Masterpieces of the Leiden collection : The Age of Rembrandt

January 8, 2017, 8:01 am

≪ Previous: Women of Abstract Expressionism

Musée du Louvre
22 February - 22 May 2017

As part of its season devoted to the Dutch Golden Age, the Musée du Louvre is presenting a selection of masterpieces by 17th-century Dutch painters from the collection of Thomas Kaplan and his wife, Daphne Recanati Kaplan. This selection, brought together at a major international museum for the first time, showcases the largest private collection of works by Rembrandt. Visitors will discover some thirty paintings and drawings by the greatest painters of the Golden Age from the region of Leiden in the Netherlands, primarily ten works by Rembrandt and a painting recently attributed to the artist.

Among the Leiden Collection’s Rembrandt paintings is the Minerva, a particularly spectacular large-format work, part of a series of strong women and mythological goddesses. As its name indicates, this collection highlights the “fine painters” of Leiden, among them Gerrit Dou and Frans van Mieris. It also includes a number of Rembrandts—currently the largest private holding of his work—and numerous “Rembrandtesques.” Thus the collection is made up of excellent pictures by the greatest artists—Jan Steen, Rembrandt, and Jan Lievensz, and their master Lastman, Frans van Mieris, Gerrit Dou, and others—and covers the various specialties of Dutch art.

The thematic presentation shows how a single painter can practice different genres. It also reminds us that Dutch painting, often seen as simultaneously ribald, colorful, charming, and bourgeois, draws on a mixed repertoire and makes use of all the modes from the satirical to the solemn

On the occasion of this exhibition, the large-format painting

Eliezer and Rebecca at the Well is to be officially gifted to the Musée du Louvre by Thomas Kaplan and Daphne Recanati Kaplan. The work was painted by Ferdinand Bol (1616–1680), one of Rembrandt’s most talented pupils. Acquired by the Kaplans in 2009, the work has been on loan to the Louvre’s Dutch galleries since 2010.

After Masterpieces from the Leiden Collection. The Age of Rembrandt has been shown at the Louvre, an expanded group of approximately 60 highlights will travel to The Long Museum in Shanghai and the National Museum in Beijing in 2017 and 2018 and to the Louvre Abu Dhabi before returning to Europe and the Americas.

Jan LievensBoy in a cape and turban (Portrait of the Prince Rupert of the Palatinate)(c) New York_The Leiden

Rembrandt
Minerva in her study
(c) New York_The Leiden Gallery
Rembrandt
Self-Portrait with Shadded eyes
(c) New York_The Leiden Gallery
Jan Steen
Prayer before the Meal
(c)New York_The Leiden Gallery
Gerrit Dou
Cat Crouching on the Ledge of an Artist’s Atelier
(c) New York_The Leiden Gallery
Rembrandt
Unconscious patient (Allegory of Smell)
(c) New York_The Leiden Gallery

Organized by: Blaise Ducos, curator at the Department of Paintings of the Musée du Louvre

The Leiden Collection, assembled since 2003 by the American philanthropist and Francophile Thomas Kaplan (Chevalier of the Legion of Honor) and his wife, Daphne Recanati Kaplan, contains some 250 paintings and drawings by Rembrandt and several generations of his pupils among the Leiden fijnschilders. Since its inception, the Leiden Collection has loaned works on more than 170 occasions.

A further illustration of the collectors’ generosity,

A Young Woman Seated at a Virginal by Johannes Vermeer

and Woman Feeding a Parrot by Frans van Mieris the Elder

will also be shown at this exhibition focusing on Vermeer and the masters of genre painting.

Exhibition catalog
Masterpieces of the Leiden collection : The Age of Rembrandt
Authors : Blaise Ducos and Dominique Surh
A musée du Louvre éditions / Somogy éditions d'art coedition
80 pages
40 illustrations
French/English bilingual edition

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DALÍ, ERNST, MIRÓ, MAGRITTE ...

January 8, 2017, 9:52 am

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Scottish National Gallery of Modern Art. Edinburgh
4 June to 11 September 2016

Hamburger Kunsthalle
07. Oct 2016 to 22. Jan 2017

Museum Boijmans Van Beuningen, Rotterdam
11 February to 28 May 2017

With the major exhibition Dalí, Ernst, Miró, Magritte ... the Hamburger Kunsthalle is presenting more than 150 masterpieces of Surrealism (some have never travelled) from four of the most renowned European private collections of the 20th century. World-famous icons like the Mae West Lips Sofa (1938) and a four-meter-high folding screen designed by the young Salvador Dalí, thought-provoking images by René Magritte like Not to be Reproduced (1937), poetic form creations by Joan Miró and future-oriented pictorial experiments by Max Ernst.

Renowned artworks are featured beside works yet to be discovered, like those by the little known surrealists Leonora Carrington, Dorothea Tanning and Leonor Fini. With brilliant works of all artistic media, the exhibition seduces the viewer, just as the Surrealists sought to do in the 1920s, to enter the fantasy worlds of the subconscious. Until today these works have lost nothing of their shocking and surprising, their humorous and fascinating appeal.

Surrealism, the most influential art movement of the 20th century, thus can be experienced in an unprecedented scope. At the same time, the exhibition, providing insight into the development and quality of four of the most legendary 20th century collections of Surrealism, brings forth a new focus in research: In »surreal encounters« between the works, artists and collectors, the show explores the differences and similarities in collecting behaviour and developments of the art market over a period of 50 years. It allows us to comprehend how and why the collector integrated surrealist thinking into his home, and for the first time illustrates the complex relations of collectors, supporters and artists with regard to Surrealism:

SALVADOR DALÍ (1904–1989)
Mae West Lips Sofa (Mae-West- Lippen sofa), 1938
Holz, Wolle, 92 x 215 x 66 cm
Ehemals Sammlung Edward James
Museum Boijmans Van Beuningen,
Rotterdam
© Salvador Dalí, Fundació Gala-Salvador
Dalí / VG Bild-Kunst, Bonn 2016

MAX ERNST (1891–1976)
La joie de vivre (Die Lebensfreude), 1936
Öl auf Leinwand, 73,5 x 92,5 cm
Ehemals Sammlung Roland Penrose
Scottish National Gallery of Modern Art,
Edinburgh
Erworben mit Unterstützung des Heritage
Lottery Fund und des Art Fund 1995
© VG Bild-Kunst, Bonn 2016

LEONORA CARRINGTON (1917–2011)
Portrait of the Late Mrs. Partridge (Porträt der verstorbenen Mrs. Partridge), 1947
Öl auf Holz, 100,3 x 69,9 cm
Ehemals Sammlung Edward James
Privatsammlung
© VG Bild-Kunst, Bonn 2016

MAX ERNST (1891–1976)
Jeune homme intrigué par le vol d'une mouche non-euclidienne (Junger Mann, beunruhigt durch den Flug einer nichteuklidischen Fliege), 1942-47
Öl und Lack auf Leinwand, 82 x 66 cm
Sammlung Ulla und Heiner Pietzsch, Berlin
© VG Bild-Kunst, Bonn 2016
Fotograf: Jochen Littkemann, Berlin

MAX ERNST (1891–1976)
Masques et phantasmes (Masken und Phantasmen), 1929
Öl auf Leinwand, 130 x 130 cm
Sammlung Ulla und Heiner Pietzsch, Berlin
© VG Bild-Kunst, Bonn 2016
Foto: Jochen Littkemann, Berlin

LEONOR FINI (1907–1996)
Due Donne (Zwei Frauen), 1939
Öl auf Leinwand, 34 x 24,5 cm
Sammlung Ulla und Heiner Pietzsch, Berlin
© VG Bild-Kunst, Bonn 2016
Fotograf: Jochen Littkemann, Berlin

RENÉ MAGRITTE (1898–1967)
L’avenir des statues (Die Zukunft der Statuen), 1937
Öl auf Gipsguss, 33 x 16,5 x 20,3 cm
Ehemals Sammlung Edward James
Tate, London
© Tate, London 2016 / VG Bild-Kunst,
Bonn 2016

RENÉ MAGRITTE (1898–1967)
La reproduction interdite (Reproduktion verboten), 1937
Öl auf Leinwand, 81,5 x 65,5 x 2 cm
Ehemals Sammlung Edward James
Museum Boijmans Van Beuningen,
Rotterdam
© VG Bild-Kunst, Bonn 2016

JOAN MIRÓ (1893–1983)
Peinture (Malerei), 1927
Öl auf Leinwand, 33 x 24,1 cm
Ehemals Sammlung Gabrielle Keiller
Scottish National Gallery of Modern Art,
Edinburgh, Nachlass Gabrielle Keiller 1995
© Successió Miró / VG Bild-Kunst, Bonn
2016

JOAN MIRÓ (1893–1983)
Tête de paysan catalan (Kopf eines katalanischen Bauern), 1925
Öl auf Leinwand, 92,4 x 73 cm
Ehemals Sammlung Roland Penrose
Scottish National Gallery of Modern Art,
Edinburgh
Erworben gemeinsam mit der Tate,
London, mit Unterstützung des Art Fund,
1999
© Successió Miró / VG Bild-Kunst, Bonn
2016

DOROTHEA TANNING (1910–2012)
Voltage (Spannung), 1942
Öl auf Leinwand, 29 x 30,9 cm
Ehemals Sammlung Gabrielle Keiller
Sammlung Ulla und Heiner Pietzsch, Berlin
© The Estate of Dorothea Tanning /
VG Bild-Kunst, Bonn 2016

While the eccentric English Poet and commissioner Edward James (1907-1984) and his fellow countryman, the artist and curator Roland Penrose (1900-1984), were supporters and friends of the scene from the earliest, the collections of the Scottish Gabrielle Keiller (1908-1996) and the Berlin collector couple Ulla and Heiner Pietsch, active until today, reveal the lasting allure of Surrealism since the 1960s. The four collections, in parts scattered in all corners of the world, are for the first time being partially reconstructed and compared. They reinforce and complement each other in an astounding way. Precise juxtapositions of works illustrate the different collection emphases and show us how the collectors would integrate the surreal concept of the »wonderful« into their reality as well as the »uncanny« into their home.

The exhibition project of the Hamburger Kunsthalle was developed in a first-time tri-national cooperation with the Scottish National Gallery of Modern Art in Edinburgh and the Museum Boijmans Van Beuningen in Rotterdam. A large number of further international loans from significant European and American museums and private collections allow for this exiting dialogue.

The show features major works by, among others, Jean Arp, Hans Bellmer, Victor Brauner, André Breton, Leonora Carrington, Salvador Dalí, Paul Delvaux, Oscar Domínguez, Marcel Duchamp, Max Ernst, Léonor Fini, Alberto Giacometti, Valentine Hugo, René Magritte, Man Ray, André Masson, Joan Miró, Richard Oelze, Meret Oppenheim, Wolfgang Paalen, Roland Penrose, Valentine Penrose, Francis Picabia, Pablo Picasso, Kurt Seligmann, Yves Tanguy and Dorothea Tanning.

A richly illustrated catalogue with numerous scholary essays of international Surrealism experts will be published for the exhibition in German, English and Dutch. Accompanying the exhibition, the Hamburger Kunsthalle is also offering a comprehensive and multimedia programme.

Curator of the exhibition: Dr. Annabelle Görgen-Lammers
Assistance: Dr. Désirée de Chair

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Bernard Buffet Retrospective

January 8, 2017, 12:23 pm

≫ Next: Cézanne Portraits

≪ Previous: DALÍ, ERNST, MIRÓ, MAGRITTE ...

The Muséed’ArtModernedelaVilledeParis
14 October 2016 - 26 February 2017

The Musée d’Art Moderne de la Ville de Paris is organising a retrospective of the work of Bernard Buffet (1928 – 1999), one of the most famous French painters of the 20th century, but also one of the most contentious . In a choice of a hundred paintings this exhibition takes a fresh look at an oeuvre wh ch in fact remains little known to the public at large .

The Musée d’Art Moderne being the only public museum with a large Buffet collection – thanks to the substantial Girardin bequest in 1953 and the Ida and Maurice Garnier donation in 2012 – it seemed appropriate to proceed with a project dating back to a contact initiated with the artist's long -time dealer Maurice Garnier (1920– 2014) some ten years ago, but delayed by the ongoing controversy surrounding the oeuvre. The passing of time brings greater objectivity, however, and many artists , art professionals and collectors are beginning to reconsider a body of work that has become slightly less perplexing.

Given Buffet's prolific output, this overview is necessarily highly selective ; nonetheless the exhibition will reveal the unsuspected quality and variety of what will perhaps live on as one of the most fascinating and most influential painterly oeuvres of the last century. The chronologically structured retrospective opens with Buffet's beginnings, when his work was triggering a new awareness of a wide range of artistic forms and objects. Thus it covers the postwar years and their debate about reali sm, figuration and abstraction; and overall it highlights the paradox of an artist who was drawing on history painting in the context of the disappearance of the subject, and whose life was a blend of artistic austerity and financial ease, of public success and a rejection of the art world.

Alongside his favourite subjects – self -portraits, still lifes – the exhibition will present the other themes he worked through in his annual exhibitions at Galerie Garnier:

religion

( The Passion of Christ ),

literature

(Dante's Inferno ,

Twenty Thousand Leagues under the Sea )

and allegory

( The Birds).

The emphasis will be on his enduring concern with history painting

(the Horror of War series)

and the history of painting

( The Sleepers, after Courbet ),

and on his last, spectacular series, Death ,

with its references to the memento mori of medieval times.

Generously backed up with documentary material, the retrospective will also offer an insight into the mechanisms behind Buffet's fame. The catalogue provides new studies of the artist by French and international historians, as well as articles by writers and critics of the time and interviews with Buffet's artist contemporaries.

Excellent article, more images

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Cézanne Portraits

January 8, 2017, 6:01 pm

≫ Next: Portrait of the Artist: Rubens, Rembrandt, Hockney and Freud

≪ Previous: Bernard Buffet Retrospective

Musée d'Orsay from 13 June 2017 - 24 September 2017
National Portrait Gallery from 26 October 2017 - 11 February 2018
National Gallery of Art from 25 March - 1 July 2018

The National Portrait Gallery is to stage the first exhibition devoted entirely to portraits by Paul Cézanne, it was announced today, Thursday 8 December 2016. This major new exhibition, Cézanne Portraits, will bring together for the first time over 50 of Cézanne's portraits from collections across the world, including works never before on public display in the UK.

Portraits previously unseen in the UK include the artist's arresting

Self Portrait in a Bowler Hat(1885-6) on loan from the Ny Carlsberg Glyptotek gallery in Copenhagen.

Also on UK display for the first time since the 1930s will be

Boy in a Red Waistcoat (1888-90),
from the National Gallery of Art, Washington DC,

one of a series of paintings of a young man in Italian clothes identified as Michelangelo de Rosa,

and Madame Cézanne in a Yellow Chair (1888-90) on loan from The Art Institute of Chicago, last exhibited in London in 1936 and 1939 respectively.

Paul Cézanne (1839-1906) painted almost 200 portraits during his career, including 26 of himself and 29 of his wife, Hortense Fiquet. Cézanne Portraitswill explore the special pictorial and thematic characteristics of Cézanne's portraiture, including his creation of complementary pairs and multiple versions of the same subject. The chronological development of Cézanne's portraiture will be considered, with an examination of the changes that occurred with respect to his style and method, and his understanding of resemblance and identity. The exhibition will also discuss the extent to which particular sitters inflected the characteristics and development of his practise.

Works included in the exhibition will range from Cezanne's remarkable portraits of his Uncle Dominique, dating from the 1860s, through to his final portraits of Vallier, who helped Cézanne in his garden and studio at Les Lauves, Aix-en-Provence, made shortly before the artist's death in 1906. The paintings are drawn from museums and private collections in Brazil, Denmark, France, Japan, Russia, Sweden, the United Kingdom, and the United States.

Cézanne is widely understood to be one of the most influential artists of the nineteenth century. Generally categorised as a Post-Impressionist, his unique method of building form with colour, and his analytical approach to nature influenced the art of Cubists, Fauvists, and successive generations of avant-garde artists. Both Matisse and Picasso called Cézanne ‘the father of us all.'

Dr Nicholas Cullinan, Director, National Portrait Gallery, London, says: ‘We are delighted to be staging this once in a lifetime exhibition in collaboration with the National Gallery of Art in Washington DC and the Musée d'Orsay in Paris. Up until now, Cezanne's portraiture has received surprisingly little attention, so we are thrilled to be able to bring together so many of his portraits for the first time to reveal arguably the most personal, and therefore most human, aspect of Cézanne's art.'

Cézanne Portraitsis curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, where he has organised numerous exhibitions, including major retrospectives devoted to Willem de Kooning, Henri Matisse, and Kurt Schwitters; with Mary Morton, Curator and Head of Department, French Paintings, National Gallery of Art and Xavier Rey, Director of Collections, Musée d'Orsay.

The exhibition is collaboration between the National Portrait Gallery, London; the National Gallery of Art, Washington DC and the Musée d'Orsay, Paris.

Publication

The exhibition will be accompanied by a fully illustrated book featuring 170 beautifully reproduced portraits, with an introductory essay on Cézanne's portraiture by exhibition curator John Elderfield and a dramatis personae on the sitters featured by the artist's biographer, the late Alex Danchev. Catalogue texts are by John Elderfield, Mary Morton and Xavier Rey, and a chronology by Jayne Warman sets the artist's work in the context of his life.

: Paul Cézanne
Uncle Dominique
1865 - 1867; Oil on canvas; 18-1/8 x 15 in. (46.1 x 38.2 cm); Norton Simon Art Foundation
Copyright: © Norton Simon Art Foundation

Paul Cézanne

The Gardener Vallier

c.1906

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Portrait of the Artist: Rubens, Rembrandt, Hockney and Freud

January 8, 2017, 6:20 pm

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≪ Previous: Cézanne Portraits

Sir Peter Paul Rubens, A Self-Portrait, 1623

Some of the finest portraits of artists, collected by monarchs since Charles I, go on display in a new exhibition at The Queen's Gallery, Buckingham Palace. Portrait of the Artist explores the changing image of the creative genius from the 15th century to the present day through more than 150 works from the Royal Collection. It includes paintings and drawings by, and of, some of the world's greatest artists, including Rembrandt van Rijn, Sir Peter Paul Rubens and Leonardo da Vinci.

For centuries images of artists have been a valuable commodity. Charles I was one of the first European monarchs to acquire them, including Artemisia Gentileschi's extraordinary

Self-Portrait as the Allegory of Painting (La Pittura) (c.1638–9). Produced at the height of his fame, Rubens' self-portrait (1623) was given to Charles I by the artist as an apology for sending the King a work by studio assistants two years earlier. The painting hung alongside

Daniel Mytens' self-portrait (c.1630) in the Breakfast Chamber outside the King's Withdrawing Room at Whitehall, showing the high esteem in which the artists were held.

Rembrandt captured his own image throughout his life, producing approximately 80 self-portraits in total. His

Self-Portrait in a Flat Cap (1642) was one of three of the artist's works that entered the Royal Collection during the reign of George IV. The monarch was so keen to own Sir Joshua Reynolds' self-portrait of c.1788 that he purchased an inferior copy of the painting in 1812, before being presented with the original version by the artist's niece just 15 days later.

The acquisition of artists' portraits by members of the royal family has continued into the 20th and 21st centuries. The friendship between The Duke of Edinburgh and Edward Seago is recorded in reciprocal portraits, which show the painters at their easels aboard HMY Britannia on His Royal Highness's return from his world tour in 1956–7. The Duke invited Seago to accompany him on the voyage from Australia, where he had opened the 1956 Olympic Games, in the hope that the artist would 'find something to challenge his remarkable talent for landscape painting' in the scenery of the Antarctic Peninsula.

Self-portraits by Lucian Freud and David Hockney were presented by the artists to Her Majesty The Queen on their appointment to the Order of Merit, an honour recognising distinguished service in science, art, literature or culture.

Freud's Self-Portrait: Reflection (1996), produced at the age of 74, was one of a series of life-sized portrait etchings made by the artist in the 1990s.

Hockney's Self-Portrait, 6 April 2012 was created on an iPad using the Brushes app, allowing him to play back the drawing 'stroke by stroke' to watch himself at work.

The world's most important group of artists' self-portraits hangs in the Vasari Corridor of the Galleria degli Uffizi, Florence. In the 1760s, the Italian artist Giuseppe Macpherson was commissioned by Lord Cowper, a leading patron of the arts, to create miniature copies of 224 of the works for presentation to George III. In the note accompanying the gift, Cowper wrote: 'There is nothing of the kind to be found in any Cabinet whatever in Europe, as it is the first time they have been permitted to be copied'. The complete set is on display for the first time in the exhibition.

The relationship between contemporaries in the art world is also explored in the exhibition through representations of artists by their friends, admirers and pupils.

Francesco Melzi's drawing of the aged Leonardo da Vinci (c.1515–18) is the most reliable surviving likeness of his teacher.

Rubens's portrait of his former assistant and lifelong friend Van Dyck (c.1627–8) shows the painter in an unusually reflective manner, unlike the assertive and confident figure presented in Van Dyck's self-portraits.

Dürer’s Self-Portrait at Age Twenty-Eight.

Hockney’s Self-Portrait with Cigarette

Publication

Throughout history, many of the world’s most renowned artists have made portraits to represent themselves and others.

The first book to focus on images of artists from within the Royal Collection, Portrait of the Artist brings together paintings, drawings, prints, and photographs by artists from across the centuries, including works by Rembrandt van Rijn, Peter Paul Rubens, David Hockney, and Lucian Freud. While some of the portraits included in this book were created to showcase the artist’s talent, others were motivated by more personal reasons, to preserve the images of cherished friends. Anna Reynolds, Lucy Peter, and Martin Clayton explore the miscellany of themes running throughout the discipline of portraiture, from the rich symbolism found in images of the artist’s studio to the transformation of styles with which artists depictedthemselves, changing their portrayals to align with their changing status. They also explore the relationships between artists and patrons, including the important role of the monarchy in commissioning and collecting portraits of artists.

Published to accompany a major exhibition opening in the fall at The Queen’s Gallery, Buckingham Palace, Portrait of the Artist provides a fascinating new perspective on this tradition, with lavish color illustrations of works from the fifteenth century to the present.

↧

Matisse and American Art

January 10, 2017, 9:44 am

≫ Next: Canaletto and the Art of Venice

≪ Previous: Portrait of the Artist: Rubens, Rembrandt, Hockney and Freud

Montclair Art Museum,Montclair NJ
February 5–June 18, 2017

Montclair Art Museum will present Matisse and American Art, the first exhibition to examine this French master’s profound impact upon the development of American modern art from 1907 to the present. His art has provided a liberating model for American artists’ varied explorations of vibrant color, strong, fluid lines, and clear compositional structures in their pursuits of self-expression.

Featuring 65 paintings, archival objects, sculpture, prints, and works on paper, Matisse and American Art will juxtapose 19 works by Matisse with 44 works by American artists, including Max Weber, Alfred Maurer, Maurice Prendergast, Stuart Davis, Richard Diebenkorn, Robert Motherwell, Ellsworth Kelly, Roy Lichtenstein, Andy Warhol, Romare Bearden, John Baldessari, Sophie Matisse, Faith Ringgold, and Helen Frankenthaler.

Matisse’s transformative impact on their works is revealed not only by their adaptations of his palette and pictorial structures but also through their choice and appropriation of his subject matter—still lifes, landscapes, figurative works, studio interiors, and portraits. While previous projects have illuminated Matisse’s relationship with postwar artists, this will be the first exhibition to expand Matisse’s impact beyond the typical focus upon the New York School by extending it back to the beginning of the 20th century and forward to the 21st.

The exhibition will open with an introductory section evoking a range of responses to the master, from the early 20th century study by his student Morgan Russell to Faith Ringgold’s late 20th century appropriation titled Matisse’s Model, with a fictional character based on the artist and other modern young women of color.

The exhibition then proceeds with early 20th century explorations of the nude as seen in the work of Matisse’s students Max Weber and Sarah Stein, as well as William Zorach and Maurice Prendergast. The next section of the show addresses Matisse’s theme of the window as a metaphor for the dialogue between the interior world of the artist and the external world of reality.

An archival section featuring Matisse on the cover of Time magazine in 1930, as well as various exhibition catalogues and publications, will serve as an orientation to the history of the dissemination of Matisse’s influence.

The final sections of the exhibition explore Matisse’s pervasive postwar impact on artists, especially in terms of the bold, simplified profiles and vibrant colors of his cut-outs. Works by Ellsworth Kelly, Robert Motherwell, Stuart Davis, Judy Pfaff, Romare Bearden, and the illustrator Eric Carle represent the wide-ranging responses to Matisse’s inventive “drawing with scissors.”

The exhibition concludes with the work of Roy Lichtenstein, Tom Wesselman, Andy Warhol, Janet Taylor Pickett, and John Baldessari, who have appropriated and adapted Matisse’s classic themes of the dance, the studio, the nude, portraiture, and the goldfish bowl as varying approaches to his universal art and fame.

The exhibition is organized by Gail Stavitsky, MAM chief curator, with Dr. John Cauman and Lisa Mintz Messinger. It is complemented by a major scholarly catalogue, Matisse and American Art, and two concurrent exhibitions Inspired by Matisse: Selected Works from the Collection and Janet Taylor Pickett: The Matisse Series.

Morton Livingston Schamberg, Study of a Girl (Fanette Reider), ca. 1912, oil on canvas. Williams College Museum of Art, Williamstown, Massachusetts, Bequest of Lawrence H. Bloedel, Class of 1923, 77.9.11.

Faith Ringgold, Matisse's Model , 1991.
Acrylic on canvas with pieced fabric border
73.5 x 90.5"
From the Series: The French Collection Part I; #5
Baltimore Museum of Art, Baltimore, Maryland
Image is courtesy of Artist Faith Ringgold and the Baltimore Museum of Art.

Henri Matisse
Woman in a Purple Coat.
(Courtesy: Montclair Art Museum)

William Zorach,
Spring in Central Park (recto), 1914, oil on canvas,
Lent by The Metropolitan Museum of Art, New York,
Gift of Peter Zorach, 1979 (1979.223a,b). ©The Zorach Collection, LLC

Henri Matisse (1869-1954)
Nude in a Wood (Nu dans la forêt; Nu assis dans le bois), 1906
Oil on board mounted on panel
16 x 12 " in. (40.6 x 32.4 cm) Brooklyn Museum, Gift of George F. Of, 52.150
©2016 Succession H. Matisse / Artists Rights Society (ARS), New York

Max Weber (1881-1961)
Apollo in Matisse’s Studio, 1908
Oil on canvas 23 x 18 in. (58.42 x 45.72 cm)
Estate of Max Weber, courtesy of Gerald Peters Gallery, New York
© 2017 Estate of Max Weber, courtesy Gerald Peters Gallery, New York

More images

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Canaletto and the Art of Venice

January 10, 2017, 11:52 am

≫ Next: Francis Bacon: From Picasso to Velazquez

≪ Previous: Matisse and American Art

Queen's Gallery, Buckingham Palace

19 May - 12 November 2017

The Bacino di S. Marco on Ascension Day by Canaletto

In 1762 the young monarch George III purchased virtually the entire collection of Joseph Smith, the greatest patron of art in Venice at the time. Thanks to this single acquisition, the Royal Collection contains one of the finest groups of 18th-century Venetian art in the world, including the largest collection of works by Giovanni Antonio Canal, better known as Canaletto.

Through over 200 paintings, drawings and prints from the Royal Collection's exceptional holdings, Canaletto and the Art of Venice presents the work of Venice's most famous view-painter alongside that of his contemporaries, including Sebastiano and Marco Ricci, Rosalba Carriera, Francesco Zuccarelli, Giovanni Battista Piazzetta and Pietro Longhi, and explores how they captured the essence and allure of Venice for their 18th-century audience, as they still do today.

Joseph Smith (c.1674−1770) was an English merchant and later British Consul in Venice, a post dealing with Britain’s maritime, commercial and trading interests. He had moved to Italy in around 1700 and over several decades built up an outstanding art collection, acting as both patron and dealer to many contemporary Venetian artists. Smith was Canaletto's principal agent, selling his paintings to the wealthy Grand Tourists who were drawn to Venice's cultural attractions. His palazzo on the Grand Canal became a meeting place for collectors, patrons, scholars and tourists, where visitors could admire his vast collection and commission their own versions of Canaletto's views to take home.

One of the most important of Smith's commissions from Canaletto was the series of 12 paintings of the Grand Canal, which together create a near complete journey down the waterway. Canaletto's sharp-eyed precision makes these views seem powerfully real, yet he rearranged and altered elements of each composition to create ideal impressions of the city. Two larger paintings are of festivals, including the 'Sposalizio del Mar', or 'Wedding of the Sea', which took place on Ascension Day and attracted crowds of British visitors. The Grand Canal was a subject frequently captured by Canaletto, including in a series of six drawings, among them Venice: The central stretch of the Grand Canal, c.1734. Intended as works of art in their own right, rather than as preparatory studies for paintings, the drawings are carefully constructed and rich in tone and detail.

Alongside the grand public entertainments, Venice boasted a thriving opera and theatre scene, especially during carnival season. The need to create stage sets within a very short period of time provided plentiful employment for Venetian artists. Both Marco Ricci and Canaletto worked for the theatre, where they learned how to manipulate perspective to heighten drama. The exhibition includes several of Ricci's designs for the Venetian stage, such as A room with a balcony supported by Atlantes, c.1726. Marco Ricci also produced caricatures of opera singers, such as the drawing of the internationally famed castrato Farinelli, which were circulated among Joseph Smith and his fellow Venetian collectors and opera aficionados.

On display together for the first time are personifications of the Four Seasons by Rosalba Carriera, whose pastels were highly prized by European collectors. They were intended to be hung in private domestic spaces, such as dressing rooms, bedrooms or small antechambers. Carriera was one of the first artists to develop a commercial relationship with Joseph Smith, and her sensual pastel of 'Winter', c.1726, an allegorical female figure wrapped in furs, was one of the most admired works in Smith's collection.

Canaletto, Marco Ricci and Francesco Zuccarelli all contributed to the development of the genre known as the capriccio – scenes combining real and imaginary architecture, often set in an invented landscape, to create poetically evocative works. The ruins of ancient Rome in both

Marco Ricci, Caprice View with Roman Ruins,c.1729
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Ricci's Caprice View with Roman Ruins, c.1729,

and Zuccarelli's pastoral scene Landscape with Classical Ruins, Cattle and Figures, c.1741–2, convey a sense of the irrevocable loss of a great age.

	Canaletto, Venice: The Bacino di S. Marco on Ascension Day, c.1733-4 Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Canaletto, Venice: The Bacino di S. Marco on Ascension
Day, c.1733-4
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Marco Ricci, Farinelli in walking dress, c.1729-30
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Canaletto, Venice: The Central Stretch of the Grand Canal,c.1734
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Marco Ricci, A room with a balcony supported by Atlantes, c.1726
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

There was a major revival in printmaking in Venice in the 18th century, with many publishers recruiting established artists, such as Giovanni Battista Piazzetta and Antonio Visentini, to provide designs for their publications. Joseph Smith was an enthusiastic print collector and one of the major supporters of contemporary printmaking in Venice. Smith financed and directed the Pasquali press, which contributed to the circulation of Enlightenment ideas, such as those of Isaac Newton, and imported banned foreign texts into Venice, including the work of Voltaire. Visentini was the chief draughtsman for the press, providing many hundreds of pen and ink drawings of initials and tailpieces, several of which will be on display in the exhibition.

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Francis Bacon: From Picasso to Velazquez

January 11, 2017, 1:10 pm

≫ Next: Sotheby’s MASTER PAINTINGS EVENING SALE 25 January 2017: Orazio Gentilesch

≪ Previous: Canaletto and the Art of Venice

Guggenheim Museum Bilbao

September 30, 2016, to January 8, 2017

The Guggenheim Museum Bilbao presents Francis Bacon: From Picasso to Velázquez, an exhibition of almost 80 works including some of the most important and yet least exhibited paintings by this British artist born in Ireland, alongside the works of the classic masters from French and Spanish culture who played a huge role in his career. Transgressive in both is life and his art, Bacon broke down many barriers that were deeply entrenched at the time, placing human beings in front of a mirror in which we could see ourselves in a raw, violent way.

Portraits, nudes, landscapes, bullfighting... the exhibition offers a new perspective on Bacon’s oeuvre by highlighting the influence that French and Spanish cultures exerted on his art.

Bacon created a new universe of images conceived via literature, film, art, and his own life using a totally unique language, reflecting human vulnerability with utter rawness.

Bacon’s nudes tend to feature isolated figures in everyday poses which the painter transformed by twisting their bodies into almost animal-like shapes, thus reinventing the portrait.

Francis Bacon Three Studies for a Crucifixion , 1962 Oil on canvas, three panels 198.1 x 144.8 cm, each panel Solomon R. Guggenheim Museum, New York, 64.1700 © The Estate of Francis Bacon. All rights reserved DACS/VEGAP, Bilbao, 2016

Francis Bacon Three Studies of Figures on Beds, 1972 Oil and pastel on canvas Three panels, 198 x 147.5 cm each Esther Grether Family Collection © The Estate of Francis Bacon. All rights reserved. DACS/VEGAP, Bilbao, 2016 Photo: Bildpunkt AG, Münchenstein

Francis Bacon Study for Self- Portrait , 1976 Oil and pastel on canvas 198 x 147.5 cm Art Gallery of New South Wales, Purchased 1978 © The Estate of Francis Bacon. All rights reserved DACS/VEGAP, Bilbao, 2016 Photo: © Jenni Carter, Viscopy

Francis Bacon Portrait of Michel Leiris , 1976 Oil on canvas 34 x 29 cm Centre Pompidou, Paris – Musée national d’art moderne. Centre de création industri elle, Donation Louise et Michel Leiris, 1984 © The Estate of Francis Bacon. All rights reserved DACS/VEGAP, Bilbao, 2016 Photo © Centre Pompidou, MNAM -CCI, Dist. RMN Grand Palais / Bertrand Prévost

Francis Bacon Study for Self- Portrait , 1981 Oil, pastel and dry transfer lettering on canvas 198 x 147.5 cm Private collection © The Estate of Francis Bacon. All rights reserved DACS/VEGAP, Bilbao, 2016 Photo: Prudence Cuming Associates Ltd.

Francis Bacon Study of a Bull , 1991 Oil, aerosol paint and dust on canvas 198 x 147.5 cm Private collection, London © The Estate of Francis Bacon. All rights reserved DACS/VEGAP, Bilbao, 2016 Photo: Prudence Cuming Associates Ltd.

El Greco Saint Francis in Prayer Before the Crucifix, ca. 1585 Oil on canvas 105.5 x 86.5 cm Museo de Bellas Artes de Bilbao

Diego Velázquez The Buffoon el Primo , 1644 Oil on canvas 106.5 x 82.5 cm Museo Nacional del Prado, Madrid

Pablo Picasso Composition ( Female Figure at the Beach ) [ Composition ( Figure féminine sur une plage )], 1927 Oil on canvas 18.8 x 17.6 cm Private collection © Sucesión Pablo Picasso, VEGAP, Madrid 2016

Alberto Giacometti Bust of a Man in a frame( Buste d’homme dans un cadre ), ca. 1946 Oil on canvas 28.1 x 22.4 cm Fondation Alberto et Annette Giacometti, Paris

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Sotheby’s MASTER PAINTINGS EVENING SALE 25 January 2017: Orazio Gentilesch

January 14, 2017, 7:35 am

≫ Next: Christie’s Old Master & British Drawings January 24, Old Master Prints January 25,

≪ Previous: Francis Bacon: From Picasso to Velazquez

Following the record-breaking sale of

Orazio Gentileschi’s Danaë

in January 2016, the Master Paintings Evening sale will be led by another striking painting by the artist:

Head of a Woman (estimate $2/3 million),

last seen in the landmark exhibition on Orazio and Artemisia Gentileschi at the Metropolitan Museum of Art in 2001. One of only two known panel paintings by the artist, Head of a Woman was executed during the first half of the 1630s, when Gentileschi was working at the court of King Charles I of England. Based on the inventory records and notes from 1637 / 1639, the picture was purchased from the artist by the King, suggesting that the King responded to the work personally, and had not directly commissioned it. Coming to the market for the first time in nearly three decades, the work is being sold in part to benefit the Department of European Painting and Sculpture at the Philadelphia Museum of Art.

The sale also offers an outstanding group of Spanish paintings: from a large-scale religious scene by Francisco de Zurbarán, to a late work attributed to El Greco, to a detailed still life by Pedro de Camprobín y Passano.

Leading the group is a newly-discovered painting attributed to Velázquez: Kitchen Still Life (estimate $1.5/2 million). According to renowned scholar William B. Jordan, the work is the only pure bodegón pantry painting of its kind by the artist. Qualities and aspects from this humble and intimate painting depicting kitchen utensils are replicated in other works by Velázquez,

including ‘The Old Woman Frying Eggs’, in the National Gallery of Scotland.

The Spanish section will also include a rare first edition of Francisco Goya’s first and most celebrated printed work Los Caprichos. [Madrid: Printed by Rafael Esteve for the artist, 1799.] (estimate $500/700,000). Consisting of 80 plates in the original binding, the book is generally considered the artist’s finest printed work, and remembered for its satirical presentation of society’s follies; many specific themes and allusions defy interpretation.

The Master Paintings Evening and Day Sales feature five Florentine tondi from the Italian Renaissance. Leading the group is The Madonna and Child Enthroned with Saint John the Baptist and an Angel (estimate $600/800,000), a late work by Sandro Botticelli and workshop. Most likely painted in the last five years of his life, the work features Botticelli’s crisp drapery folds and sharp outlines – distinguishing characteristics of his late works.

A similar work, without the angel.

Furthermore, the sale will offer a newly-discovered work by the celebrated Flemish painter Sir Peter Paul Rubens. Study of a Horse with a Rider (estimate $1/1.5 million) is a rare example of a large-scale animal study by the artist. Until recently the painting had been described as by a follower of Sir Anthony Van Dyck, however the authorship had been difficult to discern due to overpaint and background added later that dominated the original scene. With the removal of these later additions, the canvas has been revealed as a work of high quality, and a typical example of the spirited and rapidly painted oil sketches for which Rubens is celebrated. A similar composition and pose is evident in the foreground of Rubens’ Henry IV at the Siege of Amiens, at the Gothenburg Museum of Art.

Jean-Honoré Fragonard’s The Fountain of Love ( estimate $1.5/2.5 million) is one of four allegorical portrayals of love that the artist executed in the 1780s. The present work is one of the artist’s most distinguished compositions of his mature career – versions of the celebrated composition hang in the Wallace Collection, London and the J. Paul Getty Museum, Los Angeles. The work, which combines a classical story with an atmosphere and dynamism, has enchanted audiences for centuries.

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Christie’s Old Master & British Drawings January 24, Old Master Prints January 25,

January 14, 2017, 8:19 am

≫ Next: Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017: Rothko, Rauschenberg

≪ Previous: Sotheby’s MASTER PAINTINGS EVENING SALE 25 January 2017: Orazio Gentilesch

Christie’s Old Master & British Drawings sale on January 24 is comprised of 131 lots including works from distinguished private collections and institutions. Important works leading the sale are

Francisco de Goya’s Hunter with his dog in a landscape

PETER PAUL RUBENS (Siegen 1577-1640 Antwerp), Scipio Africanus welcomed outside the gates of Rome, after Giulio Romano, black chalk, pen and ink, brown wash, grey, cream, white and touches of green bodycolor with heightening in oil. Estimate: $500,000-700,000.

and a lavish design by Peter Paul Rubens inspired by a composition by Renaissance artist Giulio Romano.

The sale features a strong selection of Italian drawings including studies by Giacomo Cavedone, Parmigianino and Taddeo Zuccaro, together with several works inspired by Michelangelo by Battista Franco, Giulio Clovio and Cesare da Sesto’s early study after the Sistine ceiling. Works by Piazzetta, Giovanni Battista and Giovanni Domenico Tiepolo,Piranesi and Francesco Guardi constitute the highlights of an outstanding selection of Venetian drawings.

Highlights from the British section include A male nude by Henry Fuseli, and works by Gainsborough and Burne-Jones. Charles de la Fosse’s preparatory study for the painting The Virgin’s Coronation with a selection of nineteenth-century works round out the sale.

The sale of Old Master Prints encompasses 220 prints from five centuries, offering an in-depth survey of the printed image in Europe, from Martin Schongauer’s (1450-1491) engravings created in the 1470s to

a View of San Francisco by the French Charles Meryon (1821-1868), printed around 1855.

Classic prints by the most celebrated and widely collected artist-printmakers, including Albrecht Dürer (1471-1528), Rembrandt (1606-1669), and Francisco de Goya (1746-1828), stand side by side with extreme rarities, such as an anonymous, hand-coloured woodcut of the Virgin nursing the Child, printed in Northern Italy around 1530; one of a few surviving devotional prints of the period.
The estimates vary as much as the dimensions of the works: the exquisite little engravings by Hans Sebald Beham (1500-1550) are the size of a postage stamp, while the monumental woodcut

AFTER TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1488-1576), The Submersion of Pharaoh’s Army in the Red Sea the complete woodcut printed from 12 blocks, circa 1514-15. Estimate: $200,000-300,000.

The Submersion of Pharaoh’s Army (estimate: $200,000-300,000) after a design by Titian leads the sale and fills an entire wall in its scale.

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Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017: Rothko, Rauschenberg

January 19, 2017, 11:56 am

≫ Next: Vermeer and the Masters of Genre Painting

≪ Previous: Christie’s Old Master & British Drawings January 24, Old Master Prints January 25,

MARK ROTHKO (1903-1970), No. 1 (Painted in 1949). Oil on canvas, 78.3 x 39.7 in. (198.8 x 100.8 cm.) Estimate on Request.

Two giants of Post-War American painting will be united in Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017 in London. Mark Rothko’s groundbreaking No. 1 (1949, estimate on request), is one of the artist’s earliest examples of his mature artistic vocabulary, dating from the pioneering year of his practice and was first shown in 1950 as part of his historic solo exhibition at New York’s Betty Parsons Gallery.

Robert Rauschenberg’s Transom (1963, estimate on request) comes to auction alongside a major retrospective of his work at London’s Tate Modern, and demonstrates the radical new visual language that went on to lead a generation of American artists towards global domination. Together these two masters of 20^th-Century painting will lead the field of American talent that will take centre stage during 20^th Century at Christie’s, a series of sales that takes place from 28 February to 10 March 2017. Ahead of the auction the works will tour and be exhibited in Hong Kong (17-20 January), Shanghai (8 February), Beijing (11-13 February) and New York (24-26 February).

Francis Outred, Chairman and Head of Post-War and Contemporary Art at Christies: “America is a profound force on the global stage and has been unstoppable in defining the contemporary culture of the last century. It is a privilege to present two seminal works that date from the beginning of this cultural dominance. Mark Rothko’s No.1 dates from 1949 and was one of his first works to incorporate the planes of colour as mood that defined his career. Robert Rauschenberg’s Transom is one of the breakthrough series of Silkscreen Paintings with which he not only sparred with Warhol but also became the very first American artist to win the Golden Lion at the 1964 Venice Biennale. Following the much-celebrated Abstract Expressionism exhibition at London’s Royal Academy and the major Robert Rauschenberg retrospective at Tate Modern we very much look forward to drawing a global audience to London in March.

Having never been previously offered at auction, Rothko’s No. 1 is one of the few works from the 1950 Betty Parsons Gallery show that remain in private hands and heralds the incandescent union of light and colour for which his work would come to be much celebrated. Of the suite of 12 paintings, nine are now held in major American museums including:

The Museum of Contemporary Art, Los Angeles (No. 2),

The Museum of Modern Art, New York (No. 3),

Los Angeles County Museum of Art (No. 4),

Walker Art Center, Minneapolis (No. 6),

National Gallery of Art, Washington (No. 7),

National Gallery of Art, Washington (No. 8),

Hirshhorn Museum and Sculpture Garden, Washington (No. 9),

and Frances Lehman Loeb Art Center, New York (No. 12).

The importance of No. 1 to Rothko’s practice is underlined by the fact that he guarded the work and kept it in his possession until his untimely death. A glowing vision of rich orange and lemon-bright yellow, punctuated at its core by a dramatic zone of ochre strokes upon a bar of vaporous blue and teal, No.1 paved the way for the transformative painting as mood for which he is critically acclaimed.

Robert Rauschenberg honed the visual language of his series of Silkscreen Paintings between 1962 and 1964, which went on to earn him the Grand Prize for painting at the 1964 Venice Biennale. A central focus of the current Tate Modern retrospective is a room dedicated to the Silkscreen Paintings, reflecting their centrality to his oeuvre and the profound contemporary relevance for artists working today. Amongst the first artists to use silkscreens in his practice, Rauschenberg commenced this series around the same time his friend Andy Warhol also started to employ the process.

Transom demonstrates Rauschenberg’s unmatched skill for the technique: against a white ground, repeated rooftop water towers are silkscreened in black and blue, framing the composition right and left as if each edge is a horizon. Transom sees images of war, urbanisation and consumer culture jostle for attention with a paragon of art history:

Velázquez’s Rokeby Venus. The iconic nude appears three times in the work - in a blaze of red and yellow in the centre of the canvas; in a slice of blue stretched along the upper edge; and at the lower edge her free-floating face peers out from her mirror below a red truck wheel. This vivid tableaux demonstrates Rauschenberg’s talent at its height, marking the dramatic shift of focus towards America as the dominant force in contemporary culture.

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Vermeer and the Masters of Genre Painting

January 19, 2017, 12:06 pm

≫ Next: Christie’s Impressionist & Modern Art Evening Sale on 28 February: Morisot, Monet, van Donge

≪ Previous: Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017: Rothko, Rauschenberg

Musée du Louvre

22 February - 22 May 2017

The Musée du Louvre, in collaboration with the National Gallery of Ireland in Dublin and the National Gallery of Art in Washington, is holding a landmark exhibition about renowned painter Johannes Vermeer. For the first time since 1966, this event will bring together twelve of the Delft master’s paintings—a third of his total known body of work—providing an insight into the fascinating relationships the artist maintained with other great painters of the Dutch Golden Age.

Thanks to special loans from the most prominent American, British, German, and—naturally—Dutch museums, visitors will be able to see Vermeer in a new light.

The exhibition does away with the legend of the reclusive artist living in his own inaccessible, silent world—without ever implying that Vermeer was just one painter of many. Indeed, his artistic temperament grew more distinct through encounters with other artists. Vermeer did more than launch a new movement: he acted as an agent of metamorphosis.

“The Sphinx of Delft”: coined by French journalist and art critic Théophile Thoré-Bürger when he revealed Vermeer to the world late in the 19th century, this famous expression has served mainly to promote an enigmatic image of the painter. The myth of the solitary genius has done the rest. Yet Johannes Vermeer (1632–1675) did not attain his level of creative mastery in isolation from the art of his time.

Through comparisons with the works of other artists of the Golden Age—among them Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch, Gabriel Metsu, Caspar Netscher, and Frans van Mieris—the exhibition brings to light Vermeer’s membership of a network of painters specializing in the depiction of everyday life while admiring, inspiring, and vying with each other.

The third quarter of the 17th century saw the Dutch Republic’s global economic power reach its apogee. Proud of their social standing, the Dutch elite demanded art that would reflect their prestige. This demand led to the emergence of a “new wave” of genre painting in the early 1650s, with artists shifting their focus to idealized depictions of domesticity in elegant society. The men and women portrayed in these masterfully-executed pieces display a staged civility.

Although the artists in question worked in different cities across the Republic of the United Netherlands, their technique, and the style, subjects, and compositions featured in their work showed considerable similarities. The exceptional quality of their creations can be partly attributed to the lively professional rivalry that existed between them.

A Young Woman Seated at a Virginal by Johannes Vermeer

and Woman Feeding a Parrot by Frans van Mieris the Elder

Exhibition curators: Blaise Ducos, Department of Paintings, Musée du Louvre, Paris, Adriaan E. Waiboer, National Gallery of Ireland, Dublin, and Arthur K. Wheelock Jr., National Gallery of Art, Washington

De Hooch
Woman with a balance
(c)BPK, Berlin, Dist. RMN-Grand Palais / Jörg P.Anders
Vermeer
Woman with a Balance
(c)Washington, National Gallery of Art
Metsu
A Man Writing a Letter
(c)Dublin, National Gallery of Ireland
Metsu
A woman reading a letter
(c)Dublin, National Gallery of Ireland
Vermeer
A Lady Writing a Letter, with her Maid
(c)Dublin, National Gallery of Ireland
Vermee
A Lady Writing
(c)Washington, National Gallery of Art
Ter Borch
A Woman at a Mirror
(c)Amsterdam, The Rijksmuseum
Van Mieris
A Woman examining Herself in a Mirror
(c)BPK, Berlin, Dist. RMN-Grand Palais / Jörg P. Anders
Vermeer
Young Woman with Pearls
(c)BPK, Berlin, Dist. RMN-Grand Palais Jörg P. Ander
Netscher
A Woman Feeding a Parrot with a Page
(c)Washington, National Gallery of Art
Van Mieris
The Duet
(c)BPK, Berlin, Dist. RMN-Grand Palais /image Staatliches Museum Schwerin
Vermeer
A woman sitting at a Virginal
(c)National Gallery, London
Van Hoogstraten
The Slippers
(c)RMN-Grand Palais (musée du Louvre) / Tony Querrec
Steen
A Woman at her Toilet
(c)Royal Collection Trust/ Her Majesty Queen Elizabeth II 2016
De Hooch
A Woman Nursing an Infant with a Child and a Dog
(c)Fine Arts Museums of San Francisco
Dou
Astronomer by Candlelight
(c)Los Angeles, J. Paul Getty Museum
Vermee
The Astronomer
(c)RMN-Grand Palais (musée du Louvre) / Franck Raux
Vermeer
The Geographer
(c)Städel Museum - ARTOTHEK
Dou
A kitchen Maid pourring water into a jar
(c)RMN-Grand Palais (Musée du Louvre) / Tony Querrec
Vermeer
The Milkmaid
(c)Amsterdam, The Rijksmuseum
Maes
A Young Woman sewing
(c)Guildhall Art Gallery, City of London / Harold Samuel Collection / Bridgeman Images
Vermeer
The Lace Maker
(c)RMN-Grand Palais (musée du Louvre) / Gérard Blot
Ter Borch
Galant Conversation-The Paternal Admonition
(c)Amsterdam, The Rijksmuseum
Vermeer
The Allegory of the Catholic Faith
(c)The Metropolitan Museum of Art, Dist. RMN-Grand Palais / image of the MMA

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Christie’s Impressionist & Modern Art Evening Sale on 28 February: Morisot, Monet, van Donge

January 20, 2017, 11:30 am

≫ Next: Georgia O’Keeffe: Living Modern

≪ Previous: Vermeer and the Masters of Genre Painting

The Impressionist & Modern Art Evening Sale on 28 February will launch 20^th-Century at Christie’s, a season of sales that take place from 28 February to 10 March 2017. The personal collection of the esteemed philanthropist and patron of the arts Barbara Lambrecht* will lead the sale. All proceeds from the sale of the collection will benefit the Rubens Prize Collection in the Museum of Contemporary Art Siegen**, Germany.

THE PERSONAL COLLECTION OF BARBARA LAMBRECHT

Barbara Lambrecht:

“I began my collection in the early 1970s and have lived with the Impressionist masterpieces, including works by the female artists Berthe Morisot and Eva Gonzalez, as well as striking examples of early Impressionism by Monet and the bold colours of Fauvists such as Dufy and van Dongen, all of which have brought me great joy. Art widens my horizon, and my paintings always allowed me to enter new worlds. I am delighted to offer future collectors an opportunity to appreciate them as much as I have over the years. All proceeds from the auction will contribute towards the future of the Rubens Prize Collection in the Museum of Contemporary Art in Siegen.”

With the sale of her personal collection, Barbara Lambrecht, who was awarded the Order of Merit of the Federal Republic of Germany in 2016, continues her profound and longstanding philanthropic engagement for social and educational projects, classical music, theatre and the arts. Her personal collection was carefully assembled during the 1970s & 1980s and presents paintings by Impressionist painters at critical turning points in their careers when they began to experiment with vantage points, painterly techniques and subject matter. The works will be on view at Christie’s King Street from 23 to 28 February 2017. Highlights will be on view in Hong Kong from 17 to 20 January 2017, Shanghai on 8 February and Beijing from 11 to 13 February 2017.

Two distinct conceptual strands can be identified within the collection: classic early Impressionism and the daring colour of the Fauves. Highlights of the collection include two important oils by Berthe Morisot, who, in an art world dominated by men, defiantly pursued a career as an artist and painted the world around her with constant innovation, expanding the boundaries both of artistic convention and of the prescribed roles of her gender.

Further highlights include Claude Monet’s Les Bords de la Seine au Petit-Gennevilliers (1874, estimate: £2,000,000-3,000,000), Les deux Anges by Kees van Dongen (1907-09, estimate: £400,000-600,000) and Pablo Picasso’s Lluis Alemany (1899-1900, estimate: £300,000-500,000), dating from the beginning of his career, just ahead of his first trip to Paris. Estimates range from £7,000 - £3,000,000, providing opportunities for collectors at all levels.

‘Berthe Morisot stands unrivalled’. This was the emphatic response from a critic upon seeing Morisot’s work at the Second Impressionist exhibition of 1876.

Berthe Morisot, Femme en noir, 1875, estimate: £600,000-800,000

Painted a year earlier, Femme en noir also known as Avant le théâtre, was most likely included in this important exhibition. Depicting an elegant and fashionably attired young woman making her way to the theatre, this painting is one of only a few full-length portraits in Morisot’s oeuvre and is undoubtedly one of the most-celebrated works of her career. While Morisot and her Impressionist colleagues frequently depicted fashionably dressed women at the theatre or opera, seated in private boxes or presented against ornate backdrops, in the present work, the artist has removed all background detail, placing the model within an ambiguous setting. The viewer is then forced to focus solely on the figure herself – her expression, her costume and her idiosyncratic demeanour. With this unusual setting, Morisot has achieved a particularly novel and enigmatic vision of a woman.

In many ways a breakthrough work of the artist’s early career, Morisot held Femme et enfant au balcon (1872, estimate: £1,500,000-2,000,000) in such high regard that she executed a small copy of it in watercolour, which now resides in the Art Institute of Chicago. This was a particularly rare practice for Morisot who was dedicated to the spontaneous depiction of the world around her. By the time that she painted Femme et enfant au balcon, Morisot had grown extremely close to Édouard Manet who played a vital role in her early career, providing crucial encouragement in moments of uncertainty as she forged an independent identity as an artist. Exemplifying the artist’s nascent Impressionist style – she was a founding member of the Impressionist group and exhibited with them in all but one of the group exhibitions between 1874 and 1886 – Femme et enfant au balcon is composed with a combination of spontaneous, softly feathered brushwork and areas of fine, exquisite detail.

Painted in the immediate aftermath of the ground-breaking first Impressionist exhibition in 1874, Claude Monet’s Les Bords de la Seine au Petit-Gennevilliers (1874, estimate: £2,000,000-3,000,000) focuses on the idyllic, picturesque Parisian suburb of Petit-Gennevilliers, which sat on the opposite bank of the Seine to the artist’s adopted home of Argenteuil. Working alongside Pierre-Auguste Renoir and Édouard Manet, Monet produced a string of plein-air masterpieces over the course of this summer, inspired by the area’s timeless beauty, charming historical character, and lively nautical traffic that filled this stretch of the Seine. Focusing on the play of light, and the fleeting, ephemeral movement of the sky and river, the present composition is filled with swift, loose brushstrokes that convey a sense of the speed with which the artist rendered the scene, as he quickly translated the landscape as he saw it before him directly onto his canvas.

The two figures at the heart of Kees van Dongen’s early canvas Les deux Anges (1907-09, estimate: £400,000-600,000) exude a raw sensuality as their naked bodies are frozen in a moment of ecstatic movement, their torsos curving elegantly as they sway erotically to a rhythm. The artist elongates their figures, allowing them to stretch into elegant poses as they lift their arms above their heads, thus accentuating the willowy-character of their figures as they engage in an almost Dionysian dance. Van Dongen’s art at this time was dominated by such sensual, seductive female figures, with each of his depictions infused by a distinctively erotic tenor. The often explicitly sexual content was shocking to contemporary audiences and brought the artist a certain degree of notoriety as a painter of lustful sirens. One of the most striking elements of the present composition is the artist’s use of such bold, glowing colours, which seem to radiate from the surface of the canvas. The rich interplay of deep blues, vibrant reds and cool greens is used to great effect, as the vivid contrasts between these unmixed colours lends an extraordinarily powerful expressive quality to the composition, heightening the intensity of the erotic subject matter.

Le Corbusier: Important Works from the Heidi Weber Museum Collection will also form a centrepiece of the Impressionist & Modern Art Evening Sale,.

Heidi Weber first met Le Corbusier in the summer of 1958 at Cap Martin in Southern France. This auspicious meeting marked the beginning of a close, collaborative and enormously productive partnership between the pair. With endless passion, determination and an unceasing enthusiasm, Weber embarked on a number of collaborative projects; from the incredibly successful industrial and commercial adaptation of his furniture designs, to publishing his graphic works, to nurturing and developing the market for Le Corbusier’s art, and finally to personally funding and constructing his last building – the Heidi Weber Museum Centre Le Corbusier in Zurich, Switzerland. Described variously as the ‘leading ambassador’, ‘spiritual heiress’ or ‘mentor’ of Le Corbusier, Heidi Weber was, in Le Corbusier’s own words, a ‘monster of perseverance, devotion and enthusiasm’.

Three oil paintings tracing Le Corbusier’s career from the 1920s to the 1940s will be offered alongside four works on paper from this significant Museum Collection. Weber developed an unparalleled collection of Le Corbusier’s work, amassing a comprehensive overview of his career. From the elegant, rigidly structured Purist compositions of the late 1910s and early 1920s, to the exuberant multi-hued compositions of his later years, the astonishing diversity that characterises Le Corbusier’s oeuvre can be seen in the selection of works that feature in the Impressionist & Modern Art Evening and Works on Paper Sales.

Although Le Corbusier regarded himself first and foremost as a plastic artist, he rarely exhibited this side of his practice, choosing instead to keep it hidden from critics and a wider public. One of the first to recognise the importance of his painting, drawing and sculpture, over the course of her life Weber dedicated herself to the promotion and dissemination of this aspect of his work. The selection presented in Le Corbusier: Important Works from the Heidi Weber Museum Collection demonstrates the range of Le Corbusier’s plastic oeuvre, and reveals an artist who constantly defied stylistic definition. Highlights will be on view in Hong Kong from 17 to 20 January, Shanghai on 8 February 2017, Beijing from 11 to 13 February 2017 and then in London from 23 to 28 February 2017.

Created in 1926, Accordéon, carafe et cafetière (estimate: £1,500,000-2,500,000) shows the growing complexity of Le Corbusier’s pictorial vocabulary as he reached the heights of his mature Purist style. Having co-founded Purism alongside Amédée Ozenfant in 1918, Le Corbusier spent much of the early half of the 1920s intensely focused on refining his still-life compositions to best reflect the theories of order and purity which underpinned the movement, reducing his forms to pure geometric shapes and minimizing his use of colour to an austere palette of restrained hues. However, following his break with Ozenfant in 1925, Le Corbusier’s paintings became decidedly less rigorous in their formulation, with the artist moving away from the strict geometry of forms which had characterised his earlier work, and instead introducing increasingly dynamic shapes and bright colours to his compositions. Key amongst the developments that occurred during this period was the artist’s expansion of the types of objects he included in his still-lifes, as he began to push his paintings to new levels of expression and invention. In the present work, the inclusion of the accordion, with its distinctively concertinaed mid-section, lends the scene a new visual richness, while the overlapping contours and intersecting sections of the glasses, carafe and coffee pot heighten the internal dynamism of this striking still-life.

Produced during a period of intensive experimentation in his painting, Femme grise, homme rouge et os devant une porte (1931, estimate: £1,200,000-2,000,000) highlights the emergence of several integral motifs within the artist’s oeuvre. From the voluptuous curves of the nude female body, to the symbolic open hand at its centre, the composition features a series of themes that would prove essential to Le Corbusier’s painterly activities throughout the rest of his career. At its heart stand two monumental figures, the man and woman of the title, their forms appearing to almost melt into one another as their bodies intertwine in an intimate embrace. Positioned before an open doorway, they stand in almost visual opposition to one another, the sharp juxtaposition between the cold grey and russet red used on their bodies emphasising their individuality and inherent differences. To their left, a fragmented bone, one of the artist’s so-called objets à réaction poétique (objects with poetic effect) appears in a series of segments, its form almost completely abstracted as the artist explores its shape through a variety of cross-sections and different profiles. The bright colouring and amorphous forms of this portion of the painting lend the scene an almost Surrealist air, particularly when contrasted against the neighbouring figurative elements, and point towards Le Corbusier’s familiarity with the art of his Parisian contemporaries. The inclusion of both this natural, found object and the human figure in Femme grise, homme rouge et os devant une porte reflects the increased importance of nature in Le Corbusier’s art at this time, as he broke away from the constraints of his earlier Purist style and began to forge a new, distinctive path for his creativity.

Painted over a number of years, 1927, 1938, and completed in 1944, Nature morte et figure (estimate: £1,500,000-2,500,000) is a monumental work that incorporates many of the themes and motifs that had dominated Le Corbusier’s art. A kaleidoscopic array of bold colours and forms, this painting can be seen as a summation of Le Corbusier’s work as a painter and architect. At the centre of the composition, a single dark outline denotes the form of a large bottle, next to which, on the left-hand side, the statuesque figure of a woman similarly fills the entire height of the canvas. Amidst a plethora of other forms, shapes and facets of colour, these two objects illustrate the two primary components of Le Corbusier’s prolific pictorial oeuvre: the still-life and the human figure. Elsewhere in the large, multi-partite composition, a pipe, and a wooden triangle – an architect’s instrument – serve as visual symbols of the artist himself. Filled with the archetypal images of the artist’s practice, Nature morte et figure is a panoramic and immersive depiction of Le Corbusier’s life as an artist, a dynamic and celebratory work that encapsulates the many different facets of his pluralistic career.

Friend, confidante, collaborator and patron, Heidi Weber’s relationship with Le Corbusier was truly unique. As Le Corbusier’s fame flourished in the final decade of his life, it is undeniable that Weber’s vision, temerity and dedication to the artist played a large part in perpetuating his international renown and establishing the unparalleled reputation that he enjoys today.

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Georgia O’Keeffe: Living Modern

January 27, 2017, 12:00 pm

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Brooklyn Museum
March 3 through July 23, 2017

Reynolda House Museum of American Art
August 25 –November 19, 2017

Peabody Essex Museum
December 16, 2017–April 1, 2018

Georgia O’Keeffe: Living Modern offers a new look at the iconic American artist’s powerful ownership of her identity as an artist and a woman. This major exhibition examines the modernist persona that Georgia O’Keeffe crafted for herself through her art, her dress, and her progressive, independent lifestyle. It will mark the first time O’Keeffe’s understated yet remarkable wardrobe will be presented in dialogue with key paintings, photographs, jewelry, accessories, and ephemera.

Opening on March 3, Georgia O’Keeffe: Living Modern represents a homecoming of sorts, as the artist had her first solo museum exhibition at the Brooklyn Museum, in 1927. On view through July 23, 2017, Georgia O’Keeffe: Living Modern is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong project celebrating a decade of feminist thinking at the Brooklyn Museum.

In addition to a number of O’Keeffe’s key paintings and never-before-exhibited selections from her wardrobe, the exhibition will also feature portraits of her by such luminary photographers as Alfred Stieglitz, Ansel Adams, Philippe Halsman, Yousuf Karsh, Todd Webb, Cecil Beaton, Bruce Weber, Annie Leibovitz, and others.

These images, along with the garments and artworks on view, testify to the ways that O’Keeffe learned to use photographic sittings as a way to construct her persona, framing her status as a pioneer of modernism and as a style icon.

“Fifteen years ago I learned that when Georgia O’Keeffe died and left her two homes to her estate, her closets were filled with her belongings. The O’Keeffe Museum in Santa Fe now owns the homes and their contents, but no one had yet studied the sixty years of dresses, coats, suits, casual wear, and accessories she left behind.I took on that task. The Georgia O’Keeffe who emerged from my research and is presented in this exhibition was an artist not only in her studio but also in her homemaking and self-fashioning,” says guest curator, Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University.

Georgia O’Keeffe: Living Modern opens with an introduction that demonstrates how O’Keeffe began to craft her signature clothing style as a high school student, dispensing with the bows and frills worn by young women at the time.

The exhibition continues in four parts. The first is devoted to New York in the 1920s and ’30s, when she lived with Alfred Stieglitz and made many of her own clothes. It also examines Stieglitz’s multi-year, serial portrait project, which ultimately helped her to become one of the most photographed American artists in history and contributed to her understanding of photography’s power to shape her public image.

Her years in New Mexico comprise the second section, in which the desert landscape—surrounded by color in the yellows, pinks, and reds of rocks and cliffs, and the blue sky—influenced her painting and dress palette.

A small third section explores the influence and importance of Asian aesthetics in her personal style.

The final section displays images made after Steiglitz’s era by photographers who came to visit her in the Southwest.luminary photographers as Alfred Stieglitz, Ansel Adams, Philippe Halsman, Yousuf Karsh, Todd Webb, Cecil Beaton, Bruce Weber, Annie Leibovitz, and others.

“This exhibition reveals O’Keeffe’s commitment to core principles associated with modernism—minimalism, seriality, simplification—not only in her art, but alsoin her distinctive style of dress,” says Lisa Small,Curator of European Painting and Sculpture, BrooklynMuseum, who serves as the exhibition’s in-house coordinator.

Following the Brooklyn Museum, the exhibition will go to the Reynolda House Museum of American Art, August 25 –November 19, 2017, and to the Peabody Essex Museum, December 16, 2017–April 1, 2018. A companion book of the same title, written by curator Wanda M. Corn, will accompany the exhibition.

Georgia O’Keeffe (American, 1887‒1986). Black Pansy & Forget-Me-Nots (Pansy), 1926. Oil on canvas, 27⅛ x 12¼ in. (68.9 x 31.1 cm). Brooklyn Museum; Gift of Mrs. Alfred S. Rossin, 28.521. (Photo: Christine Gant, Brooklyn Museum)

Georgia O’Keeffe (American, 1887–1986). Blue #2, 1916. Watercolor on paper, 15⅞ x 11 in. (40.3 x 27.8 cm). Brooklyn Museum; Bequest of Mary T. Cockcroft, by exchange, 58.74. (Photo: Sarah DeSantis, Brooklyn Museum)

Georgia O’Keeffe (American, 1887–1986). Brooklyn Bridge, 1949. Oil on Masonite, 48 x 35⅞ in. (121.8 x 91.1 cm). Brooklyn Museum; Bequest of Mary Childs Draper, 77.11. (Photo: Brooklyn Museum)

Georgia O’Keeffe (American, 1887–1986). Pool in the Woods, Lake George, 1922. Pastel on paper, 17 x 27½ in. (43.3 x 69.9 cm). Reynolda House Museum of American Art, Winston-Salem, N.C.; Gift of Barbara B. Millhouse in memory of E. Carter, Nancy Susan Reynolds, and Winifred Babcock, 1984.2.9. Courtesy of Reynolda House Museum of American Art, affiliated with Wake Forest University. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York

Georgia O’Keeffe (American, 1887–1986). Ram’s Head, White Hollyhock—Hills (Ram’s Head and White Hollyhock, New Mexico), 1935. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm). Brooklyn Museum; Bequest of Edith and Milton Lowenthal, 1992.11.28. (Photo: Brooklyn Museum)

Georgia O’Keeffe (American, 1887–1986). Patio with Cloud, 1956. Oil on canvas, 36 x 30 in. (91.4 x 76.2 cm). Milwaukee Art Museum; Gift of Mrs. Edward R. Wehr, M1957.10. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York. (Photo: P. Richard Eells)

Ansel Adams (American, 1902–1984). Georgia O’Keeffe and Orville Cox, 1937. Gelatin silver print, 7¾ x 11 in. (19.7 x 27.9 cm). Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation, 2006.06.1480. © 2016 The Ansel Adams Publishing Rights Trust

Ansel Adams (American, 1902–1984). Georgia O’Keeffe at Yosemite, 1938. Gelatin silver print, 5¾ x 3⅜ in. (14.5 x 8.7 cm). Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation, 2006.06.0856. © 2016 The Ansel Adams Publishing Rights Trust

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Masterpieces from Budapest From the Renaissance to the Avant-gardes

January 27, 2017, 12:30 pm

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Museo Thyssen-Bornemisza
18 February to 28 May 2017

Opening in February 2017 at the Museo Thyssen-Bornemisza is Masterpieces from Budapest. From the Renaissance to the Avant-gardes, an exhibition which, for the first time in Spain, presents an important selection of paintings, drawings and sculptures from the collections of the Museum of Fine Arts in Budapest and the National Gallery of Hungary.

In total the exhibition features 90 works from the 15th to the 19th centuries representing artistic schools such as the Italian, German, Flemish and Spanish and including great names from the history of art such as Dürer, Leonardo da Vinci, Rubens, Velázquez, Tiepolo, Cézanne and Manet, in addition to interesting works by Hungarian artists, together offering visitors a comprehensive idea of the collections housed in these institutions.

Curated by Guillermo Solana, artistic director of the Museo Thyssen, and Mar Borobia, head of its Department of Old Master Painting, the exhibition is organised in collaboration with the Museum of Fine Arts, which is closed for renovation until March 2018, and the National Gallery of Hungary, where part of the Museum of Fine Arts’s collection is temporarily exhibited. To be accompanied by a range of activities, this will be the first event in the Museo Thyssen’s exhibition programme for 2017, the year that marks the 25th anniversary of its opening to the public.

Masterpieces from Budapest. From the Renaissance to the Avant-gardesis divided into seven sections:

The Renaissance in the North, which will focus on 16th-century German painting through the work of artists such as Albrecht Dürer, Lucas Cranach the Elder and Hans Baldung Grien
The Renaissance in the South, with works by Leonardo da Vinci, Lotto, Raphael and Bronzino;
The Baroque in Flanders and Holland, a room that includes works by Peter Paul Rubens and Anthony van Dyck;
The Baroque in Italy and Spain, with canvases by Annibale Carracci, Alonso Cano and Velázquez;
The 18th century in Europe, with an excellent representation of the Venetian school led bySebastiano Ricci and Giambattista Tiepolo, magnificent works by Central European artists who are little known in Spain, including an exceptional group of sculptures by Franz Xavier Messerschmid
a monographic room devoted to The New Image of Women, with works by artists from Manet to Kokoschka; and
The Modern Age; from Pissarro to Bortnyik, which will present international art from the 19th century to World War I.

The holdings of Museum of Fine Arts in Budapest are the result of the amalgamation of various old collections, principally that of the Estherhazys, which was acquired by the Hungarian State in 1870 and was soon expanded with others such as those of the lawyer Miklós Jankovich and Archbishop Lászlo Pyrker, in addition to acquisitions and private donations, in all totalling more than 100,000 works today. In addition to the collection of Old Master paintings, which is the most outstanding, the museum houses extremely important examples of works on paper, sculptures, classical Greek and Roman art, ancient Egyptian art and modern works.

Lucas Cranach, the Elder. Salome with the Head of Saint John the Baptist, ca. 1526-1530. Museum of Fine Arts, Budapest

Édouard Manet. Lady with a Fan, 1862. Museum of Fine Arts, Budapest

József Rippl-Rónai. Woman in a White-dotted Dress, 1889. Hungarian National Gallery.

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Matisse in His Time: Masterworks of Modernism from the Centre Pompidou, Paris

January 28, 2017, 6:24 am

≫ Next: Picasso, Braque, Juan Gris, Léger, Klee, Kandinsky: The Collection of Hermann and Margrit Rupf:

≪ Previous: Masterpieces from Budapest From the Renaissance to the Avant-gardes

Henri Matisse's 1919 oil painting "L’Algérienne (Algerian Woman)" will be featured in the exhibition “Matisse in His Time: Masterworks of Modernism from the Centre Pompidou, Paris," opening in 2016 at the Oklahoma City Museum of Art. Image provided by Centre Pompidou, Paris

“Matisse in His Time: Masterworks of Modernism from the Centre Pompidou, Paris” brought more than 100 works of art from France to the Oklahoma City Museum of Art last summer. The exhibit includednearly 50 paintings, sculptures and works on paper by celebrated artist Henri Matisse, along with masterworks by Pablo Picasso, Juan Gris, Georges Braque, André Derain, Fernand Léger and Amadeo Modigliani.

Pablo Picasso L'atelier, 23 octobre 1955 Huile sur toile, 116 x 89 cm Centre Georges Pompidou, Musée national d’art moderne, AM 1984-636
© Succession Picasso - Gestion droits d'auteur / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, dit. RMN-Grand Palais / Droits réservés

“Icarus,” a pochoir print from French artist Henri Matisse’s (1869-1954) limited edition 1947 book “Jazz,” will be included in the exhibition “Matisse in His Time: Masterworks of Modernism from the Centre Pompidou, Paris,” opening in 2016 at the Oklahoma City Museum of Art. Oklahoma City will be the sole North American venue to host the exhibition, which will include 100 works of art, including nearly 50 paintings, sculptures and works on paper by Matisse, as well as masterworks by Pablo Picasso, Juan Gris, Georges Braque, André Derain, Fernand Léger and Amadeo Modigliani. Image provided by Centre Pompidou, Paris

Long trip

“Matisse in His Time” closed earlier tat the Gianadda Foundation in Martigny, Switzerland, after a five-month run that reportedly drew big crowds and proved popular with bus tours. The exhibit next traveled to Turin, Italy.

Henri Matisse (French, 1869-1954). Lorette à la tasse de café, 1917. Oil on canvas. Centre Pompidou, Paris. Musée national d’art moderne – Centre de création industrielle, AM 2001-214 © 2015 Succession Matisse/Artists Rights Society (ARS), NY. Photograph © Centre Pompidou, MNAM-CCI/Phillipe Migeat/Dist. RMN-GP.

Henri Matisse Pont Saint-Michel, vers 1900Huile sur toile, 58x71 cm Centre Georges Pompidou, Musée national d’art moderne, AM 2001-213
© Succession H. Matisse / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, dist. RMN-Grand Palais / Georges Meguerditchian

Henri Matisse, Autoportrait, 1900,
Huile sur toile, 55 x 46 cm Centre Georges Pompidou, Musée national d’art moderne, AM 1991-271
© Succession H. Matisse / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

André Derain Le faubourg de Collioure, 1905 Huile sur toile, 59,5 x 73,2 cm Centre Georges Pompidou, Musée national d’art moderne, AM 4367 P
© 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Henri Matisse
Porte-fenêtre à Collioure, 1914
Huile sur toile, 116,5 x 89 m
Centre Georges Pompidou, Musée national d’art moderne, AM 1983-508
© Succession Matisse / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

Henri Matisse Portrait de la Baronne Gourgaud, 1924, Nice Huile sur toile, 81x65 cm Centre Georges Pompidou, Musée national d’art moderne, AM 2660 P
© Succession H. Matisse / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jacqueline Hyde

Henri Matisse Nature morte au buffet vert, 1928 Huile sur toile, 81,5 x 100 cm Centre Georges Pompidou, Musée national d’art moderne, LUX.1719 P

Henri Matisse Grand intérieur rouge, 1948 Huile sur toile, 146 x 97 cm Centre Georges Pompidou, Musée national d’art moderne, AM 2964 P
© Succession H. Matisse / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Bertrand Prévost

Georges Braque L'Atelier IX, (1952 / 1956) Huile sur toile, 146 x 146 cm Centre Georges Pompidou, Musée national d’art moderne, AM 1982-99
© 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, RMN-Grand Palais / Bertrand Prévost

Fernand Léger
La partie de campagne (Deuxième état), 1953
Huile sur toile, 130,5 x 162 cm
Centre Georges Pompidou, Musée national d’art moderne, AM 1986-66
© 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Droits réservés

Henri Matisse Jazz ,( Le cheval, L'écuyère et le clown), 1947
Planche gravée en couleur exécutée au pochoir 42,5 x 65,5 cm Centre George s Pompidou, Musée national d’art moderne, AM 10894 GR (1-20)
© Succession H. Matisse / 2015, ProLitteris, Zurich / Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jean-Claude Planchet

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Picasso, Braque, Juan Gris, Léger, Klee, Kandinsky: The Collection of Hermann and Margrit Rupf:

January 28, 2017, 9:10 am

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November 11, 2016, to April 23, 2017

Curators: Susanne Friedli, Hermann and Margrit Rupf Foundation, and Petra Joos, Guggenheim Museum Bilbao

The Guggenheim Museum Bilbao is presenting The Collection of Hermann and Margrit Rupf. This exhibition brings together 70 works by key artists in the history of art during the first half of the 20th century, including Pablo Picasso, Georges Braque, Juan Gris, Fernand Léger, Paul Klee, and Vasily Kandinsky, in dialogue with works by contemporary artists dating from the second half of the 20th century until today.

Hardly any time went by between the creation of works by artists like Picasso, Braque, and Derain and their acquisition by Hermann Rupf, who was personally involved with these artists at the beginning of their careers.

The Rupfs were close friends with artists like Vasily Kandinsky and Paul Klee, who gave Hermann and Margrit Rupf dedicated works on important occasions like birthdays and Christmas.

Even today, the Rupf Foundation strives to expand the collection with the most recent contemporary art without losing sight of the core of the art collection that the couple amassed over their lifetime.

This is the first time that this collection, consisting of an extensive selection of works rendered between 1907 and 2016, is travelling to Spain.

In 1963, one year after the death of Hermann Rupf, the Foundation managed to purchase Henri Laurens’s 1918 work Fruit Bowl and Pipe (Compotier et pipe) to complete its already extensive group of sculptures and works on paper by this artist. In 1964, a relief by Hans Arp was purchased (Gallery 307).

In 1964, a relief by Hans Arp was purchased (Gallery 3 07). In the 1990’s, the existing collection was expanded with works by American artists as Donald Judd (Gallery 307), Joseph Kosuth, Brice Marden, Ad Reinhard, and James Turrell, and European artists asPiero Manzoni (Gallery 307), Enrico Castellani (Gallery 307), Lucio Fontana (Gallery 307), and Christian Megert (Gallery 307) , among others.

A group of works representing Minimalism and the ZERO Movement was also acquired, which today remains a fascinating continuation of the Rupfs’ original collection, since in the early days of their collecting we can see an undeniable preference for the tradition ofconstructivist and conceptual art.

The creation of the Rupf Foundation guaranteed that the collection would be conserved, consolidat ed and expan ded. Th e Foundation still focuses on the most recent contemporary art without losing sight of the core of the collection, comprised of the wonderful works of art gathered by Rupf. This exhibition reveals the coherence and evolution of the Collection of Hermann and Margrit Rupf as a reflection of the art of their day.

This is the first time that this collection has travelled to Spain, with an extensive selection of works rendered between 1907 and 2016.

TOUR OF THE EXHIBITION

Gallery 3 5 This gallery displays some of the first paintings that Hermann Rupf purchased between 1907 and 1908 from the Parisian gallery owned by his friend Daniel-Henry Kahnweiler . They include the three portraits of Kahnweiler painted by Picasso in 1957, all of which are on display in this exhibition. Both Rupf and Kahnweiler were trained at the Commerz und DiscontoBank in Frankfurt. While Kahnweiler continued his training as an intern at a stock broker age firm in Paris from 1902 to 1904, Rupf began to work at the company Jacques Meyer Fils & Cie (currently Galleries Lafayette). From the very start, the two shared an interest in literature and music, and th ey both attended a host of theatre performances and concerts. Fascinated by both classical and modern art , they spent a great deal of time at the Louvre and in different galleries .

After yet another sojourn abroad, this time in London, Rupf returned to his hometown of Bern started to work at the mercery and haberdashery owned by his brother -in- law, Ruedi Hossmann, where he became a co -proprietor in 1908. Thereafter the company was known as “Hossmann & Rupf .” After marrying Margrit Rupf in 1910, he tended to heed his own judgement when purchasing the works in his collection, al though his Paris art dealer and personal friend Daniel -Henry Kahnweiler played a key role in shaping the collection.

Thanks to his gallery, Rupf was able to boost his collection with of works by Fernand Léger (Gallery 306), Juan Gris (Gallery 306), and later André Masson. As attested to in the almost 800 letters still conserved, Hermann Rupf and Kahnweiler enjoyed a life-long friendship .

On Rupf’s business trips to Paris to expand his assortment of mercery and haberdashery goods with fashion accessories, he would meet with Kahnweiler in his gallery and sometimes accompany him on his visits to artists. As early as 1907 , Rupf began to purchase works by Pablo Picasso, Georges Braque, and the artists of Fauvism, such as Othon Friesz and André Derain.

Pablo Picasso (Málaga, Spain, 1881 –Mougins, France, 1973) Head of a Man ( Tête d‘homme ), 1908 Oil on wood 27 x 21 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Sucesión Pablo Picasso, VEGAP, Madrid, 2016.

One of his first purchases was Head of a Man ( Tête d’homme ) by Picasso from 1908,
as well as the Georges Braque work Houses at L’Estaque ( Maisons à l’Estaque ).

The latter painting had been carried by the artist directly from L’Estaque, a town in southern France where he had lived for a period , to what would be his first major exhibition in Kahnweiler’s gallery. In the ensuing years, Rupf gradually expanded his collection with works by Picasso, Braque, André Derain, Juan Gris , and Maurice de Vlaminck.

Until the outbreak of World War I, his collection kept growing to becom e a select set of almost 30 works, most of them Cubist. When the war broke out, the Parisian gallery owner accepted Rupf’s invitation to stay in Bern until it ended. During his exile, Kahnweiler wrote several texts on philosophy and art theory and forged relationships with major figures of the period, including Hans Arp, who was living in Zurich at the time

(Gallery 307). The work in this gallery by Florian Slotawa, Bernese Pedestals ( Berner Sockel ), from 2010, deserves special mention. The artist carefully studied the Collection of Hermann and Margrit Rupf, as well as its history, and he chose four sculptures: Leaf -Torso ( Blatt -Torso , 1963) by Hans Arp, Margrit Rupf - Wirz (1922) by Max Fueter , Kneeling Nude (Nu agenouillé , 1929) by Henri Laurens, and Lying Cow (Liegende Kuh , 1925) by Ewald Mataré. For each of these four pieces,which are representative of the Rupf Collection, Slotawa designed with a pedestal made with furnishings that were originally found in the collectors’ home.

Gallery 306 In the years after the Great War, the Rupf s were able to resume the expansion of their collection. In the early 1920’s, they added the latest works by Georges Braque (Gallery 305), André Derain (Gallery 305), Juan Gris (Gallery 206), Henri Laurens (Gallery 306), Fernand Léger (Gallery 306), Paul Klee (Gallery 307) , and Louis Moillet (Gallery 307.

Just like prior to the war, during this periodhardly any time elapsed between the creation of the works a nd their acquisition by the Rupfs. At that point, Kahnweiler did not manage to keep all the artists with which he worked before the war at his gallery. However, he soon landed new artists such as Paul Klee, whom he represented abroad in 1933 thanks to Rupf’s mediation. In this gallery, you can see the artistic evolution of Juan Gris from 1913 until 1925,

Pablo Picasso ( Málaga, Spain, 1881 – Mougins, France, 1973) Violin Hanging on a Wall (The Violin) ( Un violon accroché au mur [Le violon ]), 1913 Oil and sand on canvas 65 x 46 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Sucesión Pablo Picasso, VEGAP, Madrid, 2016

along with a work by Picasso also from 1913, Violin Hanging on the wall ( Violin) [ Un violon accroché au mur ( Le violon )]

He also forged ties with other artists, such as Fernand Léger in Contrasts of Forms Contrastes de formes), also from 1913, and Henri Laurens, whose works in this exhibition illustrate part of the evolution of his sculptural oeuvre; after his early days as a Cubist, Laurens shifted to working with voluminous forms and the female figure.

Untitled No. 85 –065 (1985) by Donald Judd is an abstract sculpture made of aluminum mounted on the wall ; it is part of a series of modular works in bright colors crafted between 1983 and 1990. All the modules are the same height, depth , and width, and in them the artist deliberately tried to avoid combinations of “harmonious” or “dissonant” colors.

Gallery 307 The Rupfs were close friends with Paul and Lily Klee, and after 1913 they regularly acquired works from Klee. Paul Klee moved back to Bern a fter the closure of the Bauhaus Dessau, where he taught,because the Nazis regarded him as a “degenerate painter .” One clear illustration of their close friendship is the fact that the artist gave Hermann and Margrit Rupf dedicated works on important occasions like birthdays and Christmas. Likewise, the Rupfs were also patrons of many artists, scientists , and musicians in the city of Bern.

Hermann Rupf was an active art critic and played a prominent role in nurturing the taste for contemporary art. Between 1909 and 1931, he wrote criticism for the Social Democratic weekly Berner Tagwacht which was targeted at the conservative cultural policy of the era and called for a greater understanding of contemporary art.

Rupf purchased a series of drawings directly from Klee for the first time in 1914, and between 1931 and 1933 he belonged to the Klee Society, created in the 1920’s to guarantee the artist additional income by contributions of at least 50 Imperial Marks in exchange for the privilege of being able to purchase works from the artist under special conditions.

By 1940, when Klee died after a long illness, the Rupfs owned 26 of his works. From then on, the artist’s widow, Lily Klee, was in charge of his legacy, from which Rupf purchased another 17 works until her death in 1946. Thanks to their relationship with Klee, in the early 1930’s the Rupfs met Vasily Kandinsky and his wife, Nina.

Just like Klee, Kandinsky had also been a teacher at the Bauhaus Dessau. The Kandinskys and Rupfs met in 1933, although initially they were brought together not so much over art but because of Rupf’s economic assistance.

In 1934, Kandinsky gave his “Swiss financial advisor” the watercolor he titled Sonorous (Klangvoll, 1929) to show his appreciation for Rupf’ s help. In the ensuing years, the two couples became close friends, and the Rupfs remained close with Nina Kandinsky even after her husband ’s death in 1944. Sixteen of his works (five of which can be seen in this gallery) reached the Collection of Hermann and Margrit Rupf, not without difficulties, since during the artist’s lifetime they had only purchased one painting in the autumn of 1935,

CalmTension (Tension tranquille), painted that same year. The works displayed in the exhibition date from 1916 to 1940 and encompass Kandinsky’s oeuvre from his temporary return to Russia until his later works in Paris.

The collection harbors two special works that Rupf purchased in 1939 in a historical auction of “paintings and sculptures by modern masters from German Museums” —regarded as “degenerate art” —held in Lucerne. At first, Rupf expressed his doubts to Kahnweiler , as hinted at by his own words: “With regard to the sale of German paintings in Lucerne, “ I am of the opinion that no one should bid so that that gang w ill have no more expenses and w ill sell nothing. That would be wonderful. Or, if possible, all the paintings should be purchased at rock -bottom prices, with no high bids. But this can’t be arranged in advance.”

Despite his initial qualms, he ultimately bought two works,

Garden Restaurant( Gartenrestaurant , 1912) by August Macke

and Lying Cow (Liegende Kuh , 1925) by Ewald Mataré (Gallery 305). This purchase was particularly valuable to Rupf, since his three best “artist friends” were now represented in his collection —Klee, Macke, and Moillet —with whom he had taken a celebrated trip to Tunis in 1914. In this gallery, we can see that the Rupf collection as it stood as not supposed to be viewed as complete; instead , it had to continue to evolve. Works by Hans Arp, Meret Oppenheim, Lucio Fontana, and the ZERO Group, among others, close and complete the show.

Hermann Rupf repeatedly supportedthe local art scene, often despite his own personal concernsand fears. He regularly provided financing to different creators, and his commitment to the publicsoon led him to lend paintings from his collection. In the mid-1930’s, the Rupfs began to ponder where their collection should go so that it could be displayed in public. Almost 20 years later, in 1954, they finally managed to create the Hermann and Margrit Rupf Foundation.

In 1956, the collection was catalogued and displayed in the Kunstmuseum Bern for the first time. In the early years, Hermann Rupf kept careful watch over the Foundation’s activities , and even considered the possibility of selling some of its works. In 1961 , Margrit Rupf died, and her husband followed her one year later. From that time on, the responsibility for new acquisitions shifted to the Board.

After the founders’ deaths in the early 1960’s, the Hermann and Magrit Rupf Collection belonging to the Hermann and Margrit Rupf Foundation, made up of 41 paintings, 14 sculptures, 23 drawings, 149 prints , and 32 books containing original engravings was deposited at the Kunstmuseum Bern. The Rupfs also left the rest of their assets to the Foundation as well, thus guaranteeing that it could continue to acquire new art works in the future.

Without losing sight of the impressive core collection of art works assembled by the Rupfs, the Foundation continues to expand the collection today with more recent works of contemporary art.

Pablo Picasso (Málaga, Spain, 1881 – Mougins, France, 1973) Portrait of D.-H. Kahnweiler II, 1957 Lithography 65 x 49 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Sucesión Pab lo Picasso, VEGAP, Madrid, 2016

André Derain (Chatou, France, 1880 –Garches, France, 1954) Landscape near Cassis ( Paysage aux environs de Cassis ), 1907 Oil on canvas 33x 41cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © An dré Derain, VEGAP, Bilbao, 2016

Georges Braque (Argenteuil -sur -Seine, France , 1882 –Pari s, 1963) Violin and Bow(Violon et archet), 1911 Oil on canvas 46 x 33 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Geor ges Braque, VEGAP, Bilbao, 2016

Juan Gris (Madrid, 1887 –Boulogne -Billancourt, France, 1927) Book and Pipe ( Livre et pipe ), 1925 Oil on canvas 27 x 35 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern

Fernand Léger ( Argentan, France , 1881 – Gif - sur - Yvette, France , 1955 ) Still Life (Nature morte), 1922 Oil on canvas 65 x 50 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Fer nand Léger, VEGAP, Bilbao, 2016

Paul Klee (Münchenbuchsee, Switzerland, 1879 –Muralto, Switzerland, 1940) Full Moon in the Garden ( Vollmond im Garten ), 1934 Oil on primed canvas 50 .3 x 60 .1 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Paul Klee ’s Estate/VEGAP, 2016

Vasily Kandinsky (Moscow , 1866 –Neuilly -sur -Seine, Franc e, 1944) Split Horizontal (Horizontale divisée ), 1935 Watercolor, ink, and pencil on paper 35 x 54 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © Vasily Kandi nsky, VEGAP, Bilbao, 2016

André Masson ( Balagny -sur -Thérain, Franc e, 1896 –Par is, 1987 ) Beheaded Ox (Lebœuf égorgé), 1930 Oil on canvas 65 x 81 cm Hermann und Margrit Rupf -Stiftung, Kunstmuseum Bern © André Masson, VEGAP, Bilbao, 2016

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Seurat's Circus Sideshow

January 29, 2017, 3:10 pm

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The Metropolitan Museum of Art, New York
February 17 to May 29, 2017

Taking as its focus one of The Met's most captivating masterpieces, this thematic exhibition affords a unique context for appreciating the heritage and allure of

Circus Sideshow (Parade de cirque), painted in 1887–88, by Georges Seurat (1859–91).

Anchored by a remarkable group of related works by Seurat that fully illuminates the lineage of the motif in his inimitable conté crayon drawings, the presentation explores the fascination the sideshow subject held for other artists in the 19th century, ranging from the great caricaturist Honoré Daumier at mid-century to the young Pablo Picasso at the fin de siècle.

This rich visual narrative unfolds in a provocative display of more than 100 paintings, drawings, prints, period posters, and illustrated journals, supplemented by musical instruments and an array of documentary material intended to give a vivid sense of the seasonal fairs and traveling circuses of the day.

Among the highlights is Fernand Pelez's epic Grimaces and Misery—The Saltimbanques (Petit Palais, Paris), of exactly the same date as Seurat's magisterial work and, with its life-size performers aligned in friezelike formation across a 20-foot stage, a match for his ambition. Seurat's Circus Sideshow will be on view at The Metropolitan Museum of Art, New York, from February 17 to May 29, 2017.

Circus Sideshow is one of only a half-dozen major figure compositions that date to Seurat's short career. More compact in scale and more evocative in expression than his other scenes of modern life—which he regarded as "toiles de lutte" (canvases of combat)—the painting effectively announced the Neo-Impressionist's next line of attack on old guard turf, signaling a shift in focus away from the sunlit banks of the Seine to the heart of urban Paris.

Circus Sideshow initiated a final trio of works devoted to popular entertainment and led the fray as the first to tackle a nighttime setting with the benefit of his innovative technique, alternatively called pointillism or divisionism (the former term emphasizing the dotted brushwork, the latter, the theory behind separating, or dividing, color into discrete touches that would retain their integrity and brilliance). It was his singular experiment in painting outdoor, artificial illumination. The result is disarming. In relying on his finely tuned approach to evoke the effects of ethereal, penumbral light in this evening fairground scene of the Corvi Circus troupe and their public at the Gingerbread Fair in Paris, Seurat produced his most mysterious painting. From the time it debuted at the Salon des Indépendants in Paris in 1888, it has unfailingly intrigued, perplexed, and mesmerized its viewers. Seurat's closest associates, seemingly dumbstruck, largely confined their spare remarks to its novelty as a "nocturnal effect." The laconic artist never mentioned the picture.

Circus Sideshow depicts the free, teaser entertainment set up outside the circus tent to entice passersby to purchase tickets—known in French as a parade and loosely translated as the "come-on" or sideshow. At far right, customers queue up on the stairs to the box office. On the makeshift stage, under the misty glow of nine twinkling gaslights, five musicians, a ringmaster, and clown play to the assembled crowd of onlookers whose assorted hats add a wry and rhythmic note to the foreground of this austere and rigorously geometric composition. As viewers, we observe the show—as if from the rear of the audience, a part of the crowd.

Seurat took a raucous spectacle that depended on direct appeal, the banter of barkers and rousing music, jostling crowds, and makeshift structures, and he silenced the noise, rendered the staging taut and ordered, hieratic and symmetrical, exquisitely measured and classically calm. Enveloped by the hazy gloom of night, the players and public are presented with the solemnity of an ancient ritual.

For all its uncommon beauty and striking invention, Circus Sideshow courts conventions and associations that were commonplace in representations of the parade. Throughout the 19th century it had been a stock motif in popular print culture, notably for social and political caricature, where it became an acute device for parodying politicians, who like saltimbanques, are trying to sell something.

During the 1880s, the parade subject gained ground: it was given a contemporary edge by popular illustrators; it was painted with riveting descriptive detail by artists who sought success at the annual Paris Salon with works that had broad appeal; and it was mined, with spirited stylistic rivalry, by artists who jockeyed for position in the avant-garde. In the 1890s, the great era of the poster, the subject attracted a new wave of creative talents eager to establish their reputations through success in the commercial world. The poster was modern printing technology's extension of the time-honored parade; both functioned to pull the public into the show.

The presentation brings this rich illustrated history to bear on Seurat's Circus Sideshow in a context designed to elucidate the genesis of his composition and to puzzle out the sources and parallels for his haunting and enigmatic work.

The exhibition is organized chronologically, with Circus Sideshow at center stage. It will be displayed in tandem with 17 works by Seurat that exceptionally reunite the painting with the conté crayon drawings most closely related to his conception, including preparatory studies, independent sheets that trace his exploration of the motif, and the glorious café-concert drawings that were shown alongside the picture at the Salon des Indépendants in 1888. The same venue featured

Seurat's Models (Poseuses), now in The Barnes Foundation (and precluded from travel), which will be represented in the exhibition by the gemlike small version (private collection). This core group of works is seen with relation to contemporaneous images of the Corvi Circus and the Gingerbread Fair, offering a keen sense of time and place.

As the exhibition will highlight, through loans from nearly 50 public and private collections, Seurat's choice of subject attracted a steady stream of artists in the 19th century—from caricaturists, popular illustrators, and poster designers to painters of like ambition—determined to make their mark on the Paris art scene. Daumier, who set a powerful precedent at mid-century, is handsomely represented by satirical lithographs, as well as pithy paintings and watercolors that chart the saga of itinerant circus performers dependent on the fickle whims of the public. His pace-setting imagery and initiatives find a recurrent echo throughout the exhibition, which is punctuated by a veritable encore performance in the cast of players showcased in graphic works by Henri-Gabriel Ibels dating to the early 1890s.

The appeal the parade motif held for Seurat's Parisian contemporaries will be seen to great effect.In addition to works by other vanguard artists, such as Louis Anquetin, Emile Bernard, Pierre Bonnard, Jules Chéret, Louis Hayet, Lucien Pissarro, and Paul Signac, or those on the cusp, such as Jean-Louis Forain and Jean-François Raffaëlli, the presentation features recently rediscovered pictures shown in the Paris Salons of 1884 and 1885, long lost from sight by artists little-known today, as well as the unprecedented showing in the United States of Fernand Pelez's monumental Grimaces and Misery—The Saltimbanques (Petit Palais, Paris),(above) which was on view at the Salon of 1888, the same spring as Seurat's brooding masterpiece debuted at the Salon des Indépendants.

As a reminder that the "show goes on," the exhibition ends with early works by two artists who continued to explore the parade and its timeless portrayal of the pathos of comic spectacle well into the 20th century:

Picasso's moody nighttime scene, Fairground Stall (Museu Picasso, Barcelona), painted on his first visit to Paris in 1900,

and Georges Rouault's bravura Sideshow (Parade) of ca. 1907–10 (Centre Pompidou, Musée National d'Art Moderne, Paris).

Seurat's Circus Sideshow may be seen as the natural successor to exhibitions that have had as their focus other great paintings by the Neo-Impressionist artist: Seurat and The Bathers in 1997 at the National Gallery, London, and Seurat and the Making of La Grande Jatte at The Art Institute of Chicago in 2004. The scale and scope of The Met's presentation have been tailored to vivify a painting that is smaller in size and highly evocative in subject.

The current one-venue show may also be appreciated with relation to other recent projects, such as Cézanne's Card Players (2011), Madame Cézanne (2014–15), and Van Gogh: Irises and Roses (2015) that have likewise furnished a fresh context for appreciating the heritage of best-known and loved 19th-century paintings in The Met's collection.

Exhibition Credits and Related Information

Seurat's Circus Sideshow is organized by Susan Alyson Stein, Engelhard Curator of Nineteenth-Century European Painting, Department of European Paintings, The Metropolitan Museum of Art, and guest curator Richard Thomson, Watson Gordon Professor of Fine Art at the University of Edinburgh, with the assistance of Laura D. Corey, Research Assistant, Department of European Paintings, The Metropolitan Museum of Art.

It will be accompanied by a catalogue published by The Metropolitan Museum of Art and distributed by Yale University Press.

↧

African American artists at Georgia Museum of Art

February 1, 2017, 11:12 am

≫ Next: Stuart Davis: In Full Swing

≪ Previous: Seurat's Circus Sideshow

Georgia Museum of Art

January 28 to May 7, 2017

The Georgia Museum of Art at the University of Georgia will show nearly 60 works by African American artists in the exhibition “Expanding Tradition: Selections from the Larry D. and Brenda A. Thompson Collection,” on view January 28 to May 7, 2017.

The Thompsons donated 100 works of art by African Americans to the museum in 2012, on the heels of a traveling exhibition drawn from their collection, “Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art.” “Expanding Tradition” is a second exhibition highlighting the couple’s commitment to collecting art over the last several decades through a new selection of works borrowed from their extensive private collection.

“Expanding Tradition” also serves as the inaugural exhibition for Shawnya Harris, the Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art. Like the earlier exhibition, it offers a chance to expand scholarship on artists of color who, until recent years, have been overlooked. In addition, the Thompsons’ gift of the endowed curatorial position that Harris occupies furthers a larger mission of fostering inclusivity in American art history and the museum profession.

MILDRED THOMPSON (1936–2003), “Open Window Series V,” 1977 (serigraph). | Larry D. and Brenda A. Thompson Collection of African American Art, Courtesy Georgia Museum of Art

Harris asserts that both the exhibition and its accompanying catalogue, which will be published by the museum, “continue the unfolding narrative of this important collection of American art.” By presenting artists and themes central to the collection’s development it will examine the promise of inclusion being offered to visitors to the museum and broader audiences.

Freddie Styles (American, b. 1944), "Working Roots Series #10" (detail), 1987. Acrylic on canvas, 58 x 96 inches. Larry D. and Brenda A. Thompson Collection of African American Art.

Paintings and other works in the exhibition range from the late 19th century to the contemporary era, making for a comprehensive look at African American art history. Visitors will gain insight into the complex relationships among race, gender, class, politics and the economy through the works of art, the catalogue and related programming. Featured artists include contemporary artists Willie Cole, Whitfield Lovell, Kevin Cole and Kara Walker as well as historical artists such as Elizabeth Catlett, Charles Sebree, Beauford Delaney and Benny Andrews. The exhibition also includes rare Depression-era works by Norman Lewis, Charles White, Dox Thrash and Rose Piper.

Amalia Amaki
(American, b. 1959)
Purple Delight, 2005
Mixed media (buttons, beads, antique frame) Diameter: 12 inches

Willie Cole
(American, b. 1955)
Untitled (Chicken), 1995
Women's shoes and galvanized wire 14 3/4 x 22 7/8 x 9 7/8 inches

Wilmer Jennings
(American, 1910–1990)
De Good Book Says (Church Scene), 1935 Oil on canvas
30 1/4 x 24 inches

Hiram Malone (American, 1930–2011)
The Stevedore, 1949 Oil on board
29 x 22 inches

↧

Stuart Davis: In Full Swing

February 3, 2017, 8:49 am

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≪ Previous: African American artists at Georgia Museum of Art

Whitney Museum of American Art, New York
June 10 through September 25, 2016

National Gallery of Art
November 20, 2016 through March 5, 2017

De Young Museum, San Francisco
April 8 through August 6, 2017

Crystal Bridges Museum of American Art, Bentonville, Arkansas
September 16, 2017, through January 8, 2018.

Stuart Davis, Package Deal, 1956. gouache and pencil on paper
Lawrence B. Benenson Collection
Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

One of the most important American modernists, Stuart Davis blurred distinctions between text and image, high and low art, and abstraction and figuration, crafting a distinct style that continues to influence art being made today. On view at the National Gallery of Art, West Building, from November 20, 2016 through March 5, 2017, Stuart Davis: In Full Swing features some 100 of his most important, visually complex, jazz-inspired compositions, offering a new exploration of his working method.

In Full Swing is the first Davis exhibition at the National Gallery of Art and the first major Davis exhibition anywhere to consistently hang later works side by side with the earlier ones that inspired them. From the paintings of tobacco packages and household objects of the early 1920s to the work left on his easel at the time of his death in 1964, In Full Swing highlights Davis's unique ability to assimilate the imagery of popular culture, the aesthetics of advertising, the lessons of cubism, and the sounds and rhythms of jazz into works that hum with intelligence and energy.

"With a long career that stretched from the early 20th century well into the postwar era, Stuart Davis brought a particularly American accent to international modernism. Davis's works are visually complex, mobilizing bold colors and jagged forms in jangling, jazz-inspired compositions," said Earl A. Powell III, director, National Gallery of Art, Washington. "We are grateful to the many major U.S. museums that lent works, and the Thyssen-Bornemisza Museum in Madrid, which has contributed two rarely seen paintings, as well as to the sponsors, including Altria Group.

"We have supported visual and performing arts for more than 50 years. We are pleased to sponsor the Stuart Davis: In Full Swing exhibition to celebrate a unique voice of mid-20th-century American optimism, which importantly helped launch the era of pop art. We are proud of our long-standing partnership with the Gallery and once again glad to support an exceptional exhibition," said Bruce Gates, Altria's senior vice president of External Affairs.

Organization and Support
The exhibition is organized by the National Gallery of Art, Washington, and the Whitney Museum of American Art, New York, where it was on view from June 10 through September 25, 2016.

After Washington, the exhibition will travel to the De Young Museum, San Francisco, from April 8 through August 6, 2017 and the Crystal Bridges Museum of American Art, Bentonville, Arkansas, from September 16, 2017, through January 8, 2018.

Exhibition Highlights

Stuart Davis: In Full Swing differs from previous exhibitions on the artist not only in its degree of focus but also in its organization. From 1940 on, Davis rarely painted a work that did not make a careful reference to one or more of his earlier compositions—a distinctive aspect of his method.
Along with Alexander Calder, Edward Hopper, and Georgia O'Keeffe, Stuart Davis is one of the four most important American modernists. All had long careers that stretched from the early years of the 20th century well into the post–World War II era. All but Davis have had major exhibitions at the National Gallery of Art: O'Keeffe in 1988, Calder in 1998, and Hopper in 2008.

Starting from decidedly provincial roots as a left-wing illustrator of urban life around New York, and with only a brief sojourn in Paris (1928–1929), Davis brought the lessons of French modernism into American painting between the wars and then emerged in the 1940s with a bold and original manner. In blurring distinctions between text and image, high and low art, and abstraction and figuration, Davis's works have remained vital and continue to influence art being made today. He is often seen as a precursor of both pop art and contemporary abstraction.

Omitting his first decade, when he worked as an illustrator while he tried out various modernist styles, the exhibition focuses on the brilliant sequence of moves that began in 1921 with his paintings of tobacco packages and household objects and ended only with his death in 1964. Highlights of the exhibition include all four of Davis's breakthrough egg-beater paintings of the 1920s, three major murals from the 1930s, and 25 paintings from the 1950s, his greatest decade.

Principal lenders include the Brooklyn Museum, the Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Smithsonian Museum of American Art, the Whitney Museum of American Art, the Museum of Fine Arts, Boston, and the Phillips Collection.

Curators, Catalog, and Related Activities

Coordinating the exhibition for the National Gallery of Art is Harry Cooper, curator of modern art. His co-curator, Barbara Haskell, oversaw the presentation at the Whitney.

Published by the National Gallery of Art and DelMonico Books, an imprint of Prestel Publishing, the 250-page, fully illustrated exhibition catalog includes scholarly essays by Cooper and Haskell and a detailed chronology. The catalog is available in hardcover.

Images in the exhibition

Stuart Davis

Sweet Caporal, 1921

oil and watercolor on lined cardboard

overall: 51 x 47 cm (20 1/16 x 18 1/2 in.)

framed: 53.5 x 48.6 x 4.4 cm (21 1/16 x 19 1/8 x 1 3/4 in.)

Museo Thyssen-Bornemisza, Madrid
Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Lucky Strike, 1921

oil on canvas

overall: 84.5 x 45.7 cm (33 1/4 x 18 in.)

The Museum of Modern Art, New York, Gift of the American Tobacco Company, Inc.

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Digital Image (C) The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

Stuart Davis

Cigarette Papers, 1921

oil, watercolor, ink, and pencil on canvas

overall: 48.6 x 35.9 cm (19 1/8 x 14 1/8 in.)

The Menil Collection, Houston

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Bull Durham, 1921

oil and watercolor on canvas

overall: 77 x 38.7 cm (30 5/16

x15 1/4 in.)

framed: 91.4 x 54 x 4.5 cm (36 x 21 1/4 x 1 3/4 in.)

The Baltimore Museum of Art, Edward Joseph Gallagher III Memorial Collection

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Landscape with Saw, 1922

oil and pencil on canvas mounted on board

overall: 40 x 29.8 cm (15 3/4 x 11 3/4 in.)

Phyllis and Jerome Lyle Rappaport

Stuart Davis

Landscape, Gloucester, 1922/1951/1957

oil and wood on panel

overall: 30.5 x 41 cm (12 x 16 1/8 in.)

framed: 45.1 x 55.3 cm (17 3/4 x 21 3/4 in.)

Ted and Mary Jo Shen

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Edison Mazda, 1924

oil on cardboard

overall: 62.2 x 47.3 cm (24 1/2 x 18 5/8 in.)

framed: 74.3 x 59.69 x 3.81 cm (29 1/4 x 23 1/2 x 1 1/2 in.)

Lent by The Metropolitan Museum of Art, Purchase, Mr. and Mrs. Clarence Y. Palitz Jr. Gift, in memory of her father Nathan Dobson

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Image Copyright (C) The

Metropolitan Museum of Art. Image Source: Art Resource, NY

Stuart Davis

Odol, 1924

oil on cardboard

overall: 60.9 x 45.7 cm (24 x 18 in.)

The Museum of Modern Art, New York, Mary Sisler Bequest (by exchange) and purchase.

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Digital Image (C) The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

Stuart Davis

Electric Bulb, 1924

oil on board

overall: 61 x 45.7 cm (24 x 18 in.)

stretcher size: 62.1 x 47.3 x 2.2 cm (24 7/16 x 18 5/8 x 7/8 in.)

Dallas Museum of Art, Fine Arts Collectible Fund

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Super Table, 1925

oil on canvas

overall: 122.2 x 86.7 cm (48 x 34 1/8 in.)

framed: 150.7 x 115.1 cm (59 5/16 x 45 5/16 in.)

Terra Foundation for American Art, Chicago, Daniel J. Terra Collection

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Matches, 1927

oil on canvas

overall: 66 x 50.8 cm (26 x 20 in.)

framed: 88.3 x 73 x 7 cm (34 3/4 x 28 3/4 x 2 3/4 in.)

The Chrysler Museum of Art, Norfolk, Bequest of Walter P. Chrysler, Jr.

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Percolator, 1927

oil on canvas

overall: 91.4 x 73.7 cm (36 x 29 in.)

framed: 94.62 x 90.17 x 3.81 cm (37 1/4 x 35 1/2 x 1 1/2 in.)

Lent by The Metropolitan Museum of Art, Arthur Hoppock Hearn Fund

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Image (C) The Metropolitan Museum of Art. Image source: Art Resource, NY

Stuart Davis

Egg Beater No. 1, 1927

oil on linen

overall: 74 x 91.4 cm (29 1/8 x 36 in.)

Whitney Museum of American Art, New York, Gift of Gertrude Vanderbilt Whitney

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Egg Beater No. 2, 1928

oil on canvas

overall: 74.3 x 92.1 cm (29 1/4 x 36 1/4 in.)

Amon Carter Museum of American Art, Fort Worth

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Egg Beater No. 3, 1928

oil on canvas

overall: 63.8 x 99.4 cm (25 1/8 x 39 1/8 in.)

Museum of Fine Arts, Boston, Gift of the William H. Lane Foundation

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Photograph (C) [date of

publication] Museum of Fine Arts, Boston

Stuart Davis

Egg Beater No. 4, 1928

oil on canvas

overall: 68.9 x 97.2 cm (27 1/8 x 38 1/4 in.)

The Phillips Collection, Washington

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Place des Vosges No. 2, 1928

oil on canvas

overall: 65.3 x 92.3 cm (25 11/16 x 36 5/16 in.)

framed: 80.7 x 107.6 x 9.5 cm (31 3/4 x 42 3/8 x 3 3/4 in.)

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, Dr. and Mrs. Milton Lurie Kramer,Class of 1936, Collection, bequest of Helen Kroll Kramer

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Place Pasdeloup, 1928

oil on canvas

overall: 92.1 x 73 cm (36 1/4 x 28 3/4 in.)

Whitney Museum of American Art, New York, Gift of Gertrude Vanderbilt Whitney

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Adit #1 (Industry), 1928

oil on canvas mounted on Masonite

overall: 72.4 x 59.7 cm (28 1/4 x 23 1/2 in.)

framed: 95.9 x 83.2 cm (37 3/4 x 32 3/4 in.)

The University of Arizona Museum of Art, Tucson, Gift of C. Leonard Pfeiffer

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Arch Hotel, 1929

oil on canvas

overall: 73 x 100.3 cm (28 3/4 x 39 1/2 in.)

Sheldon Museum of Art, University of Nebraska-Lincoln, Anna R. and Frank M. Hall Charitable Trust

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. . Photo (C) Sheldon Museum of Art

Stuart Davis

Arcade, 1930

oil on canvas

overall: 30.5 x 40.6 cm (12 x 16 in.)

Aaron I. Fleischman

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Town Square, c. 1929

watercolor, gouache, ink, and pencil on paper

overall: 39.4 x 58.1 cm (15 1/2 x 22 7/8 in.)

The Newark Museum, Purchase 1930, The General Fund

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Summer Landscape, 1930

oil on canvas

overall: 73.7 x 106.7 cm (29 x 42 in.)

framed: 95.3 x 128.3 x 6.4 cm (37 1/2 x 50 1/2 x 2 1/2 in.)

Private collection of Pitt and Barbara Hyde

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

New York–Paris No. 2, 1931

oil on canvas

overall: 76.8 x 102.2 cm (30 1/4 x 40 1/4 in.)

framed: 87 x 112.4 x 6.4 cm (34 1/4 x 44 1/4 x 2 1/2 in.)

Portland Museum of Art, Maine, Hamilton Easter Field Art Foundation Collection, gift of Barn Gallery Associates, Inc., Ogunquit, Maine

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Still Life: Radio Tube, 1931

oil on canvas

overall: 127 x 81.9 cm (50 x 32 1/4 in.)

Rose Art Museum, Brandeis University, Waltham, Bequest of Louis Schapiro, Boston

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Salt Shaker, 1931

oil on canvas

overall: 126.7 x 81.3 cm (49 7/8 x 32 in.)

The Museum of Modern Art, New York, Gift of Edith Gregor Halpert

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Digital Image (C) The Museum of

Modern Art / Licensed by SCALA / Art Resource, NY

Stuart Davis

House and Street, 1931

oil on canvas

overall: 66 x 107.9 cm (26 x 42 1/2 in.)

Whitney Museum of American Art, New York, Purchase

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Landscape with Garage Lights, 1931-1932

oil on canvas

overall: 81.3 x 106.7 cm (32 x 42 in.)

framed: 106.7 x 130.8 cm (42 x 51 1/2 in.)

Memorial Art Gallery of the University of Rochester, Marion Stratton Gould Fund

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

New York Mural, 1932

oil on canvas

overall: 213.4 x 121.9 cm (84 x 48 in.)

framed: 239.1 x 134.9 x 7 cm (94 1/8 x 53 1/8 x 2 3/4 in.)

Norton Museum of Art, West Palm Beach, Purchase, R. H. Norton Trust

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Red Cart, 1932

oil on canvas

overall: 81.9 x 127 cm (32 1/4 x 50 in.)

framed: 92.1 x 137.8 x 7.6 cm (36 1/4 x 54 1/4 x 3 in.)

Addison Gallery of American Art, Phillips Academy, Andover, Museum purchase

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Photo: Addison Gallery of American Art, Phillips Academy, Andover, MA / Art Resource, NY

Stuart Davis

Study for Men without Women, Radio City Music Hall Men's Lounge Mural, 1932

gouache and pencil on paper

overall: 27.3 x 42.6 cm (10 3/4 x 16 3/4 in.)

Currier Museum of Art, Manchester, Museum purchase in honor of Marilyn F. Hoffman, Director 1988–95; bequest of Phyllis E. Hodgdon, Anne Slade Frey, Ilya T. Bonnecaze, Olga Wheeler Fund, Memorial Gifts Fund, Gift of the Friends and by Exchange

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Landscape, 1932/1935

oil on canvas

overall: 82.6 x 74.3 cm (32 1/2 x 29 1/4 in.)

Brooklyn Museum, Gift of Mr. and Mrs. Milton Lowenthal

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

American Painting, 1932/1942-1954

oil on canvas

overall: 101.6 x 127.6 cm (40 x 50 1/4 in.)

framed: 122.6 x 148 cm (48 1/4 x 58 1/4 in.)

stretcher size: 40 x 50.3 cm (40 x 50.3 cm)

Joslyn Art Museum, Omaha, On extended loan from the University of Nebraska at Omaha Collection

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY

Stuart Davis

Men and Machine, 1934

oil on canvas

overall: 81.3 x 101.6 cm (32 x 40 in.)

framed: 90.17 x 110.49 x 6.35 cm (35 1/2 x 43 1/2 x 2 1/2 in.)

Lent by The Metropolitan Museum of Art, Gift of Mr. and Mrs. Jay R. Braus

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Image Copyright (C) The

Metropolitan Museum of Art. Image Source: Art Resource, NY

Stuart Davis

Artists Against War and Fascism, 1936

gouache and pencil on paper

overall: 29.5 x 39.4 cm (11 5/8 x 15 1/2 in.)

framed: 47.6 x 57.2 x 3.2 cm (18 3/4 x 22 1/2 x 1 1/4 in.)

Collection of Fayez Sarofim

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

Stuart Davis

Swing Landscape, 1938

oil on canvas

overall: 220.4 x 439.7 x 8.9 cm (86 3/4 x 173 1/8 x 3 1/2 in.)

framed: 224.8 x 443.9 x 8.9 cm (88 1/2 x 174 3/4 x 3 1/2 in.)

Indiana University Art Museum, Bloomington, Museum Purchase with Funds from the Henry Radford Hope Fund

Stuart Davis

Mural for Studio B, WNYC, Municipal Broadcasting Company, 1939

oil on canvas

overall: 213.4 x 335.3 cm (84 x 132 in.)

Lent by The Metropolitan Museum of Art, Lent by the City of New York, 1965

Metropolitan Museum of Art. Image Source: Art Resource, NY

Stuart Davis

Shapes of Landscape Space, 1939

oil on canvas

overall: 91.4 x 71.1 cm (36 x 28 in.)

framed: 102.6 x 82.2 x 6.7 cm (40 3/8 x 32 3/8 x 2 5/8 in.)

framed weight: 20 lb. (9.072 kg)

Neuberger Museum of Art, Purchase College, State University of New York, Gift of Roy R. Neuberger

Stuart Davis

Composition, 1939

gouache on paper

overall: 29.5 x 39.1 cm (11 5/8 x 15 3/8 in.)

Seattle Art Museum, Gift of Mrs. Theodosia Young in Memory of Zoe Dusanne

Stuart Davis

Shapes of Landscape Space #3, 1940

oil on canvas

overall: 39.4 x 49.5 cm (15 1/2 x 19 1/2 in.)

framed: 57.5 x 67.8 x 5.7 cm (22 5/8 x 26 11/16 x 2 1/4 in.)

The Columbus Museum, Georgia, Purchase made possible by the Ella E. Kirven Charitable Lead Trust for Acquisitions

Stuart Davis

Report from Rockport, 1940

oil on canvas

overall: 61 x 76.2 cm (24 x 30 in.)

framed: 84.46 x 99.7 x 5.08 cm (33 1/4 x 39 1/4 x 2 in.)

Lent by The Metropolitan Museum of Art, Edith and Milton Lowenthal Collection, Bequest of Edith Abrahamson Lowenthal, 1991

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Image (C) The Metropolitan Museum of Art. Image source: Art Resource, NY

Stuart Davis

Arboretum by Flashbulb, 1942

oil on canvas

overall: 45.7 x 91.4 cm (18 x 36 in.)

framed: 67.31 x 113.35 x 6.35 cm (26 1/2 x 44 5/8 x 2 1/2 in.)

Lent by The Metropolitan Museum of Art, Edith and Milton Lowenthal Collection, Bequest of Edith Abrahamson Lowenthal, 1991

Metropolitan Museum of Art. Image Source: Art Resource, NY

Stuart Davis

Ultra-Marine, 1943/1952

oil on canvas

overall: 50.8 x 101.9 cm (20 x 40 1/8 in.)

framed: 74.9 x 125.7 cm (29 1/2 x 49 1/2 in.)

Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia, Joseph E. Temple Fund

Stuart Davis

For Internal Use Only, 1944-1945

oil on canvas

overall: 114.3 x 71.1 cm (45 x 28 in.)

framed: 135.9 x 91.4 cm (53 1/2 x 36 in.)

Courtesy of Reynolda House Museum of American Art, Winston-Salem, An Affiliate of Wake Forest University, Gift of Barbara B. Millhouse

Stuart Davis

The Mellow Pad, 1945-1951

oil canvas

overall: 66.7 x 107 cm (26 1/4 x 42 1/8 in.)

Brooklyn Museum, Bequest of Edith and Milton Lowenthal

Stuart Davis

Little Giant Still Life, 1950

oil on canvas

overall: 83.8 x 109.2 cm (33 x 43 in.)

framed: 106.1 x 132.4 cm (41 3/4 x 52 1/8 in.)

Virginia Museum of Fine Arts, Richmond, The John Barton Payne Fund

Stuart Davis

Visa, 1951

oil on canvas

overall: 101.6 x 132.1 cm (40 x 52 in.)

The Museum of Modern Art, New York, Gift of Mrs. Gertrud A. Mellon

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Digital Image (C) The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

Stuart Davis

Rapt at Rappaport's, 1951-1952

oil on canvas

overall: 132.1 x 101.6 cm (52 x 40 in.)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington

Stuart Davis

Semé, 1953

oil on canvas

overall: 132.1 x 101.6 cm (52 x 40 in.)

framed: 138.43 x 110.49 x 6.35 cm (54 1/2 x 43 1/2 x 2 1/2 in.)

Lent by The Metropolitan Museum of Art, George A. Hearn Fund

Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY. Image (C) The Metropolitan Museum of Art. Image source: Art Resource, NY

Stuart Davis

Medium Still Life, 1953

oil on canvas

overall: 114.3 x 91.4 cm (45 x 36 in.)

Museum of Fine Arts, Boston, Gift of the William H. Lane Foundation

publication] Museum of Fine Arts, Boston

Stuart Davis

Something on the 8 Ball, 1953-1954

oil on canvas

overall: 142.2 x 114.3 cm (56 x 45 in.)

framed: 171.8 x 143.5 x 7.6 cm (67 5/8 x 56 1/2 x 3 in.)

Philadelphia Museum of Art, Purchase, Adele Haas Turner and Beatrice Pastorius TurnerMemorial Fund, 1954

Stuart Davis

Tournos, 1954

oil on canvas

overall: 91.1 x 71.1 cm (35 7/8 x 28 in.)

framed: 113 x 80.7 x 6.4 cm (44 1/2 x 31 3/4 x 2 1/2 in.)

Munson Williams Proctor Arts Institute, Museum of Art, Utica, Museum purchase

Stuart Davis

Midi, 1954

oil on canvas

overall: 71.1 x 92.1 cm (28 x 36 1/4 in.)

framed: 93.4 x 113 x 7.6 cm (36 3/4 x 44 1/2 x 3 in.)

Wadsworth Atheneum Museum of Art, Hartford, The Schnakenberg Fund

Stuart Davis

Colonial Cubism, 1954

oil on canvas

framed: 114.6 x 153 x 2.8 cm (45 1/8 x 60 1/4 x 1 1/8 in.)

Collection Walker Art Center, Minneapolis, Gift of the T.B. Walker Foundation, 1955

Stuart Davis

Ready-to-Wear, 1955

oil on canvas

overall: 142.6 x 106.7 cm (56 1/8 x 42 in.)

The Art Institute of Chicago, Restricted gift of Mr. and Mrs. Sigmund W. Kunstadter; Goodman Endowment

Stuart Davis

Detail Study for "Cliché", 1955

gouache and pencil on paper

overall: 32.4 x 38.1 cm (12 3/4 x 15 in.)

framed: 49.5 x 55.3 cm (19 1/2 x 21 3/4 in.)

Private collection

Stuart Davis

Stele, 1956

oil on canvas

overall: 132.7 x 101.9 cm (52 1/4 x 40 1/8 in.)

Milwaukee Art Museum, Gift of Mr. and Mrs. Harry Lynde Bradley

Stuart Davis

Tropes de Teens, 1956

oil on canvas

overall: 114.9 x 153 cm (45 1/4 x 60 1/4 in.)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington

Stuart Davis

Memo #2, 1956

oil on canvas

overall: 61 x 81.3 cm (24 x 32 in.)

framed: 84.5 x 104.5 cm (33 1/4 x 41 1/8 in.)

Private collection

Stuart Davis

Memo, 1956

oil on linen

overall: 91.4 x 71.8 cm (36 x 28 1/4 in.)

Smithsonian American Art Museum, Washington, Gift of the Sara Roby Foundation

Stuart Davis

Package Deal, 1956

gouache and pencil on paper

overall: 54.6 x 47.3 cm (21 1/2 x 18 5/8 in.)

framed: 74.3 x 67 cm (29 1/4 x 26 3/8 in.)

Lawrence B. Benenson Collection

Stuart Davis

Première, 1957

oil on canvas

overall: 147.3 x 127 cm (58 x 50 in.)

Los Angeles County Museum of Art, Museum purchase, Art Museum Council Fund

Stuart Davis

Int'l Surface #1, 1957-1960

oil on canvas

overall: 144.8 x 114.3 cm (57 x 45 in.)

Smithsonian American Art Museum, Washington, Gift of S.C. Johnson & Son, Inc.

Stuart Davis

Pochade, 1956-1958

oil on canvas

overall: 132.1 x 152.4 cm (52 x 60 in.)

framed: 150 x 169 x 5 cm (59 1/16 x 66 9/16 x 1 15/16 in.)

Museo Thyssen-Bornemisza, Madrid

Stuart Davis

Study for "The Paris Bit", 1951/1957-1960

oil on canvas

overall: 71.1 x 91.4 cm (28 x 36 in.)

Private collection

Stuart Davis

The Paris Bit, 1959

oil on canvas

overall: 116.8 x 152.4 cm (46 x 60 in.)

Whitney Museum of American Art, New York, Purchase, with funds from the Friends of theWhitney Museum of American Art

Stuart Davis

Standard Brand, 1961

oil on canvas

unframed: 152.4 x 116.8 cm (60 x 46 in.)

framed: 171.8 x 136.5 x 6.7 cm (67 5/8 x 53 3/4 x 2 5/8 in.)

The Detroit Institute of Arts, Founders Society purchase, General Membership Fund

Stuart Davis

Contranuities, 1963

oil on canvas

overall: 172.7 x 127 cm (68 x 50 in.)

Private collection

Stuart Davis

Blips and Ifs, 1963-1964

oil on canvas

overall: 180.7 x 134.9 cm (71 1/8 x 53 1/8 in.)

Amon Carter Museum of American Art, Fort Worth, Acquisition in memory of John de Menil,Trustee, Amon Carter Museum of American Art, 1961-1969

Stuart Davis

Fin, 1962-1964

casein and masking tape on canvas

overall: 136.8 x 101 cm (53 7/8 x 39 3/4 in.)

framed: 146.4 x 110.8 x 7.6 cm (57 5/8 x 43 5/8 x 3 in.)

Private collection

Stuart Davis

Percolator, 1927

oil on canvas

overall: 91.4 x 73.7 cm (36 x 29 in.)

framed: 94.62 x 90.17 x 3.81 cm (37 1/4 x 35 1/2 x 1 1/2 in.)

Lent by The Metropolitan Museum of Art, Arthur Hoppock Hearn Fund

Museum of Art. Image source: Art Resource, NY

Stuart Davis

Première, 1957

oil on canvas

overall: 147.3 x 127 cm (58 x 50 in.)

Los Angeles County Museum of Art, Museum purchase, Art Museum Council Fund

Stuart Davis

The Paris Bit, 1959

oil on canvas

overall: 116.8 x 152.4 cm (46 x 60 in.)

Whitney Museum of American Art, New York, Purchase, with funds from the Friends of the Whitney Museum of American Art

Stuart Davis

Standard Brand, 1961

oil on canvas

unframed: 152.4 x 116.8 cm (60 x 46 in.)

framed: 171.8 x 136.5 x 6.7 cm (67 5/8 x 53 3/4 x 2 5/8 in.)

The Detroit Institute of Arts, Founders Society purchase, General Membership Fund

Stuart Davis

Contranuities, 1963

oil on canvas

overall: 172.7 x 127 cm (68 x 50 in.)

Private collection

Stuart Davis

Blips and Ifs, 1963-1964

oil on canvas

overall: 180.7 x 134.9 cm (71 1/8 x 53 1/8 in.)

Amon Carter Museum of American Art, Fort Worth, Acquisition in memory of John de Menil,Trustee, Amon Carter Museum of American Art, 1961-1969

Stuart Davis

Fin, 1962-1964

casein and masking tape on canvas

overall: 136.8 x 101 cm (53 7/8 x 39 3/4 in.)

framed: 146.4 x 110.8 x 7.6 cm (57 5/8 x 43 5/8 x 3 in.)

Private collection

↧

Masterpieces of the Leiden collection : The Age of Rembrandt

DALÍ, ERNST, MIRÓ, MAGRITTE ...

Bernard Buffet Retrospective

Cézanne Portraits

Uncle Dominique

Paul Cézanne

The Gardener Vallier

c.1906

Portrait of the Artist: Rubens, Rembrandt, Hockney and Freud

Matisse and American Art

Canaletto and the Art of Venice

Queen's Gallery, Buckingham Palace

19 May - 12 November 2017

Francis Bacon: From Picasso to Velazquez

Guggenheim Museum Bilbao

September 30, 2016, to January 8, 2017

Sotheby’s MASTER PAINTINGS EVENING SALE 25 January 2017: Orazio Gentilesch

Christie’s Old Master & British Drawings January 24, Old Master Prints January 25,

PETER PAUL RUBENS (Siegen 1577-1640 Antwerp), Scipio Africanus welcomed outside the gates of Rome, after Giulio Romano, black chalk, pen and ink, brown wash, grey, cream, white and touches of green bodycolor with heightening in oil. Estimate: $500,000-700,000.

AFTER TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1488-1576), The Submersion of Pharaoh’s Army in the Red Sea the complete woodcut printed from 12 blocks, circa 1514-15. Estimate: $200,000-300,000.

Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017: Rothko, Rauschenberg

MARK ROTHKO (1903-1970), No. 1 (Painted in 1949). Oil on canvas, 78.3 x 39.7 in. (198.8 x 100.8 cm.) Estimate on Request.

Vermeer and the Masters of Genre Painting

Musée du Louvre

22 February - 22 May 2017

Christie’s Impressionist & Modern Art Evening Sale on 28 February: Morisot, Monet, van Donge

Berthe Morisot, Femme en noir, 1875, estimate: £600,000-800,000

Georgia O’Keeffe: Living Modern

Masterpieces from Budapest From the Renaissance to the Avant-gardes

Matisse in His Time: Masterworks of Modernism from the Centre Pompidou, Paris

Picasso, Braque, Juan Gris, Léger, Klee, Kandinsky: The Collection of Hermann and Margrit Rupf:

Seurat's Circus Sideshow

African American artists at Georgia Museum of Art

Georgia Museum of Art

January 28 to May 7, 2017

Stuart Davis: In Full Swing