in dots. The contrast between the local purple, and the rare, imported yellow is evocative, and shows that for all its isolation Lindisfarne was part of an international trade network. But it also shows the technical expertise of the Lindisfarne illuminators, who knew that the organic purple base would prevent the deterioration of the orpiment, an unstable pigment that would otherwise tend to turn black....

Abstract Expressionism

August 15, 2016, 9:48 am

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Royal Academy of Arts, London

24 September 2016 – 2 January 2017

Guggenheim Museum, Bilbao 

3 February –4 June 2017 

In September 2016, the Royal Academy of Arts will present the first major exhibition of Abstract Expressionism to be held in the UK in almost six decades. With over 150 paintings, sculptures and photographs from public and private collections across the world, this ambitious exhibition encompasses masterpieces by the most acclaimed American artists associated with the movement – among them, Willem de Kooning, Arshile Gorky, Phillip Guston, Franz Kline, Joan Mitchell, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko, Aaron Siskind, David Smith and Clyfford Still, as well as lesser-known but no less vital artists.

The selection aims to re-evaluate Abstract Expressionism, recognising that though the subject is often perceived to be unified, in reality it was a highly complex, fluid and many-sided phenomenon. Likewise, it will revise the notion of Abstract Expressionism as based solely in New York City by addressing such figures on the West Coast as Sam Francis, Mark Tobey and Minor White.

To ensure an exhibition for the 21st century, informed by new thinking, Abstract Expressionism will reexamine the two main strands into which these artists have often been grouped in the past. Namely, the so-called ‘colour-field’ painters, such as Rothko and Newman, versus the ‘gesture’ or ‘action painters’, epitomised by de Kooning and Pollock. The art of the former has been held to focus on the contemplative or sublime use of colour, whereas the latter supposedly demonstrated spontaneity and improvisation in their work through bold gestural mark-making.

Yet these categories are simplistic, belying the deeper concerns that linked many of the artists. For example, various Abstract Expressionists developed the ‘all-over composition’ by rejecting the formal concept of an image with a single or central focus. Instead, they thought in terms of energised fields, whether of vibrant colour or linear dynamism.

Concerns such as myth-making, the sublime, monochrome and an urge to stress the human presence even in abstraction also connected the artists. Similarly, their creations challenged conventional notions of scale with dimensions that ranged from minute intimacy to epic grandeur – dramatic innovations that the exhibition will highlight.

For the first time, the Clyfford Still Museum in Denver, which holds 95% of the artist’s work, will loan nine major paintings to the exhibition, establishing the artist at the very forefront of Abstract Expressionism. The paintings by Clyfford Still will be presented in a dedicated gallery within the exhibition.

Jackson Pollock’s monumental Mural, 1943 (University of Iowa Museum of Art, Iowa)

and Blue Poles, 1952 (National Gallery of Australia, Canberra © The Pollock-Krasner Foundation ARS, NY and DACS, London 2016;)

will be displayed in the same gallery for the first time, a juxtaposition unlikely to ever be repeated. 

Further highlights will include Arshile Gorky’s Water of the Flowery Mill, 1944 (The Metropolitan Museum of Art, New York);

Willem de Kooning’s Woman II, 1952 (The Museum of Modern Art, New York);

Franz Kline’s Vawdavitch, 1955 (Museum of Contemporary Art Chicago© ARS, NY and DACS, London 2016. Photo: Joe Ziolkowski);

Mark Rothko’s No. 15, 1957 (Private Collection© 1998 Kate Rothko Prizel &

Christopher Rothko ARS, NY and DACS, London.); 

Lee Krasner’s The Eye is the First Circle, 1960 (Courtesy Robert Miller Gallery, New York © ARS, NY and DACS, London 2016);

and David Smith’s Hudson River Landscape, 1951 (Whitney Museum of American Art, New York).

Works by artists such as Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Lee Krasner and Ad Reinhardt will also feature amongst others. In addition to Aaron Siskind and Minor White, the photographers will include Harry Callahan, Herbert Matter and Barbara Morgan.

Clyfford Still,

PH-950, 1950. Oil on canvas, 233.7 x 177.8 cm. Clyfford Still Museum, Denver © City

and County of Denver / DACS 2016. Photo courtesy the Clyfford Still Museum, Denver, CO;

David Smith,

Star Cage

1950. Painted and brushed steel, 114 x 130.2 x 65.4 cm. Lent by the Frederick R. Weisman Art Museum, University of

Minnesota, Minneapolis. The John Rood Sculpture Collection. © Estate of David Smith/DACS, London/VAGA, New

York 2016;

Dr David Anfam, co-curator of Abstract Expressionism said: “Abstract Expressionism will explore this vast phenomenon in depth and across different media, revealing both its diversity and continuities as it constantly pushed towards extremes. It will bring together some of the most iconic works from around the world in a display that is unlikely to be repeated in our lifetime.”

Abstract Expressionism has been organised by the Royal Academy of Arts, London with the collaboration of the Guggenheim Museum Bilbao. The exhibition is curated by the independent art historian, David Anfam, alongside Edith Devaney, Contemporary Curator at the Royal Academy of Arts. Dr Anfam is the preeminent authority on Abstract Expressionism, the author of the catalogue raisonné of Mark Rothko’s paintings and Senior Consulting Curator at the Clyfford Still Museum, Denver. 

Abstract Expressionism will be accompanied by a fully illustrated catalogue. Authors include David Anfam, author of the now-standard textbook Abstract Expressionism (1990); Susan Davidson, Senior Curator, Collections and Exhibitions, at the Solomon R. Guggenheim Museum, New York; Edith Devaney, Curator of Contemporary Projects, Royal Academy of Arts; Jeremy Lewison, former Director of Collections at Tate; Carter Ratcliff author of Fate of a Gesture: Jackson Pollock and Postwar American Art (1996) and Christian Wurst, researcher on The Catalogue Raisonné of the Drawings of Jasper Johns (forthcoming).

Realm of the Spirit: Marc Chagall, Vasily Kandinsky and Pablo Picasso,

August 26, 2016, 9:22 am

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Charleston is home to many firsts, but it’s a little-known fact that the historic city was home to the first formal exhibition of Solomon R. Guggenheim’s modern art collection. The exhibition was presented at the Gibbes Museum of Art, the South’s oldest art museum building, in 1936 and again in 1938, 21 years before Guggenheim’s collection found a permanent home in today’s renowned museum designed by Frank Lloyd Wright.

This fall, 80 years later, the Gibbes will present a special exhibition titledRealm of the Spirit: Solomon R. Guggenheim Collection and the Gibbes Museum of Art from October 22, 2016 to January 15, 2017. Organized by The Solomon R. Guggenheim Foundation, New York and featuring 35 works by celebrated modern artists including Marc Chagall, Vasily Kandinsky and Pablo Picasso, Realm of the Spirit revisits the Guggenheim’s fascinating – and largely unknown – history with the Lowcountry.

“We are honored to share much of the art featured in the original exhibitions with visitors to the Gibbes today in Realm of the Spirit. Through both figurative and abstract works, this selection from the Guggenheim collection emphasizes the timeless founding vision of the museum and the belief that non-objective art conveys the spiritual joy of creation” said Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation. 

Guggenheim’s ties to the Lowcountry

After purchasing a home along the Charleston Battery and a property in nearby Yemassee in the 1920s, Solomon and Irene Guggenheim quickly became prominent figures in the Charleston community. Before becoming the first director of the Guggenheim Museum, art advisor Hilla Rebay curated the 1936 and 1938 exhibitions, bringing international attention to Charleston and record attendance levels for the Gibbes Museum of Art. Preserving the character of the exhibitions, Realm of the Spirit occupies the exact building of the original showing, and adopts their specified arrangement by dividing the works into “non-objective paintings” – abstract art that had no ties to the visible world – and “paintings with an object.”

“With Realm of the Spirit, the Guggenheim and the Gibbes revisit the important intersection of our institutional histories,” said Angela Mack, executive director of the Gibbes Museum of Art. “This exhibit is truly a once-in-a-lifetime opportunity and offers visitors an authentic viewing experience that wouldn’t be possible without the major restoration work that has taken place at the Gibbes.”

The Gibbes recently reopened to the public after a two-year, $14 million renovation to restore the 111-year-old building to its original 1905 layout and programming. In addition to the 35 paintings and works on paper from the Guggenheim founding collection, the exhibition will feature archival materials and historic photographs that document the significant history of the Gibbes-Guggenheim connection, as well as a fully illustrated exhibition catalog.

Rudolf Bauer (1889-1953)

Space, 1932

Ink, watercolor, pastel, and graphite on paper

16 x 19 inches (40.6 x 48.3 cm)

Solomon R. Guggenheim Museum, New York

Solomon R. Guggenheim Founding Collection, By gift

41.146

Marc Chagall (1887-1985)

Paris Through the Window, 1913

Paris par la fenêtre

Oil on canvas

53 9/16 x 55 7/8 inches (136 x 141.9 cm)

Solomon R. Guggenheim Museum, New York

Solomon R. Guggenheim Founding Collection, By gift

37.438

Albert Gleizes (1881-1953)

On Brooklyn Bridge, 1917

Sur Brooklyn Bridge

Oil on canvas

63 3/4 x 51 inches (161.8 x 129.5 cm)

Solomon R. Guggenheim Museum, New York

Solomon R. Guggenheim Founding Collection

37.489

Vasily Kandinsky (1866-1944)

Composition 8, July 1923

Komposition 8

Oil on canvas

55 1/8 x 79 1/8 inches (140 x 201 cm)

Solomon R. Guggenheim Museum, New York

Solomon R. Guggenheim Founding Collection, By gift

37.262

Pablo Picasso (1881-1973)

Accordionist, Céret, summer 1911

L'accordéoniste

Oil on canvas

51 1/4 x 35 1/4 inches (130.2 x 89.5 cm)

Solomon R. Guggenheim Museum, New York

Solomon R. Guggenheim Founding Collection, By gift

37.537

5/19/2016

Hilla Rebay (1890-1967)

Improvisation, 1918

Paper collage, colored pencil, and watercolor on paper, mounted on

newspaper

sheet: 11 3/8 x 8 3/4 inches (28.9 x 22.2 cm); mount: 12 5/16 x 9 5/8 inches

(31.3 x 24.4 cm)

Solomon R. Guggenheim Museum, New York

Solomon R. Guggenheim Founding Collection, By gift

37.381

J. PAUL GETTY MUSEUM ANNOUNCES INTENT TO ACQUIRE RENAISSANCE MASTERPIECE BY RENOWNED ITALIAN PAINTER PARMIGIANINO

August 30, 2016, 7:16 am

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The J. Paul Getty Museum plans to acquire Virgin with Child, St. John the Baptist, and Mary Magdalene (about 1530-40) by Parmigianino (Italian, 1503-1540), one of the most celebrated painters of the Italian Renaissance. Extremely well-preserved, the painting is a supreme example of the artist’s mature Mannerist style and represents sixteenth-century painting at its finest.

Francesco Mazzola, better known as Parmigianino—a nickname derived from his native town of Parma—is one of the greatest Italian painters, draughtsman, and printmakers of the sixteenth century. During a career that lasted only two decades, he executed a wide range of work, from small panels for private devotion, to large-scale altarpieces and frescoes, to brilliantly executed portraits. Few painters had a greater influence on the art of their century, and his intellectual and elegant style spread far and wide, despite his very brief life.

The unconventional iconography of this painting typifies Parmigianino’s innovative work: the Christ Child turns from the Virgin Mary to embrace his young cousin, John the Baptist, whose hands are joined in prayer. Mary Magdalene holds the Christ Child under his arms while looking back at the Virgin. Intended for private devotion, the intimate religious subject exhibits Parmigianino’s characteristic polished and enamel-like paint surface and exquisitely rendered details; the lush landscape, elaborate hairstyles of the two women, interplay of hands, and still life with the jewels of Mary Magdalene enhance the transcendent beauty of the composition. Parmigianino executed the painting on paper laid down on panel, a unique feature in his surviving work, and one which reflects his accomplishment as a draughtsman.

“Pope Clement VII hailed Parmigianino as ‘Raphael reborn,’ and his style was extremely influential during the course of the sixteenth century,” says Davide Gasparotto, senior curator of paintings at the J. Paul Getty Museum. “This painting, with its impeccable provenance and exceptional state of preservation, shows the artist at the peak of his maturity.”

The painting complements a number of the Getty’s existing Italian Renaissance paintings, including

Head of Christ (about 1530) by Correggio (about 1489-1534),

The Rest on the Flight into Egypt with St. John the Baptist (about 1509) by Fra Bartolomeo (1472-1517) and works by Giulio Romano (before 1499 – 1546), Sebastiano del Piombo (1485-1547) and Jacopo Pontormo (1494-1557).

HANS MEMLING’S TRIPTYCH OF JAN CRABBE REUNITED IN LANDMARK EXHIBITION AT THE MORGAN

September 7, 2016, 8:36 am

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Hans Memling: Portraiture, Piety, and a Reunited Altarpiece 

September 2, 2016 through January 8, 2017 

Completed around 1470 in Bruges, Hans Memling’s extraordinary Triptych of Jan Crabbe  was dismantled centuries ago and the parts were scattered.  The inner wings from the altarpiece are among the finest paintings owned by the Morgan Library  & Museum, where they have long been on permanent view in museum founder Pierpont  Morgan’s study. 

Hans Memling: Portraiture, Piety, and a Reunited Altarpiece , opening on  September 2, reunites the Morgan panels with t he other elements of the famous triptych: the  central panel from the Musei Civici in Vicenza, Italy, and the outer wings from the  Groeningemuseum in Bruges, Belgium.  

The Triptych of Jan Crabbe , ca. 1467-70. Oil on panel. Cent er panel: Image courtesy of  Pinacoteca Civica di Palazzo Chiericati, Vicenza. Left and righ t panels: © The Morgan Library & Museum, Photography by Graham S. Haber.

This exhibition—on view through January 8,  2017—is the first to explore the reconstructed  masterpiece in context. The altarpiece will be su rrounded by other paintings by Memling and his contemporaries, by a choice selection of illumi nated manuscripts from Bruges, and by a group of  Early Netherlandish drawings.

Aside from the t iptych fragments from Italy and Belgium, loans  from the Metropolitan Museum of Art, the Fr ick Collection, and a private collection will  complement a range of works fr om the Morgan’s own holdings. 

The Crabbe triptych is a masterpiece of the  first order and shows a relatively young Memli ng demonstrating many of  the characteristic  elements of his work—crystalline  realism, spatial sophistication,  and the ability to capture the  humanity and individuality of his subjects.

THE EXHIBITION

Triptych of Jan Crabbe 

Morgan acquired the triptych’s inner wings in 1907.  They were part of an altarpiece commissioned by Jan  Crabbe, Abbot of the Cistercian monastery of Ten  Duinen, near Bruges, Belgium. On the central panel,  Memling depicted the crucifixion of Christ, with the  Virgin Mary, St. John the Evangelist, and St. Mary  Magdalene to the left of the cross. Kneeling to the  right of the cross is Jan  Crabbe, accompanied by his  name-saint St. John the Baptist and St. Bernard of  Clairvaux, the founder of the Cistercian order. The two  inner wings depict members  of the patron’s family: his  mother Anna Willemzoon with St. Anne on the left,  and his much younger half-brother Willem de Winter  with St. William on the right. The outer wings, originally visible only when the panels are closed,  feature an Annunciation scene with the Angel Gabriel  and the Virgin Mary. It is not known precisely when or why the work was dismantled, though it was not unus ual for composite pieces such as triptychs to suffer this fate. 

The Triptych of Jan Crabbe  is a fine demonstration of Memling’s extraordinary ability to capture  the essence of the human face. In particular, the left panel portrait of Anna Willemzoon is one of  the most frank and extraordinary depictions of old age from the Renaissance.   Indeed, in later years, Memling’s portraiture wo uld come to revolutionize the genre across Europe. Similarly transformative, the Annunciation scene features Gabriel and the Virgin Mary clad in white drapery and set on pedestals in niches like sculptures, but with rosy flesh tones in  their heads and hands, making them one of the earliest examples of the technique of demi-grisaille in Flemish painting.  

Triptych of Jan Crabbe in Context  

Paintings by Memling and his Contemporaries 

Several independent portrait paintings from Memling’s early and late career offer further evidence  of Memling’s extraordinary talent as a portraitist. Although Memling’s painterly style developed as he grew older, his ability to capture the essenc e of his sitters’ personalities never changed.   Memling did not work in isolation, and a painting representing the Virgin and Child with St. Anne  by a contemporary artist known as the Master of the Saint Ursula Legend provides an ideal  counterpart to the triptych with its broad  landscape and similar iconography. It shows how Memling’s production fits alongside that of other painters in Bruges, while also highlighting how his technical abilities surpassed most others. 

Manuscript Illumination in Bruges 

n the fifteenth century, Bruges was an important center for  manuscript illumination. Mem ling’s development of the demi-grisaille technique has generally been traced to his time spent in Cologne, but in fact, varieties of grisaille and demi-grisaille were  regularly used in Bruges manuscript illumination in the decades  prior to the painting of the Crabbe triptych, as will be shown with  a selection of Books of Hours from the Morgan’s rich holdings.  Conversely, the radical naturalism of Memling’s painting seems to have served as an inspiration to the manuscript painters.  Superb manuscripts from the Morgan’s collection will show that reflections of Memling’s painting technique began to appear in manuscript painting towards the  end of the fifteenth century.

Hans Memling (Flemish, ca. 1440–1494),  Portrait of a Man , ca. 1470, Oil on panel. © The Frick Collection. 

Master of  the Saint Ursula Legend (Flemish, active late 15 th  century),  Virgin and Child with St. Anne presenting Anna van Nieuwenhove , ca.  1479-83. Oil on panel. © Metropolitan Museum of Art, Robert Lehman Collection.  

American Mosaic: Picturing Modern Art through the Eye of Duncan Phillips

September 12, 2016, 6:45 am

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 Orange County Museum of Art
August 6 - December 4, 2016

On August 6th the Orange County Museum of Art opens American  Mosaic: Picturing Modern Art through the Eye of Duncan Phillips. A collection of American art  from the late 1800s through the mid 1900s, the exhibition reveals the nature of art during the  formation and heyday of modern art in the United States and reflects a culture of independence,  diversity, and experimentation. Included are important works by Richard Diebenkorn, Arthur  Dove, Thomas Eakins, Helen Frankenthaler, Marsden Hartley, Winslow Homer, Edward  Hopper, Georgia O’Keeffe, Horace Pippin, and Clyfford Still. (A complete list is below.) 

The Phillips Collection, America’s first museum dedicated to modern art, was opened in 1921 in  the nation’s capital by Duncan Phillips (1886–1966), who was determined to lift the work of  American artists out of obscurity at a time when museums and collectors were primarily  interested in European old masters. With an emphasis on the work of living artists, he  assembled a collection of American painting when there were no roadmaps for what would  stand the test of time. Phillips’s collecting interests were broad-ranging. He promoted diversity—  as seen in the works by self-taught artists, artists of color, foreign-born artists, and recently  naturalized Americans—resulting in a rich assembly of independent-minded artists. 

He also  believed his collection needed to reflect the continuity of art across time. He reached back into  the 19th century to collect artists that he considered America’s first modern masters, particularly  Thomas Eakins, Winslow Homer, and Albert Pinkham Ryder, in order to demonstrate the  connections between past and present in American modernism.  

 Phillips dedicated his life to finding, fostering, and celebrating the very best of American art,  particularly the work of America’s living artists and especially those guided by their  independence and individualism, rather than popular trends. He collected his favorite artists in  depth, committed to purchasing “many examples of the work of artists he admired, instead of  having one example of each of the standardized celebrities.” 

He also adopted a practice  associated with commercial galleries and unprecedented in the museum setting: Phillips gave  living artists solo exhibitions. He believed that these were an important source of  encouragement for artists, especially at the beginning of their careers.   

American Mosaic: Picturing Modern Art through the Eye of Duncan Phillips, presented in six  thematic sections, demonstrates not only the changes in American art from the late nineteenth  through the mid-twentieth centuries, it also celebrates Phillips’s lifetime commitment to an  extraordinary vision and how this focus created one of the finest collections of American  art.


ARTISTS AND ARTWORKS HIGHLIGHTED IN THE EXHIBITION   

ROMANTICISM AND REALISM

  By the second half of the 19th century, young American  painters were seeking alternatives to the sentimentality of  American genre painting and with the work of independent- minded artists such as George Inness, Winslow Homer,  Thomas Eakins, and Albert Pinkham Ryder (all represented in  this exhibition), American art came of age. Considered  America’s ‘modern’ old masters by Duncan Phillips, these  artists relied more on an artistic inner vision and an exploration  of the emerging interest in psychology.   


Romanticism and Realism

 1. Albert Pinkham Ryder (1847-1917)

Moonlit Cove, early to mid-1880s

Oil on canvas

14 1/8 x 17 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1924

2. Winslow Homer (1836-1910)

To the Rescue, 1886

Oil on canvas

24 x 30 inches

The Phillips Collection, Washington, D.C.

Acquired 1926

3. Thomas Eakins (1844-1916)

Miss Amelia Van Buren, c. 1891

Oil on canvas

45 x 32 inches

The Phillips Collection, Washington, D.C.

Acquired 1927

4. George Inness (1825-1894)

Lake Albano, 1869

Oil on canvas

30 3/8 x 45 3/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1920

5. Arthur B. Davies (1862-1928)

Along the Erie Canal, 1890

Oil on canvas

18 1/8 x 40 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1920

6. Louis Michel Eilshemius (1864-1941)

Adirondacks: Bridge for Fishing, 1897

Oil on canvas

18 x 34 7/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1933

In 1886, work by the French impressionists made it to New York and transformed American  painters who took to painting outdoors, adopting a brighter palette and applying pure unmixed  color on the canvas in dabs and broken brushstrokes to create a sense—an impression—of  reflected light, air, and atmosphere. American Mosaic includes artworks by  Childe Hassam, Theodore Robinson, John Henry Twachtman, and Julian  Alden Weir, who were among the first American painters to assimilate these   principals.

Impressionism 

7. Theodore Robinson (1852-1896)

Giverny, c. 1889

Oil on canvas

16 x 22 inches

The Phillips Collection, Washington, D.C.

Acquired 1920

8. John Henry Twachtman (1853-1902)

The Emerald Pool, c. 1895

Oil on canvas

25 x 25 inches

The Phillips Collection, Washington, D.C.

Acquired 1921

9. Julian Alden Weir (1852-1919)

The High Pasture, 1899–1902

Oil on canvas

24 1/8 x 33 1/2 inches

The Phillips Collection, Washington, D.C.

Acquired 1920

10. Childe Hassam (1859-1935)

Washington Arch, Spring, c. 1893 (inscribed 1890)

Oil on canvas

26 1/8 x 21 5/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1921

11. Ernest Lawson (1873-1939)

Spring Night, Harlem River, 1913

Oil on canvas, mounted on panel

25 1/8 x 30 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1920

12. Theodore Robinson (1852-1896)

Two in a Boat, 1891

Oil on canvas adhered to cardboard

9 3/8 x 13 3/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1920

13. Maurice Prendergast (1858-1924)

Fantasy, c. 1917

Oil on canvas

22 5/8 x 31 5/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1921

At the turn of the 20th century, a new generation of artists including Rockwell  Kent, Marsden Hartley, and John Marin—who were dissatisfied with impressionism’s emphasis on domesticated landscape views rendered in soft, atmospheric  light—sought to reinterpret nature in a bold, expressive manner. In 1928 Phillips wrote of Kent  that his painting captured “The dramatic, the elemental...and the cosmic,” and later referred to  Hartley as “powerful and personal and wholly American.”   

NATURE AND ABSTRACTION   

After World War I when American artists struggled to define the country’s modern identity,  Phillips was among the most adventurous collectors and museum directors, embracing bold,  original works that signaled a uniquely American style. Through the circle of artists championed  by photographer and gallerist Alfred Stieglitz, Phillips met and collected works by Arthur Dove,  John Marin, and Georgia O’Keeffe, who believed the experience of the natural world was a  spiritual one in which nature’s essence could be made visible in abstract elements—color, form,  and line—divorced from representation.  

Forces in Nature

14. John Henry Twachtman (1853-1902)

My Summer Studio, c. 1900

Oil on canvas

30 1/8 x 30 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1919

15. Paul Dougherty (1877-1947)

Storm Voices, 1912

Oil on canvas

36 x 48 inches

The Phillips Collection, Washington, D.C.

Acquired 1912

16. Rockwell Kent (1882-1971)

The Road Roller, 1909

Oil on canvas

34 1/8 x 44 1/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1918

17. Marsden Hartley (1877-1943)

Mountain Lake—Autumn, c. 1910

Oil on academy board

12 x 12 inches

Collection of The Phillips Collection, Washington, D.C.

Gift of Rockwell Kent, 1926

18. Harold Weston (1894-1972)

Winds, Upper Ausable Lake, 1922

Oil on canvas

16 x 22 inches

The Phillips Collection, Washington, D.C.

Gift of Mrs. Harold Weston, 1981

19. John Marin (1870-1953)

The Sea, Cape Split, Maine, 1939

Oil on canvas

24 1/4 x 29 1/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1940

Nature and Abstraction



20. Georgia O’Keeffe (1887-1986)

Large Dark Red Leaves on White, 1925

Oil on canvas

32 x 21 inches

The Phillips Collection, Washington, D.C.

Acquired 1943



21. Arthur Dove (1880-1946)

Sun Drawing Water, 1933

Oil on canvas

24 3/8 x 33 5/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1933

22. Augustus V. Tack (1870-1949)

Canyon, c. 1923-24

Oil on canvas on plywood panel

29 x 40 inches

The Phillips Collection, Washington, D.C.

Acquired 1924

23. Georgia O’Keeffe (1887-1986)

Ranchos Church, No. II, NM, 1929

Oil on canvas

24 1/8 x 36 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1930

24. Arthur Dove (1880-1946)

Red Sun, 1935

Oil on canvas

20 1/4 x 28 inches

The Phillips Collection, Washington, D.C.

Acquired 1935

 MODERN LIFE   

Moving away from its roots as an agrarian culture, America at the turn  of the 20th century grew fascinated by the emergence of the city and  its newly developing energy. The first wave of American painters  interested in the grit and grim of the city became known as the  Ashcan School while a second wave of artists were more interested in  the effects of the city on the American psyche. Phillips found these  artists, such as John Sloan and later Edward Hopper, to embody all of  the complexity and contradictions of the new urban scene. Drawn to  the work of John Sloan, Phillips noted that the artist “points out not  only the crowd but the lonely individual caught in the maelstrom;” and  similarly, after acquiring Hopper’s Sunday (1926) in 1926, Phillips  described how Hopper balanced the abstraction of architectural  spaces against the psychological isolation of modern life.  The renewed sense of nationalism that settled over the country at the end of World War I  coupled with engineering advances found expression in the new ways to express pictorially the  structures of the city. 

Modern Life

 

25. John Sloan (1871-1951)

Clown Making Up, 1910

Oil on canvas

32 1/8 x 26 inches

The Phillips Collection, Washington, D.C.

Acquired 1919

26. George Bellows (1882-1925)

Emma at a Window, 1920

Oil on canvas

41 1/4 x 34 3/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1924

27. Walt Kuhn (1877-1949)

Girl with Mirror, 1928

Oil on canvas

24 x 20 inches

The Phillips Collection, Washington, D.C.

Acquired 1929

 

28. Guy Pène du Bois (1884-1958)

Blue Armchair, 1923

Oil on plywood panel

25 x 20 inches

The Phillips Collection, Washington, D.C.

Acquired 1927

 

29. Edward Hopper (1882-1967)

Sunday, 1926

Oil on canvas

29 x 34 inches

The Phillips Collection, Washington, D.C.

Acquired 1926


The City

30. John Sloan (1871-1951)

Six O’Clock, Winter, 1912

Oil on canvas

26 1/8 x 32 inches

The Phillips Collection, Washington, D.C.

Acquired 1922

 

31. Stefan Hirsch (1899-1964)

New York, Lower Manhattan, 1921

Oil on canvas

29 x 34 inches

The Phillips Collection, Washington, D.C.

Acquired 1925

32. Charles Sheeler (1883-1965)

Skyscrapers, 1922

Oil on canvas

20 x 13 inches

The Phillips Collection, Washington, D.C.

Acquired 1926

 

33. Ralston Crawford (1906-1978)

Boat and Grain Elevators, No. 2, 1942

Oil on hardboard

20 1/8 x 16 inches

The Phillips Collection, Washington, D.C.

Acquired 1943

34. Stefan Hirsch (1899-1964)

Mill Town, c. 1925

Oil on canvas

30 x 40 inches

The Phillips Collection, Washington, D.C.

Acquired 1925

 

35. Edward Bruce (1879-1943)

Power, c. 1933

Oil on canvas

30 x 45 inches

The Phillips Collection, Washington, D.C.

Gift of Mrs. Edward Bruce, 1957

36. Edward Hopper (1882-1967)

Approaching a City, 1946

Oil on canvas

27 1/8 x 36 inches

The Phillips Collection, Washington, D.C.

Acquired 1947

An early supporter of Charles Sheeler and his interpretations of the city  with abstract patterns of light and dark, Phillips believed his pictures expressed the impersonal  character of the time with dreamlike precision.  Millions of immigrants from Europe, Latin American, and Asia began arriving in the United  States in the late 19th century. African Americans from the rural South moved to the cities of the  North seeking freedom from oppression between 1910 and 1940. 

Phillips—who believed a  diversity of voices was an essential part of American life—was particularly attracted to work by  artists of color, including Jacob Lawrence and Horace Pippin; and the self-taught Grandma  Moses, who painted the rural life in upstate New York that she knew intimately.   

Memory and Identity

 

37. Yasuo Kuniyoshi (1893-1953)

Maine Family, c. 1922-23

Oil on canvas

30 1/4 x 24 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1940

 

38. John Kane (1860-1934)

Across the Strip, 1929

Oil on canvas

32 1/4 x 34 1/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1930

 

39. Allan Rohan Crite (1910-2007)

Parade on Hammond Street, 1935

Oil on canvas board

18 x 24 inches

The Phillips Collection, Washington, D.C.

Acquired 1942

40. Jacob Lawrence (1917-2000)

Toussaint L'Ouverture series, No. 17: The Capture, 1987

Silkscreen

28 x 18 1/2 inches

The Phillips Collection, Washington, D.C.

Gift of Amistad Research Center, 1987

 

41. Jacob Lawrence(1917-2000)

Toussaint L'Ouverture series: Contemplation, 1993

Silkscreen on two ply rag paper

32 1/8 x 22 1/8 inches

The Phillips Collection, Washington, D.C.

Gift of Jacob Lawrence, 1993

 

42. Horace Pippin (1888-1946)

Domino Players, 1943

Oil on composition board

12 3/4 x 22 inches

The Phillips Collection, Washington, D.C.

Acquired 1943

 

43. Grandma Moses (1860-1961)

Hoosick Falls in Winter, 1944

Oil on hardboard

19 3/4 x 23 3/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1949

 

44. Doris Lee (1905-1983)

Illinois River Town, c. 1938

Oil on canvas

32 x 50 inches

The Phillips Collection, Washington, D.C.

Acquired 1939

LEGACY OF CUBISM   

Cubism, which developed in France around 1907, burst onto the American  scene in 1913. In the 1920s and 1930s, some American modernists tried to  Americanize cubism, both in style and subject matter. Russian-born Ilya  Bolotowsky, co-founder of the American Abstract Artists advocated for  order and balance through pure geometric abstraction. Karl Knaths  developed what critic Ralph Flint called a “very American, very masculine”  cubist style. Working independently, Knaths developed a highly original  style that used expressive line and planar arrangements of color to  interpret his environment, which Phillips valued for its ‘humanizing  abstraction.’   

Legacy of Cubism
 

46. Karl Knaths (1891-1971)

Maritime, 1931

Oil on canvas

40 x 32 inches

The Phillips Collection, Washington, D.C.

Acquired 1931

 

47. John D. Graham (1887-1961)

Rue Brea, c. 1928

Oil on canvas

25 x 20 1/2 inches

The Phillips Collection, Washington, D.C.

Gift of Judith H. Miller, 1990
 

DEGREES OF ABSTRACTION   

By the end of the 1930s, artists in America were putting increasing emphasis on abstraction as  a universal visual language of pure form and color, whether divorced from nature or derived  from it. Moreover, many American abstract painters looked to philosophy, mathematics,  science, psychology, religion, and music to stimulate their visual reality and propel their art into  new directions; appealing to Phillips’s open mindedness in American art.  Morris Graves, steeped in Zen Buddhism and Taoism, believed in the subconscious as the  locus of creativity. Arthur Dove, while still looking to his surroundings for inspiration, eliminated  descriptive detail to concentrate exclusively on spatial, geometric, and color relationships.   

Degrees of Abstraction
 
 

51. Marsden Hartley (1877-1943)

Wild Roses, 1942, 1942

Oil on hardboard

22 x 28 inches

The Phillips Collection, Washington, D.C.

Acquired 1943

 

52. Karl Knaths (1891-1971)

Deer in Sunset, 1946

Oil on canvas

36 x 42 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1948

 

53. Arthur Dove (1880-1946)

Rose and Locust Stump, 1943

Wax emulsion on canvas

24 x 32 inches

The Phillips Collection, Washington, D.C.

Acquired 1944

 

54. Theodoros Stamos (1922-1997)

World Tablet, 1948

Oil on hardboard

48 x 36 inches

The Phillips Collection, Washington, D.C.

Acquired 1949

 

55. Morris Graves (1910-2001)

August Still Life. 1952

Oil on canvas mounted on hardboard

48 x 40 3/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1954

ABSTRACT EXPRESSIONISM   

In the 1940s and 1950s, with the emergence of abstract expressionism,  the first truly international style to emerge in the United States, New York  City became the heart of avant-garde creativity and the art capital of the  world. Abstract expressionism turned American art into a global force.  The artists favored the ’authenticity’ of the individual gesture and although  they shared certain intellectual concerns and social connections, each of  the artists painted in his or her own style. Clyfford Still purged his  paintings of emblematic imagery, making dark canvases that expressed  his philosophical concerns. Younger artists Sam Francis and Richard  Diebenkorn favored expressive use of color. Helen Frankenthaler, Morris  Louis, and Kenneth Noland eliminated the use of thick pigment for a  soaking and staining technique.  

Abstract Expressionism

 

57. Clyfford Still (1904-1980)

1950 B, 1950

Oil on canvas

84 x 67 1/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1969

58. Richard Diebenkorn (1922-1993)

Berkeley No. 12, 1955

Oil on canvas 53 1/4 x 43 1/4 inches

The Phillips Collection, Washington, D.C.

Gift of Judith H. Miller, 1990

59. Richard Diebenkorn (1922-1993)

Interior with View of the Ocean, 1957

Oil on canvas

49 1⁄4 x 57 7/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1958

60. Philip Guston (1912-1980)

Native’s Return, 1957

Oil on canvas

64 7/8 x 75 7/8 inches

The Phillips Collection, Washington, D.C.

Acquired 1958

61. Sam Francis (1923-1994)

Blue, 1958

Oil on canvas

48 1/4 x 34 3/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1958

62. Kenneth Noland (1924-2010)

April, 1960

Acrylic on canvas

16 x 16 inches

The Phillips Collection, Washington, D.C.

Acquired 1960

63. Helen Frankenthaler (1928-2011)

Canyon, 1965

Acrylic on canvas

44 x 52 inches

The Phillips Collection, Washington, D.C.

The Dreier Fund for acquisitions and funds given by Gifford

Phillips, 2001

64. Milton Avery (1885-1965)

Black Sea, 1959

Oil on canvas

50 x 67 3/4 inches

The Phillips Collection, Washington, D.C.

Acquired 1965

65. Morris Louis

Approach, 1962

Acrylic on canvas

83 1/4 x 28 inches

The Phillips Collection, Washington, D.C.

Gift of Judith H. Miller, 1990

American Mosaic: Picturing Modern Art through the Eye of Duncan Phillips showcases  extraordinary examples from these American art movements by some of the nation’s most  important artists. The 65 paintings and one sculpture, created between the 1860s and 1960s,  offer a thematic journey that reveals the breadth of America’s modernist vision. For more than  40 years, Duncan Phillips was a major force in promoting American modernism, through  acquisitions, exhibitions, and the presentation of American art in his museum, The Phillips.   

American Mosaic: Picturing Modern Art through the Eye of Duncan Phillips has been organized  by The Phillips Collection, Washington, D.C.  The exhibition is presented by Visionaries. 

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New Publication Surveys Five Millennia of Paintings at The Met

September 19, 2016, 10:17 am

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Publication Date: September 15, 2016

Written by a Met Scholar, Includes 500 Paintings with 1,100 Illustrations; Book Is the Most Extensive on the Subject to Date   The Metropolitan Museum of Art: Masterpiece Paintings is a monumental new publication, published by Skira Rizzoli, that highlights 500 iconic works from across the Museum's world-renowned collection of more than 5,000 years of visual expression. Over 1,100 lavish color illustrations present the paintings chronologically, from the ancient Near East to the present day, accompanied by engaging and informative texts written by long-time Met curator and educator Kathryn Calley Galitz. The volume's broad sweep of material makes it at once a universal history of painting and an ideal introduction to masterworks at The Met. "This new publishing project celebrates the breadth and depth of The Met's unparalleled collection of paintings across all cultures," said Thomas P. Campbell, Director and CEO of The Met. "It's the most extensive survey of the Museum's paintings ever published, with a fresh, interconnected approach that reflects today's global perspective." Ms. Galitz added: "It was such a privilege to give voice to the Museum's collecton of masterpiece paintings. As I was writing, I was especially drawn to the many connections that emerged among works from different times and cultures. I hope this book will inspire readers to make their own connections and to approach painting in a new, more inclusive way." The 500 works presented in The Metropolitan Museum of Art: Masterpiece Paintingsencompass a wide range of surfaces where color has been applied—from clay vessels unearthed at ancient burial sites to Egyptian mummy boards, plaster walls that survived the eruption of Mount Vesuvius in A.D. 79, and vellum pages from medieval manuscripts. Also included are paintings on silk scrolls, palm leaves, and tree bark, as well as traditional materials such as canvas and wood. The landmark paintings chosen for the volume are distinguished by their innovative qualities or their influence, while some best embody a particular artist or culture. The creators of the works span the widest possible range, from anonymous makers to the most celebrated artists of their day. European and American artists include Duccio, El Greco, Raphael, Titian, Botticelli, Bronzino, Caravaggio, Turner, Velázquez, Goya, Rubens, Rembrandt, Bruegel, Vermeer, David, Renoir, Monet, Van Gogh, Gauguin, Cézanne, Degas, Sargent, Homer, Matisse, Picasso, Pollock, Johns, and Warhol, through to contemporary artist Kerry James Marshall. Ms. Galitz's introduction and her writings about the individual works of art address the artistic and historical contexts in which the paintings were created, their influences on other works of art, and the significance of the artists—all of which speak to what makes these works "masterpieces." In many ways, the publication is a tribute to the collecting acumen of The Met staff and the generosity of its donors, who, over the nearly 150 years since The Metropolitan Museum of Art was founded, have built the collection into one of the largest and most comprehensive in the world. The credit line for each painting tells an essential part of its story: how it came to enter the Museum's holdings. In most instances, the works were gifts, attesting to the extraordinary legacy of patronage that has sustained The Met throughout its history. Names such as Morgan, Rogers, Altman, Bache, Havemeyer, Clark, Lehman, Dillon, Wrightsman, and Annenberg resonate as both remarkable collectors and symbols of historic generosity. The Museum's collection of masterpiece paintings continues to grow: 65 of the works included in this volume were acquired in the year 2000 or later, and four of them just within the past year. Among the most recent additions are important works from the Mary Griggs Burke collection of Japanese art and Leonard A. Lauder's transformative gift of 78 seminal Cubist paintings.

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Dubuffet



Christie’s will highlight its November 15th Evening Sale of Post-War and Contemporary Art with Jean Dubuffet’s Les Grandes Artères, 1961 ($15-20million). Les Grandes Artères is a masterful canvas from Dubuffet’s celebrated Paris Circus series*, a body of work which is regarded by many Dubuffet scholars as marking the pinnacle of the artist’s career. With its vibrant palette, sense of energy and the individuality that Dubuffet instills in each of his characters, Les Grandes Artères, is one of the artist’s most accomplished compositions from Paris Circus.

Many examples from this series are housed in important international collections including the Tate Gallery, London; Solomon R. Guggenheim Museum, New York; National Gallery of Art, Washington D.C., and the Centre Georges Pompidou, Paris. Les Grandes Artères has been in the same private American collection since 1964, and has not appeared publicly since 1973, when it was featured in the Guggenheim’s Dubuffet retrospective.

Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art, remarked: “Les Grandes Artères is an extraordinarily vibrant and complex canvas that encapsulates the vitality of Paris, and the dynamism of city life. The detail with which he depicts each of his figures gives them their own individual character and the line-up of glamorous cars shows what a cosmopolitan city Paris had become—a scene which Dubuffet captures this with particular skill and spirit. We are particularly pleased to be bringing this work to auction on the heels of a pinnacle year for Dubuffet, which included a range of important international exhibitions of his work. With a retrospective at the Fondation Beyeler, a monographic show at the Acquavella Gallery in Manhattan, and an installation of his monumental sculpture, Welcome Parade, in front of New York’s historic Seagram Building, it is clear that the global interest in Dubuffet has never been stronger.”

Across its surface Dubuffet convenes a cast of characters, which expertly capture the sense of liberation enjoyed by Paris as it emerged from the darkness of the Second World War. Using his signature naïve style, Dubuffet lays out the French capital’s grand boulevards filled with bustling shops, cars and people.

In this bold and vibrant canvas, Dubuffet packs the surface with the energy and exuberance that he witnessed after his return to the French capital. Dubuffet’s breakthrough came in February 1961 when the force of this powerful revelation gave birth to the artists most illustrious and sought-after series, Paris Circus.

Returning to Paris after a six-year self-imposed hiatus in the countryside of southern France, Dubuffet’s Paris Circus paintings signal the artist’s vivacious rediscovery of city life.
Captivated by the energy coursing through the Parisian streets, Dubuffet was swept up in the whirl of the city bustling with cars and people. Infused with a high degree of shrewdness and wit, the shop lined street is flanked by businesses of the artist’s own creation. In addition to the archetypal city establishments – a bank, a cosmetics store – Dubuffet depicted storefronts with signage, which satirize the rampant consumerism that he saw pervading society.

A few examples include: Fruits et legumes du desespoir (fruits and vegetables of despair), A l’issue fatale (fatal outcome) and Societe l’indercrottable (hopeless society). Even the four cars at the bottom of the composition are specific brands: Ford, Citroën, Simca, Fiat.

Throughout the 1960s, an intoxicating postwar energy swept the globe, in which every day phenomena were seen through fresh, excited eyes. In America, Pop Art was born, investigating the unique auras surrounding quotidian objects and fearlessly appropriating the daily images that flooded the collective consciousness. In France, amidst the throes of New Wave cinema and sexual revolution, Dubuffet created a new liberated language that sought to convey the unbounded joy of daily living.


Les Grandes Artères conjures a new artistic handwriting, equipped to translate sensory experience and, in doing so, to suggest new ways of comprehending our daily existence.   

 The world auction record for Jean Dubuffet is currently held by Paris Polka, 1961, which is also from Dubuffet’s Paris Circus series.  The record was achieved at Christie’s New York in May 2015, when it realized $24,805,000

Kandinksky

Christie’s has announced Wassily Kandinsky’s Rigide et courbé as a highlight of its November 16^th Impressionist and Modern Art Evening Sale in New York. Rigide et courbé (Rigid and Curved) is one of the most celebrated and dynamic compositions, of grand scale. The canvas is densely packed with lively geometric vignettes and a thoughtfully textured surface composed of sand mixed with paint, a technique Kandinsky used only in his Paris paintings of 1934-1935. The present work, first owned by Solomon R. Guggenheim who acquired it from Kandinsky in 1936, has been extensively published and highly exhibited from 1937-1949. Estimated at $18-25 million, the painting is undoubtedly the most important Paris period painting by Kandinsky to ever appear on the market. It is being offered from an important private American collection and has not been on the market since 1964. The upcoming sale preview marks the first time in over 50 years that the work will be publicly displayed.
 

Conor Jordan, Deputy Chairman of Impressionist and Modern Art, remarked: “With its dynamic sweep of upward energy, Kandinsky’s Rigide et courbé, a late masterpiece from the mid-1930s, unseen in public for over fifty years, evokes an epic paean, a rhapsodic song of thanksgiving suggesting the bright hope the artist saw in his new home in Paris following his flight from Nazi Germany. Abstract forms, runic symbols and mythic references, summoning Kandinsky's life and career, intertwine with veiled allusions to contemporary events, across the broad dimensions of this technically audacious canvas which is richly worked in oil and sand. It ranks among the greatest Kandinskys still in private hands.”

Frida Kahlo at The Dali

September 20, 2016, 8:39 am

≫ Next: Rafael: Image Poetry (Pushkin Museum of Fine Arts, Moscow)

≪ Previous: Dubuffet, Kandinsky Highlight Christie's November 16th Impressionist and Modern Art Evening Sale in New Yor

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An exhibition of Frida Kahlo’s paintings and drawings, together with her personal photograph collection, will open to the public at The Dali Museum in St. Petersburg, FL on December 17, 2016 and continue through April 17, 2017. Kahlo’s works have achieved monumental importance in art and popular culture. Her dreamlike work suggests that love and suffering create a new sense of beauty. Kahlo’s art and storied life stir immense public interest.

Frida Kahlo at The Dali will be Florida’s first solo exhibition showcasing the extraordinary career and life of the acclaimed 20th century artist. The exhibit will feature a collection of more than 60 Kahlo pieces including 15 paintings, seven drawings and numerous personal photographs from the celebrated female artist and influential icon. The exhibition will extend outdoors where a special collection of flowers and plants representative of those in Kahlo’s own garden at Casa Azul, her home in Mexico, will grace the grounds of the Museum’s Avant Garden.

Co-organized by The Dali and the Museo Dolores Olmedo in Mexico City and featuring the Vicente Wolf photographic collection, the exhibition is an intriguing exploration of the life of Kahlo, her striking artwork and her fascinating psyche. Together with the exclusive photographs of family, friends and lovers, the exhibition gives a complete view of Kahlo’s world along with the joys, passions and obsessions of this remarkable artist.

“With her dreamlike images, Kahlo has stirred huge public interest beyond the traditional art audience. In a way, Kahlo created a persona that serves as a contemporary feminine ideal – both tender and fierce,” said Dali Museum Executive Director, Dr. Hank Hine. “Much like Dali, she constructed an eccentric identity through the iconography in her paintings and then dressed and carried herself as the personality she created in her art. Painting by painting, she becomes a heroic figure of struggle and perseverance.”

Kahlo and Dalí each created artistic autobiographies and their personalities loom behind their paintings, generating a presence that both shapes and overshadows their works of art. While Kahlo largely rejected the term ‘Surrealism’ and felt that her works were as real as her life, André Breton, known as the founder of Surrealism, took great interest in her work and described her painting as ‘a bomb wrapped in a ribbon.’ “It’s a natural fit for The Dali to present an exhibition of Frida Kahlo.” said Kathy Greif, Chief Marketing Officer of The Dali. “We’ve been broadening the scope of our exhibitions, presenting works from famed artists and icons like Warhol, Picasso and Walt Disney – all whom have a connection to Dali– but this is the first renowned female artist to grace our halls in some time, we are honored to share Kahlo’s incredible art and complex life story with the world.”

In conjunction with this empowering exhibition, The Dali will host a series of programs that engage visitors in journaling, Mexican cooking, and gardening – some of Kahlo’s favorite pastimes. And, this year, the Museum’s annual student exhibit will carry a corresponding theme of ‘Surreal Identity,’ based on the symbolic and autobiographical approach utilized by Kahlo and Dali. Additional programming such as films will accompany the Kahlo exhibition and a large variety of Kahlo-inspired merchandise – including jewelry, home decor, apparel and more – will be available in The Dali Museum Store.

Frida Kahlo at The Dali has been co-organized by The Salvador Dali Museum, St. Petersburg, FL and the Museo Dolores Olmedo, Mexico City.

Frida Kahlo Self-Portrait with Small Monkey,

1945 Oil on Masonite

Collection Museo Dolores Olmedo, Mexico City

© 2016 Banco de México Diego Rivera and

Frida Kahlo Museums Trust, Mexico City

© Photo Erik Meza/Javier Otaola

Frida Kahlo Portrait of Alicia Galant,

1927 Oil on Canvas

Collection Museo Dolores Olmedo, Mexico City

© 2016 Banco de México Diego Rivera and

Frida Kahlo Museums Trust, Mexico City

© Photo Erik Meza/Javier Otaola -

An exhibition of Frida Kahlo’s paintings and drawings, together with her personal photograph collection, will open to the public at The Dali Museum in St. Petersburg, FL on December 17, 2016 and continue through April 17, 2017. Kahlo’s works have achieved monumental importance in art and popular culture. Her dreamlike work suggests that love and suffering create a new sense of beauty. Kahlo’s art and storied life stir immense public interest.
Frida Kahlo at The Dali will be Florida’s first solo exhibition showcasing the extraordinary career and life of the acclaimed 20^th century artist. The exhibit will feature a collection of more than 60 Kahlo pieces including 15 paintings, seven drawings and numerous personal photographs from the celebrated female artist and influential icon. The exhibition will extend outdoors where a special collection of flowers and plants representative of those in Kahlo’s own garden at Casa Azul, her home in Mexico, will grace the grounds of the Museum’s Avant Garden.
Co-organized by The Dali and the Museo Dolores Olmedo in Mexico City and featuring the Vicente Wolf photographic collection, the exhibition is an intriguing exploration of the life of Kahlo, her striking artwork and her fascinating psyche. Together with the exclusive photographs of family, friends and lovers, the exhibition gives a complete view of Kahlo’s world along with the joys, passions and obsessions of this remarkable artist.
“With her dreamlike images, Kahlo has stirred huge public interest beyond the traditional art audience. In a way, Kahlo created a persona that serves as a contemporary feminine ideal – both tender and fierce,” said Dali Museum Executive Director, Dr. Hank Hine. “Much like Dali, she constructed an eccentric identity through the iconography in her paintings and then dressed and carried herself as the personality she created in her art. Painting by painting, she becomes a heroic figure of struggle and perseverance.”
Kahlo and Dalí each created artistic autobiographies and their personalities loom behind their paintings, generating a presence that both shapes and overshadows their works of art. While Kahlo largely rejected the term ‘Surrealism’ and felt that her works were as real as her life, André Breton, known as the founder of Surrealism, took great interest in her work and described her painting as ‘a bomb wrapped in a ribbon.’ “It’s a natural fit for The Dali to present an exhibition of Frida Kahlo.” said Kathy Greif, Chief Marketing Officer of The Dali. “We’ve been broadening the scope of our exhibitions, presenting works from famed artists and icons like Warhol, Picasso and Walt Disney – all whom have a connection to Dali– but this is the first renowned female artist to grace our halls in some time, we are honored to share Kahlo’s incredible art and complex life story with the world.”
In conjunction with this empowering exhibition, The Dali will host a series of programs that engage visitors in journaling, Mexican cooking, and gardening – some of Kahlo’s favorite pastimes. And, this year, the Museum’s annual student exhibit will carry a corresponding theme of ‘Surreal Identity,’ based on the symbolic and autobiographical approach utilized by Kahlo and Dali. Additional programming such as films will accompany the Kahlo exhibition and a large variety of Kahlo-inspired merchandise – including jewelry, home decor, apparel and more – will be available in The Dali Museum Store.
Frida Kahlo at The Dali has been co-organized by The Salvador Dali Museum, St. Petersburg, FL and the Museo Dolores Olmedo, Mexico City.
- See more at: http://thedali.org/press-room/frida-kahlo-dali/#sthash.MiXzUYwU.dpuf

An exhibition of Frida Kahlo’s paintings and drawings, together with her personal photograph collection, will open to the public at The Dali Museum in St. Petersburg, FL on December 17, 2016 and continue through April 17, 2017. Kahlo’s works have achieved monumental importance in art and popular culture. Her dreamlike work suggests that love and suffering create a new sense of beauty. Kahlo’s art and storied life stir immense public interest.
Frida Kahlo at The Dali will be Florida’s first solo exhibition showcasing the extraordinary career and life of the acclaimed 20^th century artist. The exhibit will feature a collection of more than 60 Kahlo pieces including 15 paintings, seven drawings and numerous personal photographs from the celebrated female artist and influential icon. The exhibition will extend outdoors where a special collection of flowers and plants representative of those in Kahlo’s own garden at Casa Azul, her home in Mexico, will grace the grounds of the Museum’s Avant Garden.
Co-organized by The Dali and the Museo Dolores Olmedo in Mexico City and featuring the Vicente Wolf photographic collection, the exhibition is an intriguing exploration of the life of Kahlo, her striking artwork and her fascinating psyche. Together with the exclusive photographs of family, friends and lovers, the exhibition gives a complete view of Kahlo’s world along with the joys, passions and obsessions of this remarkable artist.
“With her dreamlike images, Kahlo has stirred huge public interest beyond the traditional art audience. In a way, Kahlo created a persona that serves as a contemporary feminine ideal – both tender and fierce,” said Dali Museum Executive Director, Dr. Hank Hine. “Much like Dali, she constructed an eccentric identity through the iconography in her paintings and then dressed and carried herself as the personality she created in her art. Painting by painting, she becomes a heroic figure of struggle and perseverance.”
Kahlo and Dalí each created artistic autobiographies and their personalities loom behind their paintings, generating a presence that both shapes and overshadows their works of art. While Kahlo largely rejected the term ‘Surrealism’ and felt that her works were as real as her life, André Breton, known as the founder of Surrealism, took great interest in her work and described her painting as ‘a bomb wrapped in a ribbon.’ “It’s a natural fit for The Dali to present an exhibition of Frida Kahlo.” said Kathy Greif, Chief Marketing Officer of The Dali. “We’ve been broadening the scope of our exhibitions, presenting works from famed artists and icons like Warhol, Picasso and Walt Disney – all whom have a connection to Dali– but this is the first renowned female artist to grace our halls in some time, we are honored to share Kahlo’s incredible art and complex life story with the world.”
In conjunction with this empowering exhibition, The Dali will host a series of programs that engage visitors in journaling, Mexican cooking, and gardening – some of Kahlo’s favorite pastimes. And, this year, the Museum’s annual student exhibit will carry a corresponding theme of ‘Surreal Identity,’ based on the symbolic and autobiographical approach utilized by Kahlo and Dali. Additional programming such as films will accompany the Kahlo exhibition and a large variety of Kahlo-inspired merchandise – including jewelry, home decor, apparel and more – will be available in The Dali Museum Store.
Frida Kahlo at The Dali has been co-organized by The Salvador Dali Museum, St. Petersburg, FL and the Museo Dolores Olmedo, Mexico City.
- See more at: http://thedali.org/press-room/frida-kahlo-dali/#sthash.MiXzUYwU.dpuf

Frida Kahlo at The Dali December 17

August 15, 2016

Treasured Artist Frida Kahlo Coming to Florida’s Dali Museum
Frida Kahlo at The Dali – an exhibit of Paintings, Drawings & Photographs – Debuts December 17, 2016
 ST. PETERSBURG, FLA (August 15, 2015)– An exhibition of Frida Kahlo’s paintings and drawings, together with her personal photograph collection, will open to the public at The Dali Museum in St. Petersburg, FL on December 17, 2016 and continue through April 17, 2017. Kahlo’s works have achieved monumental importance in art and popular culture. Her dreamlike work suggests that love and suffering create a new sense of beauty. Kahlo’s art and storied life stir immense public interest.
Frida Kahlo at The Dali will be Florida’s first solo exhibition showcasing the extraordinary career and life of the acclaimed 20^th century artist. The exhibit will feature a collection of more than 60 Kahlo pieces including 15 paintings, seven drawings and numerous personal photographs from the celebrated female artist and influential icon. The exhibition will extend outdoors where a special collection of flowers and plants representative of those in Kahlo’s own garden at Casa Azul, her home in Mexico, will grace the grounds of the Museum’s Avant Garden.
Co-organized by The Dali and the Museo Dolores Olmedo in Mexico City and featuring the Vicente Wolf photographic collection, the exhibition is an intriguing exploration of the life of Kahlo, her striking artwork and her fascinating psyche. Together with the exclusive photographs of family, friends and lovers, the exhibition gives a complete view of Kahlo’s world along with the joys, passions and obsessions of this remarkable artist.
“With her dreamlike images, Kahlo has stirred huge public interest beyond the traditional art audience. In a way, Kahlo created a persona that serves as a contemporary feminine ideal – both tender and fierce,” said Dali Museum Executive Director, Dr. Hank Hine. “Much like Dali, she constructed an eccentric identity through the iconography in her paintings and then dressed and carried herself as the personality she created in her art. Painting by painting, she becomes a heroic figure of struggle and perseverance.”
Kahlo and Dalí each created artistic autobiographies and their personalities loom behind their paintings, generating a presence that both shapes and overshadows their works of art. While Kahlo largely rejected the term ‘Surrealism’ and felt that her works were as real as her life, André Breton, known as the founder of Surrealism, took great interest in her work and described her painting as ‘a bomb wrapped in a ribbon.’ “It’s a natural fit for The Dali to present an exhibition of Frida Kahlo.” said Kathy Greif, Chief Marketing Officer of The Dali. “We’ve been broadening the scope of our exhibitions, presenting works from famed artists and icons like Warhol, Picasso and Walt Disney – all whom have a connection to Dali– but this is the first renowned female artist to grace our halls in some time, we are honored to share Kahlo’s incredible art and complex life story with the world.”
In conjunction with this empowering exhibition, The Dali will host a series of programs that engage visitors in journaling, Mexican cooking, and gardening – some of Kahlo’s favorite pastimes. And, this year, the Museum’s annual student exhibit will carry a corresponding theme of ‘Surreal Identity,’ based on the symbolic and autobiographical approach utilized by Kahlo and Dali. Additional programming such as films will accompany the Kahlo exhibition and a large variety of Kahlo-inspired merchandise – including jewelry, home decor, apparel and more – will be available in The Dali Museum Store.
Frida Kahlo at The Dali has been co-organized by The Salvador Dali Museum, St. Petersburg, FL and the Museo Dolores Olmedo, Mexico City. The exhibit also features works from the Vicente Wolf photographic collection. Frida Kahlo at The Dali is curated for The Dali by Dr. Hank Hine and Dr. William Jeffett.
DOWNLOAD HI-RES IMAGES HERE
Permission to reproduce these images is granted solely for use in conjunction with media reportage and review of Frida Kahlo at The Dali All reproductions must be accompanied by each image credit as noted below. Permission to reproduce these images is contingent upon the press’ acknowledgement and acceptance of these terms.

Frida Kahlo Self-Portrait with Small Monkey,
1945 Oil on Masonite
Collection Museo Dolores Olmedo, Mexico City
© 2016 Banco de México Diego Rivera and
Frida Kahlo Museums Trust, Mexico City
© Photo Erik Meza/Javier Otaola

 Frida Kahlo Portrait of Alicia Galant,
1927 Oil on Canvas
Collection Museo Dolores Olmedo, Mexico City
© 2016 Banco de México Diego Rivera and
Frida Kahlo Museums Trust, Mexico City
© Photo Erik Meza/Javier Otaola

Frida Kahlo
photographed by Lola Alvarez Bravo,
circa 1945, at Casa Azul
(with Diego’s 1930 Self-portrait
on a lithographic stone in the background).

- See more at: http://thedali.org/press-room/frida-kahlo-dali/#sthash.MiXzUYwU.dpuf

Frida Kahlo at The Dali December 17

August 15, 2016

Treasured Artist Frida Kahlo Coming to Florida’s Dali Museum
Frida Kahlo at The Dali – an exhibit of Paintings, Drawings & Photographs – Debuts December 17, 2016
 ST. PETERSBURG, FLA (August 15, 2015)– An exhibition of Frida Kahlo’s paintings and drawings, together with her personal photograph collection, will open to the public at The Dali Museum in St. Petersburg, FL on December 17, 2016 and continue through April 17, 2017. Kahlo’s works have achieved monumental importance in art and popular culture. Her dreamlike work suggests that love and suffering create a new sense of beauty. Kahlo’s art and storied life stir immense public interest.
Frida Kahlo at The Dali will be Florida’s first solo exhibition showcasing the extraordinary career and life of the acclaimed 20^th century artist. The exhibit will feature a collection of more than 60 Kahlo pieces including 15 paintings, seven drawings and numerous personal photographs from the celebrated female artist and influential icon. The exhibition will extend outdoors where a special collection of flowers and plants representative of those in Kahlo’s own garden at Casa Azul, her home in Mexico, will grace the grounds of the Museum’s Avant Garden.
Co-organized by The Dali and the Museo Dolores Olmedo in Mexico City and featuring the Vicente Wolf photographic collection, the exhibition is an intriguing exploration of the life of Kahlo, her striking artwork and her fascinating psyche. Together with the exclusive photographs of family, friends and lovers, the exhibition gives a complete view of Kahlo’s world along with the joys, passions and obsessions of this remarkable artist.
“With her dreamlike images, Kahlo has stirred huge public interest beyond the traditional art audience. In a way, Kahlo created a persona that serves as a contemporary feminine ideal – both tender and fierce,” said Dali Museum Executive Director, Dr. Hank Hine. “Much like Dali, she constructed an eccentric identity through the iconography in her paintings and then dressed and carried herself as the personality she created in her art. Painting by painting, she becomes a heroic figure of struggle and perseverance.”
Kahlo and Dalí each created artistic autobiographies and their personalities loom behind their paintings, generating a presence that both shapes and overshadows their works of art. While Kahlo largely rejected the term ‘Surrealism’ and felt that her works were as real as her life, André Breton, known as the founder of Surrealism, took great interest in her work and described her painting as ‘a bomb wrapped in a ribbon.’ “It’s a natural fit for The Dali to present an exhibition of Frida Kahlo.” said Kathy Greif, Chief Marketing Officer of The Dali. “We’ve been broadening the scope of our exhibitions, presenting works from famed artists and icons like Warhol, Picasso and Walt Disney – all whom have a connection to Dali– but this is the first renowned female artist to grace our halls in some time, we are honored to share Kahlo’s incredible art and complex life story with the world.”
In conjunction with this empowering exhibition, The Dali will host a series of programs that engage visitors in journaling, Mexican cooking, and gardening – some of Kahlo’s favorite pastimes. And, this year, the Museum’s annual student exhibit will carry a corresponding theme of ‘Surreal Identity,’ based on the symbolic and autobiographical approach utilized by Kahlo and Dali. Additional programming such as films will accompany the Kahlo exhibition and a large variety of Kahlo-inspired merchandise – including jewelry, home decor, apparel and more – will be available in The Dali Museum Store.
Frida Kahlo at The Dali has been co-organized by The Salvador Dali Museum, St. Petersburg, FL and the Museo Dolores Olmedo, Mexico City. The exhibit also features works from the Vicente Wolf photographic collection. Frida Kahlo at The Dali is curated for The Dali by Dr. Hank Hine and Dr. William Jeffett.
DOWNLOAD HI-RES IMAGES HERE
Permission to reproduce these images is granted solely for use in conjunction with media reportage and review of Frida Kahlo at The Dali All reproductions must be accompanied by each image credit as noted below. Permission to reproduce these images is contingent upon the press’ acknowledgement and acceptance of these terms.

Frida Kahlo Self-Portrait with Small Monkey,
1945 Oil on Masonite
Collection Museo Dolores Olmedo, Mexico City
© 2016 Banco de México Diego Rivera and
Frida Kahlo Museums Trust, Mexico City
© Photo Erik Meza/Javier Otaola

 Frida Kahlo Portrait of Alicia Galant,
1927 Oil on Canvas
Collection Museo Dolores Olmedo, Mexico City
© 2016 Banco de México Diego Rivera and
Frida Kahlo Museums Trust, Mexico City
© Photo Erik Meza/Javier Otaola

Frida Kahlo
photographed by Lola Alvarez Bravo,
circa 1945, at Casa Azul
(with Diego’s 1930 Self-portrait
on a lithographic stone in the background).

- See more at: http://thedali.org/press-room/frida-kahlo-dali/#sthash.MiXzUYwU.dpuf

Frida Kahlo at The Dali December 17

August 15, 2016

Treasured Artist Frida Kahlo Coming to Florida’s Dali Museum
Frida Kahlo at The Dali – an exhibit of Paintings, Drawings & Photographs – Debuts December 17, 2016
 ST. PETERSBURG, FLA (August 15, 2015)– An exhibition of Frida Kahlo’s paintings and drawings, together with her personal photograph collection, will open to the public at The Dali Museum in St. Petersburg, FL on December 17, 2016 and continue through April 17, 2017. Kahlo’s works have achieved monumental importance in art and popular culture. Her dreamlike work suggests that love and suffering create a new sense of beauty. Kahlo’s art and storied life stir immense public interest.
Frida Kahlo at The Dali will be Florida’s first solo exhibition showcasing the extraordinary career and life of the acclaimed 20^th century artist. The exhibit will feature a collection of more than 60 Kahlo pieces including 15 paintings, seven drawings and numerous personal photographs from the celebrated female artist and influential icon. The exhibition will extend outdoors where a special collection of flowers and plants representative of those in Kahlo’s own garden at Casa Azul, her home in Mexico, will grace the grounds of the Museum’s Avant Garden.
Co-organized by The Dali and the Museo Dolores Olmedo in Mexico City and featuring the Vicente Wolf photographic collection, the exhibition is an intriguing exploration of the life of Kahlo, her striking artwork and her fascinating psyche. Together with the exclusive photographs of family, friends and lovers, the exhibition gives a complete view of Kahlo’s world along with the joys, passions and obsessions of this remarkable artist.
“With her dreamlike images, Kahlo has stirred huge public interest beyond the traditional art audience. In a way, Kahlo created a persona that serves as a contemporary feminine ideal – both tender and fierce,” said Dali Museum Executive Director, Dr. Hank Hine. “Much like Dali, she constructed an eccentric identity through the iconography in her paintings and then dressed and carried herself as the personality she created in her art. Painting by painting, she becomes a heroic figure of struggle and perseverance.”
Kahlo and Dalí each created artistic autobiographies and their personalities loom behind their paintings, generating a presence that both shapes and overshadows their works of art. While Kahlo largely rejected the term ‘Surrealism’ and felt that her works were as real as her life, André Breton, known as the founder of Surrealism, took great interest in her work and described her painting as ‘a bomb wrapped in a ribbon.’ “It’s a natural fit for The Dali to present an exhibition of Frida Kahlo.” said Kathy Greif, Chief Marketing Officer of The Dali. “We’ve been broadening the scope of our exhibitions, presenting works from famed artists and icons like Warhol, Picasso and Walt Disney – all whom have a connection to Dali– but this is the first renowned female artist to grace our halls in some time, we are honored to share Kahlo’s incredible art and complex life story with the world.”
In conjunction with this empowering exhibition, The Dali will host a series of programs that engage visitors in journaling, Mexican cooking, and gardening – some of Kahlo’s favorite pastimes. And, this year, the Museum’s annual student exhibit will carry a corresponding theme of ‘Surreal Identity,’ based on the symbolic and autobiographical approach utilized by Kahlo and Dali. Additional programming such as films will accompany the Kahlo exhibition and a large variety of Kahlo-inspired merchandise – including jewelry, home decor, apparel and more – will be available in The Dali Museum Store.
Frida Kahlo at The Dali has been co-organized by The Salvador Dali Museum, St. Petersburg, FL and the Museo Dolores Olmedo, Mexico City. The exhibit also features works from the Vicente Wolf photographic collection. Frida Kahlo at The Dali is curated for The Dali by Dr. Hank Hine and Dr. William Jeffett.
DOWNLOAD HI-RES IMAGES HERE
Permission to reproduce these images is granted solely for use in conjunction with media reportage and review of Frida Kahlo at The Dali All reproductions must be accompanied by each image credit as noted below. Permission to reproduce these images is contingent upon the press’ acknowledgement and acceptance of these terms.

Frida Kahlo Self-Portrait with Small Monkey,
1945 Oil on Masonite
Collection Museo Dolores Olmedo, Mexico City
© 2016 Banco de México Diego Rivera and
Frida Kahlo Museums Trust, Mexico City
© Photo Erik Meza/Javier Otaola

 Frida Kahlo Portrait of Alicia Galant,
1927 Oil on Canvas
Collection Museo Dolores Olmedo, Mexico City
© 2016 Banco de México Diego Rivera and
Frida Kahlo Museums Trust, Mexico City
© Photo Erik Meza/Javier Otaola

Frida Kahlo
photographed by Lola Alvarez Bravo,
circa 1945, at Casa Azul
(with Diego’s 1930 Self-portrait
on a lithographic stone in the background).

- See more at: http://thedali.org/press-room/frida-kahlo-dali/#sthash.MiXzUYwU.dpuf

Rafael: Image Poetry (Pushkin Museum of Fine Arts, Moscow)

September 21, 2016, 2:31 pm

≫ Next: Branding the American West

≪ Previous: Frida Kahlo at The Dali

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Sept. 13 to Dec. 16. 2016

For the first time in Russia, an exhibition dedicated solely to the works of Raphael will open in Moscow. Eight paintings and three drawings arrive from the collections of Italian museums in Florence, Bologna and Brescia. The exhibition will include:

Self-portrait (1506), Rafael. Pushkin Museum of Fine Arts

Madonna of the Grand Duke (1505), Rafael. Pushkin Museum of Fine Arts

Angel (1500), Rafael. Pushkin Museum of Fine Arts

Paired portraits of Agnolo Doni and his wife Maddalena.

More information and Images: http://www.anothercity.ru/raphael-exhibition-en

Branding the American West

September 30, 2016, 3:56 pm

≫ Next: The Agrarian Ideal: Monet, van Gogh, Homer, and More

≪ Previous: Rafael: Image Poetry (Pushkin Museum of Fine Arts, Moscow)

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Brigham Young University Museum of Art Norfolk, Virginia,
Saturday, Oct. 29, 2016 through Sunday, Feb. 5, 2017

Discover a bonanza of Western paintings, films, and sculptures in the Chrysler Museum of Art's fall keynote exhibition. Branding the American West: Paintings and Films, 1900–1950 features classic images of cowboys, Native Americans, mountains and deserts. Though many of the works closely correspond to most Americans' ideas of the "Wild West," the show also includes artworks that challenge those popular views.

Headlining this stampede of more than 100 works of art are iconic images by Frederic Remington, Charles Marion Russell, and N. C. Wyeth. These master illustrators created a visual "brand" for the frontier as a land filled with adventure and rugged individualism. Turn-of-the-century city dwellers adored nostalgic fantasies of the Wild West, but as this show reveals, some artists challenged these stereotypes and acknowledged the taming and modernizing of the region.


Since the Chrysler Collection has very few works of Western art within its sweeping American art galleries, "an exhibition of this scope and scale brings something new to our audiences. It transports visitors across the country—and back in time—to a place of mystery, beauty, and sometimes danger and contradictions."

Paintings and novels about the Wild West fueled tourism and immigration to the region, particularly Utah, Arizona, and New Mexico. Branding the American West explores this moment of change, considering how the arrival of railroads, automobiles, and industry shifted the character of Western art.

Painters discovered the bright sunlight and rich colors of the Southwest and responded with experimental and abstract styles of artmaking, as seen in

Maynard Dixon's Mesas in Shadow (1926) 

and other sweeping vistas. The show features more than a dozen powerful landscapes by Dixon, who described his work as capturing the West's "sense of sun and space and silence—of serenity—of strength and freedom."

Maynard Dixon, Round Dance, 1931, oil on canvasboard, 15 7/16 x 19 7/8 in., Brigham Young University Museum of Art, gift of Herald R. Clark

Some of the finest paintings in this exhibition were created in Taos, N.M., a Pueblo village that developed a vibrant colony of artists beginning in the 1910s. These artists' appreciation for both the landscape and cultural history of the West is evident in works like
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Joseph Henry Sharp's Council Call of the Crow, 

a magnificent sunset view of an Indian camp. Other works by the Taos painters celebrate the extraordinary craftsmanship and design of Native pottery, baskets, and textiles.

Perhaps the most innovative feature of Branding the American West is its comparison of fine art with film, breaking new scholarly ground by recognizing the importance of the American West to the early history of Hollywood. Throughout the galleries video monitors will juxtapose clips from classic movies by John Ford and Cecil B. DeMille with the works of Remington, Dixon, and their colleagues. These pairings show how filmmakers translated competing "brands" of the frontier from canvas to the big screen. A series of Western-themed programs, talks, films, and family activities complement the exhibition throughout its run.

Branding the American West: Paintings and Films, 1900–1950 is organized by the Brigham Young University Museum of Art, Provo, Utah, and the Stark Museum of Art, Orange, Texas.

More Images: http://moa.byu.edu/project/branding-the-american-west-paintings-and-films-1900-1950/

The Agrarian Ideal: Monet, van Gogh, Homer, and More

October 1, 2016, 8:59 am

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Chrysler Museum of Art Norfolk VA
Oct. 7, 2016 through Jan. 8, 2017

Claude Monet's Haystacks, Late Summer, on loan from the renowned Musee d'Orsay in Paris, the world's premier museum of Impressionist art. will be on view alongside 21 Chrysler Collection treasures by Winslow Homer, Paul Gauguin, and Camille Pissarro, and others. The works include paintings on agricultural themes, sculptures, detailed drawings, early photographs, and Impressionist masterworks known for their evocation of light.

While the Impressionists are famous for scenes of Paris, in the 1890s many of them departed the city for the country. As Paris had become dangerous, crowded, industrial, and expensive, many of the city's best artists left to seek simpler subjects and an integrated life untouched by the ills of modernity.

Claude Monet, View of Vernon, oil on canvas, 1886. Chrysler Museum Collection

Claude Monet relished living in Giverny, 45 miles northwest of Paris. There, he captured the effects of changing light and weather on huge stacks in the fields near his home. Farmers in this part of France regularly stored the year's crop of wheat in stacks that they left in the field, as they had for centuries. Between July 1890 through the following spring and summer, the artist completed more than 30 paintings featuring the subject. "Creating a shimmering surface with strokes of pure paint, Monet sought to capture the instant effects of light at their most evocative," DeWitt said of Musee d'Orsay's acclaimed canvas from late summer 1891.

Enriching this exhibition is Vincent Van Gogh's dramatic Wheat Field behind St. Paul's Hospital, St. Remy, a generous loan from the Virginia Museum of Fine Arts in Richmond.

Vincent van Gogh also headed to the country for solace. His Wheat Field (from the collection of the Virginia Museum of Fine Arts) shows the view he painted many times from his window in the psychiatric hospital in St. Rémy. "With its dramatic sky" DeWitt said, "it embodies the visionary approach he developed towards the end of his life."

Winslow Homer (American, 1836–1910) “Farmer with a Pitchfork,” ca. 1874; oil on board; promised gift of Mr. and Mrs. Frank Batten to the Chrysler Museum of Art (Courtesy: Chrysler Museum of Art)

On this side of the Atlantic, Winslow Homer and a number of American artists also sought out country life in the wake of the Civil War, echoing Thomas Jefferson, who wrote in Notes on Virginia: "Those who labor in the earth are the chosen people of God, if ever he had a chosen people, whose breasts he has made his peculiar deposit for substantial and genuine virtue."

More images: http://www.blouinartinfo.com/photo-galleries/datebook-impressionism-comes-to-chrysler-museum-of-art-this-fall?image=1

Renoir. Intimacy

October 4, 2016, 10:04 am

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Albertina 18 October 2016 to 22 January 2017

Bilbao Fine Arts Museum from 7 February to 15 May 2017

Writing about his father, the filmmaker Jean Renoir said: “He looked at flowers, women and clouds in the sky as other men touch and caress.” Renoir. Intimacy, the first retrospective in Spain to focus on the Impressionist painter Pierre-Auguste Renoir (1841-1919), will challenge the traditional concept that reduces Impressionism to the “purely visual”. Rather, it will emphasise the central role played by tactile sensations in Renoir’s paintings, which are present in all the different phases of his career and are expressed through a wide range of genres including group scenes, portraits, nudes, still lifes and landscapes.

Curated by Guillermo Solana, Artistic Director of the Museo Thyssen-Bornemisza, the exhibition will present a survey of more than 75 works by the artist loaned from museums and collections worldwide, including the Musée Marmottan Monet in Paris, the Art Institute of Chicago, the Pushkin Museum in Moscow, the J. Paul Getty Museum in Los Angeles, the National Gallery in London and the Metropolitan Museum of Art, New York.

Renoir. Intimacy will show how the artist made use of the tactile qualities of volume, paint and textures as a vehicle to evoke intimacy in its various forms (friendship, the family or erotic ties) and how that imagery connects the work to the viewer through the sensuality of the brushstroke and the pictorial surface.

Touch and intimacy

While the figures in the group portraits of artists such as Manet and Degas tend to maintain their distance with the viewer, Renoir imbued his figures with a palpable closeness. In scenes with two or more, these figures habitually participate in a process of alternation between visual and physical contact: pairs of siblings or mothers and children in which one looks at the other, while the second responds by touching them.

Pierre-Auguste Renoir. After the Luncheon, 1879. Städel Museum, Frankfurt am Main. / Bathing on the Seine. La Grenouillère, 1869. The State Pushkin Museum, Moscú.

On occasions these exchanges are constructed around a shared activity such as reading a book. In the case of his individual portraits, Renoir aimed to offer an experience comparable to physical contact by bringing the viewer as close as possible. While Degas surrounded his models with a setting and attributes that represent them, Renoir tended to tighten up the composition, omitting the setting in order to concentrate our gaze on the figure’s face. Other details that refer to palpable sensations in Renoir’s paintings include the figures’ hair, which they play with and twist around their hands; the dogs and cats held by women in these works; the pieces of cloth or towels that cover their breast or are wrapped round their thighs; the task of sewing; skeins of wool; or the dense texture of a garden.

Intimate Renoir is structured into five thematic sections: Impressionism, Portraits, Landscapes, Family and domestic Scenes and Bathers.

The Impressionist phase, from 1869 to 1880, occupies three rooms in the exhibition and features some of Renoir’s most iconic works, including 

After the Luncheon(1879), a life study for 

 

Le Moulin de la Galette(1875-1876), and

Bathing in the Seine (La Grenouillère)of 1869, one of the works that Renoir executed in La Grenouillère, a popular area for leisure activities on the outskirts of Paris where he worked with Monet.

A selection of female portraits set outdoors or in interiors, including 

Portrait of Madame Claude Monet(1872-1874), 

portraits of couples such as La Promenade(1870),

in addition to an Impressionist landscape, 



Woman with a Parasol in a Garden(1875), complete this section.

By 1881 the Impressionist approach seemed to be exhausted and the group’s members moved apart. Renoir turned his gaze to the classical tradition, from Raphael to Jean-Auguste Dominique Ingres. While maintaining the use of an Impressionist pictorial language, his works now reveal a greater emphasis on drawing.

From the late 1870s and during the rest of the following decade Renoir gained a growing reputation as a portraitist, becoming one of the most solicited by Parisian high society. His depictions of

Mlle. Charlotte Berthier (1883),

Portrait of the Poet Alice Vallières-Merzbach(1913),

the portrait of his dealer Paul Durand (1910)

and of his sons Joseph Durand-Ruel(1882)

and Charles and Georges Durand-Ruel(1882) are among the examples of this facet of his output on display.

The room devoted to landscapes includes views of the Normandy coast and the Channel Islands, such as

Hills around the Bay of Moulin Huet, Guernsey(1883), Provence,

where he shared pictorial motifs with his friend Cézanne, among them

Mont Sainte-Victoire(ca.1888-1889)

and various locations in southern Italy, including The Bay of Salerno (Landscape of the South) of 1881.

The exhibition continues with family and domestic scenes featuring the artist’s children, such as

Coco eating his Soup(1905)

and Jean dressed as a Hunter (1910);

the artist’s wife Aline, depicted in Motherhood(1885), painted to mark the birth of their first son Pierre,

and in Aline Renoir Nursing her Baby(1915);

and other members of his closest circle. The latter included Gabrielle Renard, the family’s nanny and a distant relative of Aline, who became one of Renoir’s favourite models, seen here in

Boy with an Apple or Gabrielle, Jean Renoir and a Girl(ca.1895-1896), and Andrée Heuschling, who would marry Renoir’s son Jean after the artist’s death, seen here in

The Concert( 1918-1919).

The nude was among Renoir’s preferred subjects, although with the exception of Degas the Impressionists tended to avoid it as they considered it an academic theme.

Engaged in his own stylistic evolution, Renoir achieved one of the high points of his career with his scenes of bathers: a series of nudes set outdoors in which the artist celebrated a type of timeless nature devoid of any reference to the modern world. The result is an idyllic vision characterised by the sensuality of the models, richness of colouring and plenitude of the forms.

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Seurat, Signac, Van Gogh - Ways of Pointillism

October 4, 2016, 11:06 am

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ALBERTINA
16 September 2015 – 8 January 2016


When Georges Seurat died unexpectedly in 1891 at the age of 31, his older colleague Camille Pissarro already had an inkling that Seurat’s “invention” was to have consequences for painting “that would be highly significant later on”. And indeed, with just a few pictures, Seurat had founded a style that would play a pioneering role in Modern Art: Pointillism.

This  fascinating  art  movement  is  now  the  focus  of  a  high-calibre  exhibition  at  the  Albertina,  a presentation that completes the story of Modern Art with the significant chapter of Pointillism as its midwife: 100 selected masterpieces by the main representatives of this style, Seurat and Signac, as well as impressive paintings, watercolours, and drawings by modernist masters who were fascinated by  this  pointed  technique—figures such  as Van  Gogh,  Matisse,  and  Picasso—illustrate  Pointillism’s breath-taking radiance and seminal impact.

Seurat, Signac, Van Gogh, organised in cooperation with the Kröller-Müller Museum, tells the success story  of  Pointillism  from  its  creation  in  1886  to  its  effects  on  the  early  1930s.  Beginning  with  the ground-breaking  early  works  by  Georges  Seurat,  Paul  Signac,  and  Théo  van  Rysselberghe, this exhibition  draws an  arc from  Paul Signac’s and Henri-Edmond Cross’s transformation of the points into  small  squares  and  mosaics  all  the  way  to  the  masterpieces  of  Vincent  Van  Gogh,  the  vibrant colours  of  the  Fauves,  the  decoratively  placed  dots  in  the  cubist  works  of  Pablo Picasso,  and  the abstract  works  of  Piet  Mondrian. 

This  comprehensive  presentation  sheds  light  on  the  unique metamorphosis of the pointillist dot and for the first time makes a theme of those achievements of the pointillists that were subsequently harnessed by modernism.

Between Realism and Abstraction

The painters to whom we now refer to as “pointillists” due to their unusual techniques set out in 1886 to challenge the avant-garde tendencies of the impressionists, which had by then become de rigueur. And the subsequent development of painting in Paris towards the end of the 19th century would show just how right Pissarro’s prescient judgment was: the emphasis on surfaces and stylisation as well as the motionlessness and detachment of the depicted figures in the works by Seurat tell of increasing pictorial  autonomy  and,  accordingly,  of  an  abstraction  of  both  content  and  form.  This  would  soon move  between  two  poles:  the picture’s  geometrisation  and  its  ornamentalisation  by  means  of arabesques.

In reducing their painterly handwriting to the smallest possible artistic statement—the dot—Seurat,   Signac,   Pissarro,   and   Rysselberghe   not   only   distanced   themselves   from   the impressionists’ reproduction of fleeting moments, but also used their approach to question the entire centuries-old norm of painting according to nature in the form of brushstrokes. Points in solid colours, which  the  pointillists  placed  close  together  in  keeping  with  the  optical  principle  of  colour  mixing, generated a hitherto-unknown radiance and a multitude of chromatic impulses. It was thus that the realistic view of the world gave way to depictions of a synthetic reality—and in one fell swoop, the doors were wide open for Modernism.

Following Seurat’s death, it was above all his colleague Signac who develop the pointillist technique further:   together   with   Henry-Edmond   Cross,   Signac   increased   luminosity,   intensified   colour contrasts, and coined the term “Divisionism”. His small, systematically placed points soon developed into lines meant to appear as a mixture of colours when viewed from an appropriate distance.

His small, systematically placed points soon developed into lines meant to appear as a mixture of colours when viewed from an appropriate distance. With this more liberal approach, Signac liberated painters from the obligation to use dots, and it was thus that a younger generation—including Henri Matisse and his circle as well as Piet Mondrian—ultimately broke out of Seurat’s rigid system.

  

Vincent Van Gogh: An Individual Path

The Sower (Sower with Setting Sun)

Vincent van Gogh

An important intermediary in this development was Vincent van Gogh, an outsider and brief adherent of Pointillism who set off in new directions. Van Gogh at first took up Seurat’s ideas with enthusiasm:his pallet became brighter and more luminous, and an abundant flurry of dots found entry into his landscapes. But the systematically dotted style never played a truly central role in Van Gogh’s output. The artist soon adopted a freer form of expression that better matched his nature: “It is working with points and similar elements that I hold to be the real discoveries; but we must already be at pains to ensure that this technique, just like any other, does not itself become a general dogma.” He said this in 1888, at which point he began countering the cool and rational pointillist style with his own individual expression and emotion. 

 Matisse, Mondrian, and Picasso 

Henri Matisse
Parrot Tulips  

 
Something similar can be seen in the reception of Divisionism in the oeuvre of Henri Matisse. The founding Fauve had turned to this technique in two steps: 1897 saw him experiment with comma-like, impressionist micro-structures that are not dissimilar to Pissarro’s mode of painting, and in 1898 he intensified colours and contrasts, which subsequently led to a valid implementation of the divisionist method in term of both chromatic division and the use of dots. 

Soon, Van Gogh, Matisse, and the Fauves moved Piet Mondrian, as well, to turn away from Pointillism. Under the influence of the luminist Jan Toorop, Mondrian used his paintings to deal above all with light effects, relying on motifs and an expressive power that had already become established in the works of Van Gogh and the anarchic art of the Fauves. 

 ''Spanish Dancer,'' 1901, by Picasso. Credit Nahmad Collection, Switzerland

In the works of Pablo Picasso, as well, Pointillism and its pioneering ideas did not go unnoticed. At altogether three junctures in his career—1901, 1914, and 1917—the Spanish artist dealt playfully with the output of Seurat and integrated points into his own work. The first time he did so, Picasso was motivated by his desire to conform to the times; later on, though, he used loosely arranged points to develop the decorative surfaces of so-called “Rococo Cubism.” His final take on the technique was the masterpiece 

 Return from the Baptism, which amounted to a precise and entirely consummate quotation.

The Art of Sounding the Flat Surface: Georges Seurat 

Georges Seurat started out as a draughtsman. A disciple of Ingres’s Neoclassicism, he painstakingly outlined his figures with distinct contours and carefully modelled them with delicately shaded transitions. But it was not long before his drawing style would change radically. Using his fingertip, he rubbed the creasy black pigment of the Conté crayon onto the coarse surface of the drawing paper. Depending on the pressure, larger or smaller amounts of the pigment would adhere moreor less thickly to the grainy material. There is no stroke and no line in these drawings to guide the spectator’s eye, just the light shining forth vaguely from the dark expanse. 

Seurat fathomed the deepness of black. Absorbing the light, the surfaces of his drawings shimmer in their porous blackness. Subtle contrasts of light and dark reduce the figures to bodiless silhouettes. Seurat recorded unspectacular motifs on the outskirts of the city –passers-by and strollers he ran into in the Parisian suburbs. Simplifying them to geometric shapes, he used these figures to study the contrasts of light and dark. Still adhering to an Impressionist brushwork, Seurat also sketched an idle bourgeoisie on a Sunday afternoon on the Island of La Grande Jatte near Paris on small panels of wood. When transferring these motifs to the canvas, he translated them into small dots for the first time, placing them closely next to one another.  

The Order of Geometry: Paul Signac 

On Sundays the Signac family had a mute luncheon. After relishing his café-rhum,the grandfather would read the paper brought in by a maid. 

Paul Signac’s Dining Roomwas made in response to

Georges Seurat’s Sunday Afternoon on the Island of La Grande Jatte, 

which presents the Parisian bourgeoisie in the act of public self-display during leisure time. Signac’s composition, on the other hand, offers an intimate glimpse of the domestic bourgeois environment. Everything issubordinate to an austere pictorial geometry: circular, rectangular, and cuboid shapes are distributed across the surface of the picture; the flat figures are inscribed in an orthogonal system of horizontals and verticals and rendered in strict profile or frontal view. No interaction between the protagonists and no narrative moment interrupt the silence. 

 Paris–Brussels: Hotspots of Pointillism 

Spreading rapidly beyond Paris, Pointillism reached the Brussels art scene, which readily welcomed avant-gardism. Following the example of the Parisian group of ‘independent’ artists (‘Les Indépendants’), Belgian artists also joined forces to fight academism. The group Les Vingt (‘The Twenty’)maintained close relations to the French avant-garde and immediately embraced Pointillism with great enthusiasm. 

In 1887, Seurat exhibited his painting A Sunday Afternoon on the Island of La Grande Jatte in Brussels. Impressed by the new style, the Belgians Henry van de Velde, William Alfred Finch, and Théo van Rysselberghe and the Dutchman Jan Toorop broke free from Impressionism practically overnight. They reduced their motifs to abstract shapes, stylised their objects, and simplified their compositions to geometric constructions of what seemed to be halftone surfaces. 

Regardless of the motif, Van de Velde and Toorop covered their pictures with flimsy veils of brightly shining dots, thereby achieving an almost abstract simplicity. Toorop also admired Japanese woodblock prints and the art of Paul Gauguin. Curved lines and sweeping arabesqueswere used to set the dotted planes apart from one another. 

Some artists felt confined by Pointillism’s decorative dictate. Van de Velde became a designer and architect, and Finch switched to ceramics. Only Théo van Rysselberghe held on to the Pointillist painting technique. His palette was close to that of his friend Paul Signac, with whom he undertook extensive sailing trips along the French Atlantic and Mediterranean coasts.  

The Sound of Images: Paul Signac 

Paul Signac - Venice, The Pink Cloud, 1909

Paul Signac was a close friend of Georges Seurat, his senior by four years, and after Impressionist beginnings adopted Seurat’s Pointillism. However, although employing the same painting technique, he pursued different goals. Yet both artists strove for a new pictorial harmony and hence for a liberation of the image from nature: this autonomy of art would eventually pave the way for modernism. Whereas Seurat achieved a homogeneous pictorial surface by using related colours and focusing on rhythm and line, Signac sought to achieve visual harmony through the interplay of contrasting, intensely brilliant colours. He divided the surface into geometrically abstract or stylised, arabesque-like shadows on the one hand and naturalistically rendered motifs on the other.In the nineteenth century there was a widespread ambition to create a harmony in painting that was related to that of music. 

Many of Signac’s contemporaries were guided by the idea that their pictures were ‘harmonies of tones of colour’; the American painter James Abbott McNeill Whistler, for example, entitled his works as ‘harmony’, ‘symphony’, or ‘nocturne’. Signac borrowed from him by assigning opus numbers to his paintings, thereby emphasising the abstract and musical qualities of his pictures. Paul Signac was the mouthpiece of Pointillism in France and won over many other artists for the movement. He established contacts with the Belgian group Les Vingt and Théo van Rysselberghe, who became the leader of the Belgian Pointillists. 

Beyond Caravaggio

October 7, 2016, 9:30 am

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The National Gallery, London 12 October 2016 – 15 January 2017

National Gallery of Ireland (11 February – 14 May 2017)

Royal Scottish Academy (17 June – 24 September 2017)

Beyond Caravaggio is the first major exhibition in the UK to explore the work of Caravaggio and his influence on the art of his contemporaries and followers.

Michelangelo Merisi da Caravaggio (1571–1610) is one of the most revolutionary figures in art. His strikingly original, emotionally charged paintings, with their intense naturalism, dramatic lighting and powerful storytelling, had a lasting impact on European art and the reverberations echo down to our own time. 

“The painters then in Rome were so taken by the novelty, and the younger ones especially flocked to him and praised him alone as the only true imitator of nature, looking upon his works as miracles, they vied with each other in following him.” Giovan Pietro Bellori, 1672

Caravaggio did not have pupils or travel extensively, and he died at the relatively young age of 39, and yet his influence was widespread and astonishingly diverse. From 1600, artists from across Europe flocked to Rome to see his work, and many went on to imitate his naturalism and dramatic lighting effects – these included artists as talented and varied as Orazio Gentileschi, Valentin de Boulogne, Jusepe de Ribera and Gerrit van Honthorst. Paintings by Caravaggio and his followers were highly sought after in the decades following his death, but fell out of favour by the middle of the 17th century.

The show offers a unique opportunity to discover a number of hidden art treasures from around the British Isles. The majority of the 49 paintings in the exhibition come from museums, stately homes, castles, churches and private collections across Great Britain and Ireland. These paintings, many of which will be unfamiliar to visitors, will demonstrate how Caravaggio’s art came to inspire a whole generation of painters.

'Beyond Caravaggio' begins by exploring Caravaggio’s early years in Rome, where he produced works depicting youths, musicians, cardsharps and fortune tellers. These paintings were considered highly original on account of their everyday subject matter and naturalistic lighting. The National Gallery’s own  

Boy Bitten by a Lizard (1594–5) 

will hang alongside works including 

Cecco del Caravaggio’s 'A Musician' (about 1615, Apsley House), 

Bartolomeo Manfredi’s 'Fortune Teller' (about 1615–20, Detroit Institute of Arts) 

and a masterpiece by French Carvaggesque painter, Georges de la Tour, The Cheat with the Ace of Clubs (1630–34) from the Kimbell Art Museum in Dallas.

The unveiling of Caravaggio’s first public commission in 1600 caused a sensation and quickly led to numerous commissions from distinguished patrons, among them Ciriaco Mattei for whom Caravaggio painted  

The Supper at Emmaus (1601, The National Gallery, London) 



and the recently rediscovered 'The Taking of Christ' (1602, on indefinite loan to the National Gallery of Ireland from the Jesuit Community, Leeson St, Dublin). 

These two paintings will be reunited with other Caravaggesque works formerly in the Mattei collection: 

Giovanni Serodine’s 'Tribute Money' (Scottish National Gallery) 

and Antiveduto Gramatica’s 'Christ among the Doctors' (about 1613, Scottish National Gallery, Edinburgh (on long-term loan from the Archdiocese of St Andrews and Edinburgh, from St Bride’s, Cowdenbeath).

Caravaggio’s practice of painting from life and his use of chiaroscuro (strongly contrasted lighting effects) were quickly emulated, but artists did not simply replicate his style; taking Caravaggio’s works as their starting point, they responded to different aspects of his art and developed their own individual approaches. 

Giovanni Baglione’s 'Ecstasy of Saint Francis' (1601, The Art Institute of Chicago) is the first truly Caravaggesque painting by another artist.

Orazio Gentileschi, who was a friend of Caravaggio’s, is represented by two very different works.

His immensely talented daughter, Artemisia, is present in the exhibition with 'Susannah and the Elders' (1622, The Burghley House Collection).

 'Christ displaying his Wounds' (about 1625-35, Perth Museum and Art Gallery) by Giovanni Antonio Galli (called Lo Spadarino) is one of the most striking and memorable paintings in the show.

Caravaggio traveled twice to Naples – both times whilst on the run (the first after committing murder). The Kingdom of Naples was then part of the Spanish Empire and home to many Spanish artists, like 

Jusepe de Ribera who is represented by three works, (notably 'The Martyrdom of Saint Bartholomew', 1634, National Gallery of Art, Washington). 

Neapolitan artists also frequently travelled to Rome where they had the opportunity to see Caravaggio’s earlier works: this was the case with 

Mattia Preti, whose 'Draughts Players' (about 1635, Ashmolean Museum of Art, Oxford) will be on display.

Caravaggio’s greatest legacy was the enduring power of his storytelling. He injected new life into biblical stories, often blurring the lines between sacred and profane subjects, such as in 'Saint John the Baptist in the Wilderness' (1603–4, The Nelson-Atkins Museum of Art, Kansas City). 

This will be shown alongside masterpieces by his followers, such as Nicolas Régnier’s 'Saint Sebastian tended by the Holy Irene and her Servant' (about 1626–30, Ferens Art Gallery, Hull - generously lent during Hull’s UK 2017 City of Culture celebrations) 

and Gerrit van Honthorst’s 'Christ before the High Priest' (about 1617, The National Gallery, London).

Seduced by the power of Caravaggio’s paintings, artists continued to emulate him well after his death, but by the middle of the 17th century Caravaggio’s naturalistic approach had been rejected in favour of a more classicising painting tradition. It would take almost three hundred years for Caravaggio’s reputation to be restored and for his artistic accomplishments to be fully recognised. Today he is rightly admired once again for his unforgettable imagery, inventiveness and astonishing modernity.

An absolutely wonderful, must read article related to this exhibition:

https://www.theguardian.com/artanddesign/2016/oct/05/artemisia-gentileshi-painter-beyond-caravaggio

The Art Books of Henri Matisse

October 7, 2016, 11:13 am

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Portland Museum of Art

This exhibition features one of the preeminent modernist artists of the 20th century, and offers a profound glimpse into the relationship between textual and visual imagery. 

The Art Books of Henri Matisse showcases four artist’s books by the pioneering French artist, including his renowned and highly influential Jazz. Even those deeply familiar with Matisse’s paintings will thrill to explore this remarkable side of his practice, which bear the artist’s signature energy, elegance, and color, but seen here in lithographs, etchings, pochoir (stencil) prints, and linocuts. 

Artist’s books—limited-edition publications featuring original works of art—became increasingly popular in Paris during the first decades of the 20th century, when a growing group of educated, bourgeois collectors sought new ways to acquire works by leading contemporary artists. Matisse, like many avant-garde painters, worked in the medium both to extend the popularity of his art and to explore new techniques. 

Using the book medium as an extension of his creative drawing practice, Matisse was able to distill his lifelong passion for the written word, while producing illustrations that were neither redundant with the written descriptions nor too independent of them. 

The books reflect an artist embracing new challenges through continuous experimentation and extraordinary creativity. Each of the four books on exhibit—

 Pasiphaë–Song of Minos (The Cretans), 

 The Poetry of Stéphane Mallarmé,  

Poèms of Charles d’Orléans,  

and Jazz

—reveal vastly different approaches to this medium, from manipulating white text on black pages (and vice versa) to making colorful cut-paper collages that he later used as stencils for the book. 

 Great review,more images: https://gerryco23.wordpress.com/2012/03/27/the-art-books-of-henri-matisse/

“The Ages of Gold: Reflections of Piero della Francesca”

October 11, 2016, 8:23 am

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Galleria Ivan Bruschi
Piazza San Francesco, 1 – 52100 Arezzo, Italy 
05 AUGUST 2016to 07 MAY 2017

 From: 

As good as gold: Piero della Francesca - Masterful multiple-approach artist 

by Oonagh Stransky (images added):

Patti Smith sings about Piero della Francesca in “Constantine’s Dream”. Cezanne, Seurat, De Chirico, Morandi, Guston and Hockney all found inspiration in Piero’s masterpieces. Camus sees the great artist as the first existentialist; Pasolini finds in him Marxist and homoerotic ideas; Stendhal practically gave himself a syndrome because of Piero’s work. In The English Patient by Michael Ondaatje, Kip and Hana have an epiphany in front of “The History of the True Cross” fresco cycle.

Piero della Francesca’s art is as much a mirror as a shadow, reflecting complex thoughts, provoking creativity and eluding clear definition. His work shows a devotion to and understanding of geometry: shape and form illustrate spiritual mysteries. His images speak to that which is both calculable and incalculable. This complex, multiple approach is at the heart of a conceptual exhibit now open to the public in a new impressive space in Arezzo...

The exhibition is divided into five themes: Divine Proportion, which explores Piero’s understanding of geometry; God in Nature shows how the artist uses plant life; Divine Beauty looks at the faces and expressions of the female figures; God in Man revels in the study of the male figure, and In Hoc Signo Vinces explores Piero’s adoration of the Cross as shape, object and symbol.

Each of the five themes employs enlarged hi-resolution details from Piero della Francesca’s major works, including the  

Baptism of Christ from the National Gallery in London, (details)

 

the Holy Conversation from the Pinacoteca di Brera, 

the Madonna of Senigallia from the Galleria Nazionale delle Marche, 

the Maddalena from the Duomo of Arezzo, the Resurrection 

 the Madonna of Mercy from the Museo Civico in Sansepolcro

and, obviously, The Legend of the True Cross from the church next door...

Glory of Venice: Masterworks of the Renaissance

October 16, 2016, 5:39 pm

≫ Next: Botticelli and the Search for the Divine: Florentine Painting Between the Medici and the Bonfires of the Vanities

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Denver Art Museum  Oct 2, 2016 Feb. 12, 2017
North Carolina Museum of Art March 4, 2017 – June 18, 2017

From the mid-1400s to early 1500s, artists forged a Renaissance style that was distinctly Venetian. Through this artistic evolution, the city became an internationally recognized model of pictorial excellence.

Titian, Madonna and Child with Saints Catherine of Alexandria and Dominic, and a Donor, about 1513. Oil on canvas; 53-7/8 × 72-1/2 in. Fondazione Magnani Rocca, Mamiano di Traversetolo, Parma, Italy. Courtesy of Fondazione Magnani Rocca, Mamiano di Traversetolo (Parma).

Artworks on view in the exhibition will emphasize how masters during this period—whose sensitivity toward color and light remained unparalleled for centuries—veered from traditional techniques and began using oil paint to experiment with depth, emotion and dimension in their work.

Glory of Venice features about 50 significant works, and provides visitors with a rare opportunity to experience 19 artworks from Venice’s Gallerie dell’Accademia, which houses one of the greatest collections of Venetian Renaissance art in the world.

Additional masterworks on view include paintings on loan from the Scuola Grande di San Rocco in Venice and the Fondazione Magnani Rocca in Parma, Italy, as well as signature paintings from the DAM’s collection.

 
Artworks include Christ Carrying the Cross by Giorgione, on loan from the Scuola Grande di San Rocco in Venice,

and Sacred Conversation by Titian, from the Fondazione Magnani Rocca in Parma, Italy.


Daily guided tours of Glory of Venice will be offered throughout the exhibition at 1 p.m. Tours are included in museum admission and no reservations are required. A fully illustrated publication, produced by the DAM, will accompany the exhibition.

Giovanni Bellini, Annunciation, early 1500. Oil on canvas; 88 × 42 in., each. Gallerie dell’Accademia, Venice.

Attributed to Sebastino del Piombo, Madonna and Child with Saints Catherine and John the Baptist, about 1505-1508. Oil on panel; 20-1/8 × 31-7/8 in. Gallerie dell’Accademia

A fully illustrated catalog, published by the DAM, will accompany the exhibition. Essays detailing Glory of Venice: Masterworks of the Renaissance will be included in the catalog by exhibition co-curators Angelica Daneo and Dr. Giovanna Damiani.