'Georgia O’Keeffe: Visions of Hawai‘i'

February 2, 2018, 12:22 pm

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New York Botanical Garden’s
May 19 through October 28, 2018.

Exploring the Artist’s Immersion in the Hawaiian Islands in 1939, Exhibition Will Feature a Lush Flower Show Evoking the Hawaiian Gardens and Landscapes That Inspired O’Keeffe And More Than 15 of Her Paintings Not Seen Together in New York Since Their 1940 Debut

The New York Botanical Garden’s landmark 2018 exhibition, Georgia O’Keeffe: Visions of Hawai‘i, will focus on the iconic artist’s immersion in the Hawaiian Islands in 1939.

Exhibition visitors will experience a lush flower show in the Garden’s Enid A. Haupt Conservatory evoking the gardens and landscapes that inspired O’Keeffe as well as the complex story of the flora and unique ecology of Hawai‘i. Curated by art historian Theresa Papanikolas, Ph.D., Deputy Director of Art and Programs at the Honolulu Museum of Art, the exhibition will feature 20 of O’Keeffe’s depictions of Hawai‘i—including paintings not seen together in New York since their 1940 debut.

Visitors of all ages will learn about Hawai‘i through complementary events, programs, and demonstrations, including a film series, symposium, lecture, and the Interactive Mobile Guide.
In 1939, at the age of 51, O’Keeffe accepted a commission from the Hawaiian Pineapple Company to produce two paintings for advertising campaigns. Her nine-week immersion in the Hawaiian landscape resulted in more than 20 paintings, including stunning views of mountains and waterfalls and her signature close-cropped views of flowers and plants she encountered during her time on the islands of Hawai‘i, Kauai, Maui, and Oahu.

At the time of her trip, O’Keeffe was among the most famous artists in the United States, best known for her depictions of the stark landscape and desert flora of her beloved New Mexico. Georgia O’Keeffe: Visions of Hawai‘i, will explore this lesser-known chapter in her career, the enduring cultural impact of mid-century perceptions of Hawai‘i, and the ecological complexity of the Hawaiian Islands—one of the most biologically diverse places on Earth—hidden behind O’Keeffe’s depictions. Integrating art, horticulture, and historical interpretation, the exhibition will explore the Hawai‘i that O’Keeffe encountered and also reveal the complex history of the plants and the Islands that she was not familiar with at the time.

The Enid A. Haupt Conservatory will feature the remarkable beauty and richness of Hawai‘i’s wild and cultivated flora. Featuring plantings designed by Francisca Coelho and set pieces designed byTony Award-winning set designer Scott Pask, the exhibition will also introduce visitors to the profound importance of plants in Hawaiian culture and growing concerns about threats to native Hawaiian plants.

The centerpiece will be long borders of colorful tropical garden plants such as those Georgia O’Keeffe encountered and painted while in Hawai‘i. These borders will burst with the dazzling flowers of ti, frangipani, bougainvillea, heliconia, hibiscus, bird of paradise, ginger, and many more tropical favorites. Beyond the borders, planting beds arranged around a hale, an open-sided thatched-roof pavilion inspired by traditional Hawaiian architecture, will tell the story of canoe plants—useful plants brought to the Islands 1,700 years ago by Polynesian settlers. Vignettes featuring native Hawaiian plants will teach visitors about modern efforts to preserve Hawai‘i’s imperiled flora.

A stunning display in the LuEsther T. Mertz Library Art Gallery will offer a rare focus on Georgia O’Keeffe’s works of art created during a nine-week sojourn commissioned by the Hawaiian Pineapple Company in 1939. Her works depicting Hawaiian subjects garnered critical and popular attention when they were exhibited at Alfred Stieglitz’s (1864–1946) An American Place gallery in 1940.

The exhibition will spotlight a transformative time in the legendary artist’s life, revealing O’Keeffe’s deeply felt impressions and the enduring influence of the Islands’ rugged topography, dramatic landscapes, and exotic plants. The paintings in this grouping, not seen together in New York since their 1940 debut, were all created in 1939 and include



Heliconia,



Crab’s Claw Ginger [plant depicted is actually a “lobster claw” heliconia]



and Pineapple Bud

(both of which were used in the Hawaiian Pineapple Company’s advertisements and which are held today in private collections);

Georgia O’Keeffe, Hibiscus with Plumeria, 1939, Oil on canvas, 40 x 30 in., Smithsonian American Art Museum, Gift of Sam Rose and Julie Walters, 2004.30.6 © 2018 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York

Hibiscus with Plumeria (loaned by the Smithsonian American Art Museum);

 

Georgia O’Keeffe’s Waterfall, No. I, ‘Īao Valley, Maui (1939). Image courtesy of the Memphis Brooks Museum of Art, Memphis, Tennessee © 2018 Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York.

GEORGIA O’KEEFFE,“Waterfall, No 2, ‘lao Valley, Maui,” 1939, oil on canvas, 24 x 20 in, Private Collection

GEORGIA O’KEEFFE, “Waterfall, No 3, ‘lao Valley,” 1939, oil on canvas, 24 x 20 in, Honolulu Academy of Arts

and a collection of landscape paintings depicting Maui’s interior ‘Īao Valley and lava-studded shorelines (loaned by the Honolulu Museum of Art).




The exhibition catalog explores this little-known chapter in the artist’s career. Glowing with color, O’Keeffe’s Hawai‘i pictures demonstrate her unique ability to make every place she painted her own. This publication offers a new perspective on O’Keeffe’s work from Hawai‘i by examining the ecological complexity of the Hawaiian Islands—one of the most biologically diverse places on Earth—alongside her works of art.

American modernist Georgia O’Keeffe (1887–1986) conveyed a distinct sense of place with innovative depictions of her surroundings, from stark New Mexican landscapes to abstract New York cityscapes. Her interest in depicting local landscapes through modern art techniques was grounded in an American tradition that dated to the 19th-century Hudson River School painters. Flowers and plants were also subjects that engaged O’Keeffe consistently throughout her career, and these iconic images are celebrated for their bold use of color, form, and scale.

O’Keeffe’s time in Hawai‘i, and the work that was produced there, is less well known than her iconic New Mexico scenes, and it is not a place with which she is often associated. However, close study of the work and her correspondence during her trip reveals a deep appreciation for the beauty of the Islands and a fascination with the landscape she encountered. This engagement with a new place—and use of her familiar compositional techniques—shows extraordinary continuity with the rest of her large body of work.

O’Keeffe’s experience in Hawai‘i is representative of the significance of the Territory in the American consciousness as tourism boomed and Hawai‘i approached statehood. While O’Keeffe’s correspondence from this period reflects the perspective of a visitor who was steeped in popular perceptions of the Islands as an idealized tropical paradise, her paintings masterfully depict the Islands’ unique natural settings and serve as a compelling starting point to examine the transformation of the Hawaiian landscape through human and cultural influences.

Georgia O’Keeffe: Visions of Hawai‘i is The New York Botanical Garden’s next installation within the ambitious exhibition program it pioneered to explore the horticultural lives of cultural figures such as Frida Kahlo, Charles Darwin, Emily Dickinson, and Claude Monet and the intersection of art and nature.

GEORGIA O’KEEFFE, “White Lotus,” 1939, oil on canvas, 20 x 22 in, Muscatine Art Centre, Iowa

More images

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Public Parks, Private Gardens: Paris to Provence

February 3, 2018, 9:01 am

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Anchored by the encyclopedic holdings of The Metropolitan Museum of Art, the exhibition Public Parks, Private Gardens: Paris to Provence, opening March 12, will illustrate the horticultural boom that reshaped much of the French landscape during the 19th century. 

As shiploads of exotic botanical specimens arrived from abroad and local nurserymen pursued hybridization, the availability and variety of plants and flowers grew exponentially, as did the interest in them. The opening up of formerly royal properties and the transformation of Paris during the Second Empire into a city of tree-lined boulevards and parks introduced public green spaces to be enjoyed as open-air salons, while suburbanites and country-house dwellers were inspired to cultivate their own flower gardens. By 1860, the French journalist Eugène Chapus could write: "One of the pronounced characteristics of our Parisian society is that . . . everyone in the middle class wants to have his little house with trees, roses, and dahlias, his big or little garden, his rural piece of the good life." 

Mary Cassatt American, 1844–1926), Lydia Crocheting in the Garden at Marly, 1880. Oil on canvas 25 13/16 x 36 7/16 in. (65.6 x 92.6 cm)

The important role played by parks and gardens in contemporary French life is richly documented in works in The Met collection by artists extending from Corot to Matisse, many of whom were gardeners themselves. The popularity of botanical and floral motifs at this time is evidenced throughout the pictorial and decorative arts. With some 150 works that range from paintings by the Impressionists to photographs of the era and vases made to display lush bouquets, this presentation will provide a fresh, multisided perspective on best-known and hidden treasures housed in a Museum that took root in a park: namely, New York's Central Park, which was designed in the spirit of Parisian public parks of the same period. The exhibition is made possible by the Sam and Janet Salz Trust, the Janice H. Levin Fund, and The Florence Gould Foundation.

Exhibition Credits and Related Information Public Parks, Private Gardens: Paris to Provence is organized by Susan Alyson Stein, Engelhard Curator of Nineteenth-Century European Painting, Department of European Paintings, with Colta Ives, Curator Emerita, Department of Drawings and Prints, and the assistance of Laura D. Corey, Research Associate, Department of European Paintings, all of The Metropolitan Museum of Art.  Exhibition design is by Daniel Kershaw, Exhibition Design Manager; graphics are by Kamomi Solidum, Senior Graphic Designer; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of The Met Design Department.     The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art and distributed by Yale University Press.

Claude Monet (French, 1840–1926). The Parc Monceau  (detail) 1878. Oil on canvas. The Metropolitan Museum of Art, New York, The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1959 (59.142)

Claude Monet (French, 1840–1926). The Parc Monceau  1878. Oil on canvas. The Metropolitan Museum of Art, New York, The Mr. and Mrs. Henry Ittleson Jr. Purchase Fund, 1959 (59.142)

Claude Monet (French, 1840–1926). Landscape, The Parc Monceau  1876. Oil on canvas. The Metropolitan Museum of Art, New York,

Bequest of Loula D. Lasker, New York City, 1961	59.206

André derain 1904 - 1914. La décennie radical (The Radical decade)

February 3, 2018, 12:51 pm

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The Centre Pompidou 
 4 October 2017 - 29 January 2018 


The Centre Pompidou is presenting «André derain 1904 - 1914. La décennie radicale »
(The Radical decade), which takes a fresh look at the work of this major 20th century artist, tracing the various stages of his career before the First world war, when he was involved in the most radical avant-garde movements. Some remarkable groups of work have been brought together for the exhibition: his 1905 summer pieces painted in Collioure; a series of London scenes, and his very large dance and bather compositions. 

The art of André Derain has not been the focus of any major monographic exhibitions
since the 1994 retrospective at the Musée d’Art Moderne de la Ville de Paris – in other words, for over twenty years. 

This French painter played a crucial intellectual role in the emergence of two major avant-garde movements in the early 20th century: Fauvism and Cubism. Early on, he made a solitary return to realism, foreshadowing all the figurative movements of magic realism from the Ingrism
of Picasso to the metaphysical painting of De Chirico and the New Objectivity of Germany. Derain’s daring, highly inventive pre-war work is fascinating. 

Derain, who was close to Maurice de Vlaminck and Henri Matisse, and then Georges Braque and Pablo Picasso, engaged forcefully with Fauvism and Cubism, developing a powerful body of work up to the First World War. He experimented visually in many ways, tackling painting, drawing, xylography, sculpture, ceramics and film, and practised photography throughout his life, along side his painting.

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The exhibition focuses on an exploration of Derain’s hitherto unexhibited archives – his photographs, collections of prints and artwork reproductions, writings and correspondence – and for the first time sheds considerable light on some of his most iconic works through strong visual counterpoints :
the photographs he took and his atypical artistic references, including Epinal’s engravings,
the Maori objects he copied at the British Museum in 1906, and the African sculptures in his collection. 

The exhibition presents around seventy paintings, a large number of works on paper (watercolours, drawings, sketchbooks and engravings), sculptures and some fifty photographs, as well as Maori
and African sculptures and ceramics.

The circuit follows his carer chronologically : 

- Firstly, derain’s early works, marked by his roots in a realistic, libertarian style with cruel, acerbic drawing, are presented as a foil to his photographs, which date from his early career to the 1940s.

His entire work as a painter was deeply imbued by his liking for photographic compositions, no matter how radical, and a certain realism. 

- his landscapes of Chatou, dating from 1903 to 1904, with their lively colours and innovative compositions, show a simultaneous adherence to and emancipation from the Impressionist model.
- His pictorial experiments during the summer of 1905 in Collioure, alongside Henri Matisse, were his baptism by fire in Fauvism. 

- His Arcadian, decorative vein, typified in the large piece La Danse (an exceptional loan) and its various versions in watercolour, were a response to Paul Gauguin’s Tahitian works and the contemporary paintings of Matisse. 

- The vibrant, synthetic landscapes painted at L’Estaque in 1906 and the flamboyant London series (1906 - 1907) represent the peak of his achievements in colour. 

- The maori and African objets d’art of the British Museum, which Derain discovered in London in 1906, and the pantheon he built up through his visits to the Louvre, the Musée du Trocadéro and the National Gallery all nourished the neo-archaism of his sculptures and woodcuts. 

- A period influenced by Cézanne, which started in 1907, led Derain towards a formal and geometric synthesis with a series of large compositions of female bathers (also exceptional loans). 

- He then began to develop a personal form of Cubism through his compartmentalised landscapes of Cassis, Martigues and Carrières-sur-Seine with their saturated colours, painted between 1907 and 1909.

These were followed by those of Cagnes and Cadaquès, characterised by a crystalline, geometric volumetry. 

- Without ever abandoning realism, Derain began to accentuate the stylisation of his drawing in 1912
and 1913, producing numerous archaistic portraits, manifesto self-portraits in painter’s clothing, sophisticated, symbolic still lifes and stylised views of windows harking back to Paolo Uccello.
This strange, singular «byzantine» period appealed to numerous artists and poets, including
the young André Breton. 

- The exhibition ends with evidence of the resurgence or survival of the pre-war spirit – an epic vein and a poetic archaism inspired by Guillaume Apollinaire – through one of his very late works :
the large allegorical panel completed in 1944, La Chasse (The Hunt), also called L’Âge d’or
(The Golden Age) (1938 - 1944).

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André derain was a complex personality, who very early on evinced a certain doubt towards
the modern approach while contributing actively to the explorations of the first avant-gardes
of the 20th century. gertrude Stein said of him, somewhat perfidiously, « derain is an inventor,
a discoverer ; one of those ever-curious spirits who never put their own inventions to good use (...)he is an artistic adventurer, the Christopher Columbus of modern art – but it is others who profit from the new continents. » (Citations from Jean Leymarie’s « André derain ou le retour à l’ontologie », Paris, Skira, 1949) 

The project is supported by the artist’s heirs and the Comité Derain, and is accompanied by a major catalogue with articles by specialists on Derain and historical avant-gardes, taking a new approach
to his work. To go with the event, Hazan and the Editions du Centre Pompidou have also published
his war-time correspondence with his wife Alice Derain, edited by Javotte Taillade, the painter’s great-niece.

Chronology 

Extracted from the album of the exhibition. 

1900. Derain (1880-1954) meets Maurice de Vlaminck, who, like himself, lives in Chatou.
The two friends rent a studio in the former Levanneur restaurant adjoining the Maison Fournaise, frequented by Impressionist painters.

Derain takes classes at the Académie Camillo in Paris, where he meets Henri Matisse. 

1901. Derain copies the Portement de croix (Copie d’après Biagio d’Antonio) [Christ Bearing the Cross (Copy after Biagio d’Antonio)] at the Louvre, then attributed to Ghirlandaio, using pure colours.

He visits the Van Gogh exhibition with Vlaminck at the Galerie Bernheim-Jeune. 

1901-1904. Military service in Commercy : Derain is bored there, but produces illustrations
for novels written by Vlaminck (D’un lit dans l’autre [From One Bed to the Other], 1902 ; Tout pour ça [All For That], 1903). He paints Le Bal à Suresnes [At the Suresnes Ball] (1903) inspired by his life as an army conscript.

In late 1904, back in Chatou, he meets Apollinaire. 

1905. Derain exhibits at the Salon des indépendants. Thanks to Matisse, Vollard becomes his dealer.
In July, he joins Matisse in Collioure where he discovers a new conception of light. He exhibits his painted canvases over the summer with Matisse at the Salon d’automne in Room VII, the “cage aux fauves” [“cage of wild beasts”, the Fauvists’ room]. 

1906. Derain creates ceramics with André Metthey and experiments with printmaking and sculpture. Visits to London, where he discovers the British Museum and produces a series of views for Vollard. He spends the summer in L’Estaque, near Marseille in the south of France. 

1907. The artist meets Daniel-Henry Kahnweiler, who becomes his dealer. He paints in Cassis, where he sees Braque and Othon Friesz. Derain distances himself from Fauvism, becoming more concerned with the architecture of volumes and balanced composition.

He moves to Montmartre and frequents Picasso. 

He meets Alice Géry, who becomes his partner. 

1908. Derain has a long stay in Martigues, before joining Picasso in La Rue-des-Bois.
He shows his work at the Golden Fleece exhibition in Moscow, the Cercle d’art moderne du Havre, and the Salon des Indépendants in Paris. 

1909. He leaves the south and moves to the Somme (Montreuil-sur-Mer, Neuville, Étaples). He produces etchings for Apollinaire’s L’Enchanteur pourrissant [The Putrescent Enchanter] published by Kahnweiler. 

1910. He exhibits at the Mánes Union of Fine Arts in Prague. Visit to Cagnes and travels in Spain : with Picasso and Fernande Olivier, Derain visits Figueras and Cadaqués.
In autumn, Alice Géry and Derain move into 13 Rue Bonaparte in Paris. 

1911. Discovers Camiers in Pas-de-Calais.

Derain’s painting becomes more archaic, in a similar vein to the simplicity of the Italian primitives.

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1912. Derain moves to Vers, near Cahors, where he paints around thirty still lifes and landscapes.
He creates prints for Les Œuvres burlesques et mystiques de Frère Matorel, mort au couvent [The Burlesque and Mystical Works of Brother Matorel] by Max Jacob, published by Kahnweiler. 

1913. Derain distances himself from Parisian milieues. He mainly exhibits abroad (Valet de carreau in Moscow, Armory Show in New York) and moves to Martigues and Sausset-les-Pins. 

1914. Picasso, Braque and Derain are together in Montfavet near Avignon when war is declared. Derain is mobilised : he is posted in Lisieux. 

1915. Derain paints Paul Poiret’s portrait, who was also billeted to Lisieux.

In September, he leaves for the front with the 2nd heavy artillery regiment and participates
in the second Battle of Champagne.

In Paris, several of his works are featured in the collective exhibition held at the gallery-boutique of Germaine Bongard, Poiret’s sister. 

1916. Derain fights in Douaumont.

At Apollinaire’s initiative, his first solo exhibition is held from 15 to 21 October at the Galerie Paul Guillaume, Avenue de Villiers, in Paris.

Exhibition of French modern art in Oslo organised by the dealer Walther Halvorsen, a former student
of the Académie Matisse. 

1917. Derain participates in the fighting at the Chemin des Dames.

The Modern Gallery in New York, managed on behalf of Paul Guillaume by Marius de Zayas,
a former associate of the Soirées de Paris, Apollinaire’s magazine, organised a solo exhibition for Derain, from 3 to 24 November.

André Breton writes a poem, “André Derain”, which he reads at the first poetry reading and musical session at the new Paul Guillaume gallery, on 108 Rue du Faubourg-Saint-Honoré. 

1918. Walther Halvorsen supports Derain financially, paying him a monthly allowance as an advance on future paintings.

Death of Apollinaire on 9 November. 

1919. Derain continues to be mobilised by the Allied occupation of the Rhineland. He is relieved
of his obligations on 10 March and returns to Paris.

He designs sets and costumes for L’Annonce faite à Marie [The Announcement Made to Mary] (1918-1919) by Paul Claudel, for Arsène Durec’s troupe on tour in the Scandinavian countries.
In May, he leaves for London to create the sets for the ballet La Boutique fantasque [The Magic Toyshop] (choreography by Léonide Massine, music by Gioacchino Rossini) for Les Ballets Russes.
He publishes prints in Mont de piété [Mount of Piety] by André Breton and Ballade du pauvre macchabée mal enterré [Ballad of the Poor Badly Buried Stiff] by René Dalize, who was killed at the front. 

1920. Derain revives his ties with Kahnweiler and creates a number of prints for poetry books
(La Cassette de plomb [The Lead Casket] by Georges Gabory, 60 woodcuts for Calumet [Peace Pipe], by André Salmon). 

Derain dies on 8 September 1954. 

1. PEiNTURES 



L’Enterrement, vers 1899
Huile sur toile, 47,2 x 37 cm
The Collection of the Pierre and Tana Matisse Foundation, New York 




Le Bal à Suresnes, 1903
Huile sur toile, 180 x 145,1 cm
Saint Louis Art Museum, Saint Louis. Museum Purchase, 172:1944 



Bords de Seine à Chatou, vers 1904
Huile sur toile, 74 x 123,8 cm
The Museum of Modern Art, New York. The William S. Paley Collection. SPC9.1990



Le Vieil Arbre, vers 1904
Huile sur toile, 41 x 33 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1951, AM 3077 P



La Seine au Pecq, 1904
Huile sur toile, 85 x 95,5 cm
Centre Pompidou, Musée national d’art moderne, Paris. Don en 1938, AM 3773 P



La Rivière (Après-midi d’été, Bords de Seine à Chatou), hiver 1904-1905
Huile sur carton, 74 x 90 cm
Musée d’art moderne de la Ville de Paris.
Achat en 1937, AMVP739

Le Pecq, hiver 1904-1905
Huile sur toile, 81 x 116 cm
Cincinnati Art Museum, Museum Purchase : Bequest of Mary E. Johnston, by exchange, and The Edwin and Virginia Irwin Memorial

 

Lucien Gilbert, vers 1905
Huile sur toile, 81,3 x 60,3 cm
The Metropolitan Museum of Art, New York.
Gift of Joyce Blaffer von Bothmer, in memory
of Mr. and Mrs. Robert Lee Blaffer, 1975, 1975.169



Arbre, paysage au bord d’une rivière, 1905 
Huile sur toile, 61 x 81 cm
Collection Fondation Merzbacher




Bateaux dans le port de Collioure, 1905 
Huile sur toile, 72 x 91 cm
Collection Fondation Merzbacher



Bateaux de pêche, Collioure, 1905
Huile sur toile, 38,2 x 46,3 cm
The Museum of Modern Art, New York. The Philip L. Goodwin Collection. 100.1958



Henri Matisse, 1905
Huile sur toile, 39,4 x 28,9 cm
Tate, Londres, purchased with assistance from the Knapping Fund, the Art Fund
and the Contemporary Art Society and private subscribers, 1954



Le Faubourg de Collioure, 1905
Huile sur toile, 59,5 x 73,2 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1966, AM 4367 P



Le Phare de Collioure, 1905
Huile sur toile, 32,5 x 40,5 cm
Musée d’art moderne de la Ville de Paris, donation Henry-Thomas en 1984, AMVP2531 Ville de Paris

Le Port de Collioure (Port de Collioure, le cheval blanc), 1905
Huile sur toile, 72 x 91 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 57



Le Séchage des voiles (Bateaux de pêche), 1905 Huile sur toile, 82 x 101 cm
Musée des beaux-arts Pouchkine, Moscou
Les Montagnes à Collioure, juillet 1905 Huile sur toile, 81,3 x 100,3 cm National Gallery of Art, Washington, John Hay Whitney Collection, 1982.76.4


Les Pêcheurs à Collioure, 1905
Huile sur toile, 46 x 54 cm
Private Collection, on long-term loan to the Courtauld Gallery, London


Portrait d’Henri Matisse, 1905 Huile sur toile, 93 x 52,5 cm Musée Matisse, Nice, 63-4-1
Vue de Collioure (Collioure, le village et la mer), 1905 Huile sur toile, 60,2 x 73,5 cm
Scottish National Gallery of Modern Art, Édimbourg

La Jetée à l’Estaque, vers 1906 Huile sur toile, 33 x 55 cm Collection particulière


Big Ben, 1906
Huile sur toile, 79 x 98 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 103


La Danse, 1906
Huile sur toile, 185 x 228 cm Collection particulière


L’Estaque, 1906
Huile sur toile, 38 x 55 cm
Musée des beaux-arts, La Chaux-de-Fonds, collection René et Madeleine Junod


Pont sur le Riou (Paysage à l’Estaque), 1906 Huile sur toile, 82,6 x 101,6 cm
The Museum of Modern Art, New York.
The William S. Paley Collection. SPC66.1990

Trois personnages assis dans l’herbe, 1906 Huile sur toile, 38 x 55 cm
Musée d’art moderne de la Ville de Paris. Legs Girardin en 1953, AMVP 471
Effets de soleil sur l’eau, Londres, 1906-1907 Huile sur toile, 80,5 x 100 cm
Musée de l’Annonciade, Saint-Tropez, 1962-1-3
Le Quai Victoria (Pont de Charing Cross,
dit aussi Pont de Westminster), 1906-1907
Huile sur toile, 81 x 100,6 cm
Musée d’Orsay, Paris,
donation Max et Rosy Kaganovitch, 1973, RF 1973 16
Hyde Park, 1906-1907
Huile sur toile, 66 x 99 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 56
Le Pont de Londres, 1906-1907 Huile sur toile, 63 x 95,5 cm Collection Fondation Merzbacher
Le Pont de Londres, hiver 1906-1907
Huile sur toile, 66 x 99,1 cm
The Museum of Modern Art, New York. Gift of Mr. and Mrs. Charles Zadok, 195.1952
Le Pont de Waterloo (Le Pont sur la Tamise), 1906-1907
Huile sur toile, 80 x 100,4 cm
Musée de l’Annonciade, Saint-Tropez, 1962-1-4
Les Quais de la Tamise, 1906-1907
Huile sur toile, 81 x 100 cm
Centre Pompidou, Musée national d’art moderne, Paris. Don de Mme Marcelle Bourdon en 1990, AM 1990-202


Vue sur la Tamise, Londres, 1906-1907
Huile sur toile, 73,3 x 92,2 cm
National Gallery of Art, Washington,
collection of Mr. and Mrs. Paul Mellon, 1985.64.12


Baigneuses, 1907
Huile sur toile, 132,1 x 195 cm
The Museum of Modern Art, New York. William S. Paley and Abby Aldrich Rockefeller Funds, 683.1980

La Route de Cassis (Paysage aux environs de Cassis), 1907
Huile sur toile, 33 x 41 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 015
Madame Derain en vert, 1907
Huile sur toile, 73 x 60 cm
The Museum of Modern Art, New York. Given anonymously 1942. 143.1942
Paysage à Cassis, 1907
Huile sur toile, 54 x 65 cm
Musée d’art moderne, Troyes,
collections nationales Pierre et Denise Lévy, MNPL 88
Paysage aux environs de Cassis, 1907 Huile sur toile, 46 x 54,9 cm
The Museum of Modern Art, New York, Mrs. Wendell T. Bush Fund. 278.1949
Pinède, Cassis, 1907
Huile sur toile, 54 x 64 cm
Musée Cantini, Marseille. Achat en 1987, C.87.50
Arbres aux environs de Martigues, vers 1908
Huile sur toile, 35 x 28,5 cm
Statens Museum for Kunst, Copenhague, KMSr15
Baigneuses, vers 1908
Huile sur toile, 38 x 46 cm
Musée d’art moderne de la Ville de Paris, Don Amos 1955, AMVP1863
Baigneuses, 1908
Huile sur carton, 24 x 32,5 cm Musée national Picasso-Paris. Dation en 1979, MP3593
Baigneuses, 1908
Huile sur toile, 180 x 230 cm Galerie nationale, Prague
La Baie de Martigues, 1908
Huile sur panneau, 50 x 61 cm
Collection particulière, États-Unis
Les Coteaux aux environs de Martigues, 1908 Huile sur toile, 46 x 38 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 016

Paysage aux environs de Martigues, 1908 Huile sur toile, 55 x 46 cm
Musée Ziem, Martigues
Baigneuses, vers 1908-1909
Huile sur toile, 24 x 29 cm Collection particulière, États-Unis
Arbres au bord d’un lac, le parc de Carrières- Saint-Denis (Paysage à Carrières-sur-Seine), 1909 Huile sur toile, 54,1 x 65 cm
The Samuel Courtauld Trust,
The Courtauld Gallery, Londres
Cadaqués, 1910
Huile sur toile, 60 x 73 cm
Galerie nationale, Prague.
Acquired from the collection of Vincenc Kramár
Maisons au bord de l’eau (Montreuil-sur-Mer), 1910 Huile sur toile, 61 x 102,3 cm
Musée de l’Ermitage, Saint-Pétersbourg
Montreuil-sur-Mer, 1910
Huile sur toile, 37,5 x 46 cm
Galerie nationale, Prague.
Acquired from the collection of Vincenc Kramár
Vieille Ville de Cagnes (Les Hauts de Cagnes), 1910 Huile sur toile, 66 x 82 cm
Musée des beaux-arts Pouchkine, Moscou
Vue de Cagnes, 1910
Huile sur toile, 81 x 100 cm Museum Flokwang, Essen
Nature morte au Calvaire, vers 1912 Huile sur toile, 65,3 x 57,3 cm Kunstmuseum Basel, Bâle
Nature morte à la carafe, [1912]
Huile sur toile, 92 x 73 cm
Centre Pompidou, Musée national d’art moderne, Paris. Achat en 1979
Fenêtre à Vers, 1912
Huile sur toile, 130,8 x 89,5 cm
The Museum of Modern Art, New York.
Abby Aldrich Rockefeller Fund, purchased in memory of Mrs. Cornelius J. Sulivan. 631.1939

15

La Fenêtre, 1912
Estampe, 61,6 x 48,8 cm
Statens Museum for Kunst, Copenhague, KKSgb336
Les Rochers à Vers, 1912
Huile sur toile, 60,5 x 81 cm
Musée de l’Ermitage, Saint-Pétersbourg
Autoportrait à la pipe, [vers 1913-1914] Huile sur toile, 50 x 31,5 cm Collection particulière
La Gibecière, 1913
Huile sur toile, 116 x 81 cm
Musée de l’Orangerie, Paris, RF 1963-38
L’Italienne assise, 1913
Huile sur toile, 79,5 x 65 cm
Statens Museum for Kunst, Copenhague, KMSr19
L’Italienne assise, 1913
Huile sur toile, 92 x 73 cm Collection Fondation Merzbacher

Deux Baigneuses dans un paysage, 1918 Huile sur toile, 35 x 22,5 cm
Hermann und Margrit Rupf-Stiftung, Kunstmuseum, Berne, Ge 021
La Chasse [L’Âge d’or (Paradis terrestre)], 1938-1944 Huile sur papier marouflé sur toile, 274 x 479 cm Centre Pompidou, Musée national d’art moderne, Paris, en dépôt au Musée de l’Orangerie, Paris. Don d’Alice Derain et Aimé Maeght en 1962, AM 4055 P 

Nature morte, 1913
Huile sur toile, 46,5 x 55 cm
Statens Museum for Kunst, Copenhague, KMS6987


Portrait de Lucie Kahnweiler, 1913
Huile sur toile, 92 x 73 cm
Centre Pompidou, Musée national d’art moderne, Paris. Donation en 1984, AM 1984-507


Samedi, 1913
Huile sur toile, 181 x 228 cm
Musée des beaux-arts Pouchkine, Moscou


Jeune Fille en noir, 1914
Huile sur toile, 116,5 x 89,3 cm
Musée de l’Ermitage, Saint-Pétersbourg


Les Deux Sœurs, 1914
Huile sur toile, 195,5 x 130,5 cm
Statens Museum for Kunst, Copenhague, KMSr23


Nature morte à la palette, 1914
Huile sur toile, 92 x 73 cm
Statens Museum for Kunst, Copenhague, KMSr22


Portrait de jeune fille, 1914
Huile sur toile, 61 x 50 cm
Musée national Picasso-Paris, donation en 1973, RF1973-68

2 Great Picasso's: Sotheby’s Impressionist & Modern Art Evening Sale in London on 28 February 2018

February 10, 2018, 9:08 am

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A painting of heightened psychological intensity, 



Pablo Picasso’s Femme au béret et à la robe quadrill ée (Marie -Thérèse Walter) brings to a climax a turbulent and highly charged year. The great masterpiece of his career Guernica was created in 1937, and in the final month of that momentous year he painted this vivid, poignant and intense image of his golden muse Marie -Thérèse Walter. 

This defining work will be offered for the first time as a star lot of Sotheby’s Impressionist & Modern Art Evening Sale in London on 28 February 2018.

PICASSO’S WEEPING WOMEN: THE YEARS OF MARIE - THÉRÈSE & DORA MAAR 

The women of Picasso’s life are the fulcrum of his creative genius , unquestionably essential to his creative and intellectual processes. 

Femme au béret et à la robe quadrillée (Marie -Thérèse Walter) charts Picasso’s evolving relationship with his muse Marie -Thérèse Walter , to whom he was ostensibly still devoted at the time, and the increasingly dominant presence of his new lover Dora Maar. Indeed, the work appears to have been used as a means for explorin g his feelings for the two women. 

There is a conscious blurring of the two styles inspired by the two muses, reaching its pinnacle in the silhouetted ‘other’ that emerges from behind the main subject. Whether it represents Maar or indeed a self -portrait, the implication is that of duality and conflict. 

Picasso is quoted: ‘It must be painful for a girl to see in a painting that she is on the way out’. 

The beginning of the decade marked a period of sublime happiness for Picasso, as witnessed in the extraordinarily sensual and lyrical paintings of Marie -Thérèse in 1932 – which are the subject of the current acclaimed exhibition at Musée Picasso in Paris and will feature in a forthcoming show at Tate Modern in London. 

This extremely dynamic painting reveals just how much things had changed for him in the intervening five years. The work’s sharp cubistic edges, thick impastoed paint and black outlines give it an immediate visual impact – the emphatic execution and bold palette packed with emotional charge. The depiction of Marie -Thérèse has matured from the voluptuous curves and sleepy, passive suggestiveness to the woman who gave birth to Picasso’s child. The portrait suggests that she continued to be of central importance to the artist . 

1937: GUERNICA & THE POLITICISATION OF PICASSO 

These personal disruptions in 1937 were mirrored by wider political unrest in the artist’ s native Spain, the year marked by a succession of shattering events including the bombing of the small to wn of Guernica in Basque Spain – which prompted the grand mast erpiece Guernica and a harrowing series of weeping women. This portrait, with its green welling tears, has been identified as a continuation of and counterbalance to the sequence of weeping women : ‘[she is] entirely reduced to inner tears – a resigned sadness, nonetheless suffused with love. 

Pablo Picasso (1881 - 1973) Le Matador oil on canvas 146 by 114cm., 57½ by 44⅞in. Painted on 23 rd October 1970. Estimate: £1 4,000,000 – 18 ,000,000

Monumental in scale , highly charged and painted in vivid colours, Le Matador is the culmination of a life -long obsession of Picasso’s that remained one of the most important themes throughout his career.

The painting is a brilliant display of the virtuosity with which Picasso combined the complex elements that had shaped his life and art and stands as a defiant tribute to the heroic figure of the matador – embodying the artist’s own Andalusian machismo as the master of modern art takes centre -stage in the arena.

Picasso had begun to feel that his time on this earth was running out, and so engaged in constant conversation with the great masters before him – Goya, Velasquez and Delacroix – following the traditions they had set in order to reinvent them and make a lasting mark .

 

Appearing at auction for the first time, the work will be offered in Sotheby’s Impressionist & Modern Art Evening Sale on 28 February 2018. 

The bullfight became a symbol for the most public display of violence, bravery and ability and for Picasso its attraction certainly lay in its powerful contradictions: grace and brutality, entertainment and tragedy, and ultimately, life and death. This work is unique in conveying a human dimension that is lacking in many of the earlier depictions, with the matador’s stylised face and large, wide open eyes revealing a v ulnerability and sense of mortality that reflect the artist ’s own concerns. 

Unlike his other depictions of the matador from this period where the figure is depicted against a plain, monochrome background, this painting uniquely combines the image of the matador resplendent in an elaborate costume with that of the arena. The lower half of the background represents the sand of the bullfighting ring, with hundreds of spectators in the upper half. 

The experience of being taken to the bullring by his father at the age of eight had a strong impression on Picasso , and his first painting, Le petit picador jaune , was of a matador on a horse in the arena observed by the spectators behind him. It is all the more fitting that at the end of his life, he returned to the celebrated imagery of the bullfights that he had grown up watching. 

Despite leaving Spain to live in Paris in his youth, Picasso retained a sense of Spanish identity , and the matador was the character that allowed him to draw attention to his heritage. During the last years of the nineteenth century Picasso stayed in Madrid, where he copied the old masters at the Prado, and was no doubt influenced by Goya’s bullfighting scenes. Picasso’s personal memories became intertwined with his artistic heritage, and in this final series of matador portraits the ghost of Goya is strongly present. 

Le Matador was included in the exhibition of Picasso’s last great works, organised by Jacqueline at the Palais des Papes in Avignon shortly after the artist’ s death in 1973 – presenting the closing period of his oeuvre on the historical walls of one of the most important medieval Gothic buildings in Europe. 

Helena Newman, Global Co - Head of Sotheby’s Impressionist & Modern Art Department & Chairman of Sotheby’s Europe, said : 

‘ This powerful portrait exemplifies Picasso’s creative force in his final years and represents the culmination of a life -long obsession. Through the subject of the bullfight, Picasso explores the theme of life and death, creation and destruction, earth and sun , casting himself at the centre stage of the spectacle. We are thrilled to be presenting two prime examples of works by Picasso at his very best in one sale – Le Matador and Femme au béret et à la robe quadrillée (Marie -Thérèse Walter) – both from key per iods of the artist’s career.’ 

CHAGALL, LISSITZKY, MALÉVITCH. THE RUSSIAN AVANT-GARDE IN VITEBSK, 1918-1922

February 10, 2018, 9:17 am

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Centre Pompidou 
28 MARCH - 16 JULY 2018 

Jewish Museum,  New York
14 September 2018 to 2 January 2019

The Centre Pompidou is offering audiences a chance to explore a chapter in the history
of modernity and the Russian avant-garde: the period of the people's art school (1918 - 1922) founded by Marc Chagall in his native city of Vitebsk, which now lies in Belorussia. 

2018 marks the one hundredth anniversary of Chagall’s appointment as Fine Arts Commissioner
for the Vitebsk region: a position that enabled him to carry out his project for an art institute open
to everyone. El Lissitzky and Kazimir Malevich, leading exponents of the Russian and Soviet avant-garde, were two of the artists Chagall invited to teach at the school. A period of feverish artistic activity followed, turning the school into a revolutionary laboratory. 

 

Marc Chagall, Cubist landscape, 1918; Liozna, near Vitebsk, Belarus 

The exhibition retraces these fascinating post-revolutionary years when the history of art was shaped in Vitebsk, far from Russia's main cities. 

Through 250 works and documents loaned by the Tretyakov Gallery in Moscow, the State Russian Museum in St Petersburg, museums in Vitebsk and Minsk and major American and European collections, the exhibition presents the output of three iconic figures – Marc Chagall, El Lissitzky and Kazimir Malevich – as well as works by students and teachers of the Vitebsk school, like Vera Ermolayeva, Nikolai Suetin and Ilya Chashnik. 

A catalogue of 280 pages and some 280 illustrations, edited by Angela Lampe, the exhibition curator,
is being published by the Centre Pompidou. This major publication includes essays by international experts (including Aleksandra Shatskikh and Jean-Claude Marcadé), a compilation of French translations of hitherto unpublished Russian texts, and a detailed chronology.

The exhibition is being produced in collaboration with the Van Abbemuseum in Eindhoven.
After the Centre Pompidou, it will be on show in a modified version at the Jewish Museum in New York, from 14 September 2018 to 2 January 2019. 

Introduction to the exhibition 

Living in Petrograd at the time, Marc Chagall was a first-hand witness of the Bolshevik revolution that turned Russia upside down in 1917. The passing of a law that did away with all national and religious discrimination gave him, as a Jewish artist, the status of full Russian citizenship for the first time.

He then entered an ecstatic period of creativity, producing a series of monumental masterpieces.
Each of these large paintings seems like a hymn to the Chagalls' happiness, such as 

 

"The Double Portraitwith a Glass of Wine" of 1917, 



and "Above the City"of 1918, showing the two lovers, Chagall and his wife Bella, flying off into the clouds, free as air. Everything exudes his euphoria at the time. 

As the months went by, however, Chagall felt compelled to help young residents of Vitebsk lacking an artistic education, and to support other Jews from humble backgrounds, like himself. He then conceived the idea of creating a revolutionaryart school in his city, open to everyone, free of charge and with no age restriction. His project, which also included the creation of a museum, was the perfect embodiment of Bolshevik values, and was approvedin August 1918 by Anatoly Lunacharsky, head of the People's Commissariat for Education. A month later,he appointed Chagall as Fine Arts Commissioner, initially tasking him with organising the festivities for the first anniversary of the October Revolution. 

Chagall invited all the artists of Vitebsk to make panelsand flags based on preparatory drawings, several of which have survived. In his autobiography, "My Life", Chagall later wrote: 

"All over the city my multicoloured beasts swayed in the air, swollen with revolution. The workers moved forward, singing the International. Seeing their smiles, I was sure they understood me. The Communist leaders didn't seem so happy. Why was the cow green? Why was the horse flying in the sky? Why? What did this have to do with Marx and Lenin?"

After the celebrations, the Commissioner poured his entire energy into creating his school, and it was officially inaugurated on 28 January 1919. Chagall, though admired by his students, had to struggle somewhat to get his establishment up and running. 

The first teachers began to leave, like Ivan Puni; meanwhile others arrived,like Vera Ermolayeva, the future director, and most importantly, El Lissitzky, who took charge of the printing, graphic design and architecture workshops. He pushed his friend Chagall to bring in the leader of the abstract movement, Kazimir Malevich, founder of Suprematism. It did not take long for this extraordinary, charismatic theorist to galvanise the young students after his arrival in November 1919. He rapidly formed a group with teachers who sympathised with the new movement: Unovis ("champions of new art"). One of their sloganswas "Long live the Unovis party, which asserts new forms of Suprematist utilitarianism." 

The collective beganto design posters, magazines, streamers, signs and ration cards. Suprematism infiltrated every sphereof social life. Its members became involved in the presentation of festivities, and their work decorated trams, façades and speakers' rostrums. Colourful squares, circles and rectangles invaded the city's walls and streets. 

Suprematist abstraction became the new paradigm of not only the school but the world in general. Lissitzky,as a trained architect, played a crucial role in all this. With his extraordinary Proun series (projects for asserting the new in art), he was the first to extend architectural volume to the pictorial plane of the Suprematists, considering the series as "stations where one changes from painting to architecture". Meanwhile, during his years in Vitebsk, Malevich began to abandon painting – an exception being his magisterial Suprematism of the Spirit – in favour of his main theoretical writings and education. 

A methodical and stimulating teacher,he attracted ever more students, while Chagall found himself increasingly isolated. His dream was to develop a revolutionary art independent of style: the dual principle that had guided him in filling his museum and organising the first public exhibition in December 1919, where paintings by Vassily Kandinsky and Mikhail Larionov were seen alongside the abstract works of Olga Rozanova.

But this dream came to an end in the spring of 1920. With his classes slowly emptying of students, Chagall decided to leave Vitebsk in June and went to live in Moscow, where he worked for the Jewish theatre. Deeply upset by this setback, he held a grudge against Malevich, believing that he had plotted against him. 

After Chagall's departure, Malevich and the Unovis collective, now in sole command, worked at "buildinga new world". Collective exhibitions were staged in Vitebsk and major Russian cities, and local committees were set up all through the country, like the Unovis groups in Smolensk with Vladislav Streminskyand Katarzyna Kobro, Orenburg with Ivan Kudriashov, and Moscow with Gustav Klutsis and Sergei Senkin.

The latter were joined by Lissitzky, who became part of the new Constructivist movement in the winter of 1920. With the end of the civil war in 1921/1922, the political climate changed. The Soviet authorities decidedto impose order in the ideological and social sphere, and this involved eliminating artistic movements that did not directly serve the interests of the Bolshevik party. In May 1922, the first batch of students graduatingfrom the school was also the last. During the summer, Malevich left for Petrograd with several of his students, where he continued to develop his ideas on volumetric Suprematism, building models of Utopian architecture, called Architectones, and designing porcelain tableware. Over the years, Chagall's people's art school gradually became a revolutionary laboratory for rethinking the world. 

The artists 

Marc Chagall ; Ilya Chashnik ; Mstislav Dobuzhinsky ; Vera Ermolayeva ; Robert Falk ; German Fedorov ; Natalia S Gontcharova ; Hanna Kagan ; Wassily Kandinsky ; Lazar Khidekel ; Ivan Kliun ; Gustav Klucis ; Katarzyna Kobro ; Nina Kogan ; Ivan Kudriachov ; Moisei Kunin ; Mikhail Larionov ; El Lissitzky ; Evgenia Magaril ; Kazimir Malévich ; Yuri Pen ; Ivan Puni ; Alexander Romm ; Efim Royak ;Olga Rozanova ; Sergei Senkin ; David Shterenberg ; Vladislav Streminsky ; Nicolai Suetin ; Ivan Tilberg ; Boris Tsetlin ; Michail Wechsler ; David Yakerson ; Lev Yudin.

Landscapes Behind Cézanne

February 10, 2018, 9:20 am

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Princeton University Art Museum
Feb. 24 through May 13, 2018

Among the artists exploring radical new approaches to space, brushstroke and drawing was Paul Cézanne (1839-1906), whose work also figures in Landscapes Behind Cézanne, curated by the Princeton University Art Museum’s John Elderfield, who is Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer, with Calvin Brown, associate curator of prints and drawings. This intimate exhibition will be on view from Feb. 24 through May 13, 2018; Princeton is its only venue.

\

Cézanne is widely acknowledged to have transformed landscape painting, most radically in his late watercolors. These works do not so much attempt to depict the actual appearance of a scene as to translate it into self-sufficient sequences of patches and lines of a restricted range of vivid colors.



This installation juxtaposes Cézanne’s work with landscapes drawn, printed or painted by earlier artists. The resulting dialogue between images both reveals the extent to which Cézanne employed standard types of landscape depictions – close-up views, woodland panoramas, rocky landscapes, wide vistas, landscapes with buildings – but also suggests how Cézanne goes further, explicitly acknowledging that what is real in art is different and independent from what is experienced in nature. It is not, therefore, an exhibition about causalities, but rather a profound way of illuminating the path of Cézanne’s investigation.

“The vision of these path-breaking European and American artists of the modern era richly reward our close consideration a century later,” said James Steward, Nancy A. Nasher–David J. Haemisegger, Class of 1976, Director. “We are delighted to partner with the Phillips Collection in exploring both the formal vocabularies of art and the ways in which it responded to broad cultural and political shifts through new visual and formal means

The Artist Sees Differently: Modern Still Lifes from The Phillips Collection

February 10, 2018, 9:31 am

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Jean Négulesco, Romanian-American, 1900–1993. Still Life, 1926. 
Oil on cardboard on wood panel. The Phillips Collection, Washington, DC, Acquired by 1930.

Princeton University Art Museum,
Jan. 27 through Apr. 29, 2018

Innovative works by great modern artists – including Paul Cézanne, Georges Braque, Juan Gris, Pablo Picasso, Arthur Dove, Georgia O’Keeffe, Marsden Hartley and Milton Avery – will be included in two exhibitions opening this winter at the Princeton University Art Museum.
The Artist Sees Differently: Modern Still Lifes from The Phillips Collection offers an analysis of modernist still life through 38 paintings from the landmark collection assembled by Duncan Phillips and his wife, the artist Marjorie Acker Phillips. The paintings on view – many of them rarely seen masterworks of modern art – provide entrée to a period in which artists sought new aesthetic strategies that responded to a rapidly changing world.

STUART DAVIS (1894–1964)

Egg Beater No. 4, 1928

Courtesy of the Phillips Collection, Washington, DC.

Egg Beater No. 4 is the final work in Davis's noted Egg Beater series of1927–28, in which he achieved an original abstract style. He had been exploring abstraction as early as 1913, when he admired the works of Cézanne, Léger, and Picasso at the Armory Show. Davis purposely chose unrelated objects—eggbeater, electric fan, and rubber glove—so that he could concentrate on relationships of color, shape, and space. He spoke of visualizing these elements in relation to each other, within a larger system that unified them in the space and on the picture plane.

When it first opened to the public in 1921, the Phillips Collection became the first museum of modern art in the United States. In 1928 a small selection of its masterpieces was lent to Princeton “in order to exemplify the plans and hopes” for the modern collections the university’s art museum intended to build.

Paul Cézanne’s Ginger Pot with Pomegranate and Pears (1893). Courtesy of the Phillips Collection, Washington, DC.

In their quest to create a new art suited to new times, many late 19th- and early 20th-century artists rejected the official hierarchies of the French Academy, which privileged epic narratives of history, mythology and religion, and chose instead to paint still lifes – depictions of the humble objects of daily life, and traditionally considered the lowliest of genres. Still life provided artists with new means of experimenting with pattern and abstraction and investigating the tensions between the reality beyond the frame and the complex visual structures within it. As such, still-life painting afforded such artists with new means for pushing the boundaries of painting. Moving into the twentieth century, avant-garde painters continued to rethink and disrupt their relationship to the past as they attempted to create work relevant in a world transformed by technology, new media and ultimately, two world wars.

Christie’s Impressionist And Modern Art Evening Sale, 27 February 2018

February 10, 2018, 11:37 am

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Pablo Picasso, Mousquetaire et nu assis, oil and Ripolin on canvas  (1967, estimate: £12,000,000-18,000,000)

Pablo Picasso’s masterpiece Mousquetaire et nu assis (1967, estimate: £12,000,000-18,000,000) will be a leading highlight of Christie’s Impressionist & Modern Art Evening Sale, in London on 27 February 2018 as part of ‘20^thCentury at Christie’s’, a series of sales that take place from 20 February to 7 March 2018. 

Painted with gestural, lavishly and passionately applied brushstrokes, it is among the first of the triumphant musketeers that appeared in Pablo Picasso’s art in 1967. This iconic figure is accompanied by a sensuous, seated nude. With her shock of dark hair, hieratic posture, and her large, all-seeing almond shaped eyes, there is no question as to the identity of this woman: she is Jacqueline, the artist’s final, great love, muse and wife, whose presence permeated every female figure in this final chapter of Picasso’s life. 

With one eye towards the Old Masters and another towards contemporary art, Picasso shows himself still challenging the history of art, carrying out iconoclastic attacks, plundering the past and doing so in a strikingly fresh, gestural way. Steeped in eroticism, a sense of painterly bravado, and pulsating with a vital sense of energy, this painting paved the way for the themes, style and execution that would come to define this late phase of Picasso’s oeuvre. 

Keith Gill, Head of Sale, Impressionist and Modern Art Evening Sale, Christie’s, London: “Picasso’s late career was defined by sensuous paintings in which he cast himself as the virile artist alongside his voluptuous lover. The allegorical figures were used by Picasso not only to reference fictitious characters but were a means by which he could situate himself firmly within the art historical canon alongside the likes of Rembrandt, El Greco, Velázquez and Goya. He seemed to have a sense of urgency to his work in this period, as if trying to beat the passage of time, a feeling that is evidenced by the dense brushwork and bold gestures of ‘Mousquetaire et nu assis’. It is a privilege to present the painting as a leading highlight in the Impressionist and Modern Art Evening Sale.”

Throughout his life, Picasso had frequently been drawn to historical, classical, or mythological ‘types’: he was the melancholic harlequin, monstrous minotaur and the courageous torero. Now, in the final decade of his life, Picasso transformed himself for a final time into the brave, adventurous and virile musketeer, clad in ornate costumes, ready for daring escapades, romantic exploits and heroic deeds. In this final act of self-rejuvenation and artistic resurgence, this character became the façade that Picasso presented to the world during the remaining years of his life.

For Picasso, the figure of the musketeer had a wealth of varied art historical origins: from Hals and Rembrandt, to Meissonier, El Greco, Velázquez and Goya. This striking, dark-featured character, part Spanish,  part French, part Dutch, with his elegant seventeenth-century garb, could as easily have stepped out of Las Meninas as The Night Watch. Picasso was fuelled by a desire to beat the inexorable passage of time, something that led him to paint with a new speed. In many ways, reminiscent of the Abstract Expressionists, his brushstrokes are thick and visceral, irrevocable gestures that boldly declare the hand of the artist himself, memorialising his presence in paint upon the canvas.

Keith Gill, Head of Sale, Impressionist and Modern Art Evening Sale, Christie’s, London: “Picasso’s late career was defined by sensuous paintings in which he cast himself as the virile artist alongside his voluptuous lover. The allegorical figures were used by Picasso not only to reference fictitious characters but were a means by which he could situate himself firmly within the art historical canon alongside the likes of Rembrandt, El Greco, Velázquez and Goya. He seemed to have a sense of urgency to his work in this period, as if trying to beat the passage of time, a feeling that is evidenced by the dense brushwork and bold gestures of ‘Mousquetaire et nu assis’. It is a privilege to present the painting as a leading highlight in the Impressionist and Modern Art Evening Sale.”

Throughout his life, Picasso had frequently been drawn to historical, classical, or mythological ‘types’: he was the melancholic harlequin, monstrous minotaur and the courageous torero. Now, in the final decade of his life, Picasso transformed himself for a final time into the brave, adventurous and virile musketeer, clad in ornate costumes, ready for daring escapades, romantic exploits and heroic deeds. In this final act of self-rejuvenation and artistic resurgence, this character became the façade that Picasso presented to the world during the remaining years of his life.

For Picasso, the figure of the musketeer had a wealth of varied art historical origins: from Hals and Rembrandt, to Meissonier, El Greco, Velázquez and Goya. This striking, dark-featured character, part Spanish,  part French, part Dutch, with his elegant seventeenth-century garb, could as easily have stepped out of Las Meninas as The Night Watch. Picasso was fuelled by a desire to beat the inexorable passage of time, something that led him to paint with a new speed. In many ways, reminiscent of the Abstract Expressionists, his brushstrokes are thick and visceral, irrevocable gestures that boldly declare the hand of the artist himself, memorialising his presence in paint upon the canvas.

André Derain’s Londres: la Tamise au pont de Westminster (1906-07, estimate: £6,000,000-9,000,000) will star in Christie’s Impressionist and Modern Art Evening Sale on 27 February, launching ‘20^th Century at Christie’s’, a series of auctions that take place in London from 20 February to 7 March 2018. One of 29 recorded paintings of London that Derain painted across 1906 and 1907, it comes to auction alongside the exhibition ‘Impressionists and London’ currently on view at London’s Tate Britain. Londres: la Tamise au pont de Westminster is captured from the Albert Embankment, portraying the Thames, the Palace of Westminster, Westminster Bridge and, in the background, the pyramidal silhouette of Whitehall Court. As with all of the works in this series, the British capital is saturated in radiant colour. The expansive grey waters of the Thames are transformed into a mosaic of shimmering yellow, blue and turquoise; the sunlit sky rendered in an iridescent patchwork of blues and pinks. The painting will be on view in Hong Kong from 5 to 8 February and New York from 12 to 14 February 2018 before being exhibited in London from 20 to 27 February 2018.

Just a few months before he ventured to London, Derain had made his explosive debut into the Parisian art world when he was included in the Salon d’Automne of 1905. Derain’s work at the Salon caught the eye of one of Paris’ leading contemporary art dealers, the man who had, a few months earlier, introduced the artist to Matisse: Ambroise Vollard. Vollard became his dealer later that same year and it was his idea to send Derain to London and commission him to paint a series of cityscapes there. With Monet’s famous series of Thames views set firmly in his mind, over the course of his time in London, Derain travelled across the city in search of his subjects, sketching an array of different views. Unlike Monet, whose depictions of the city had centred around three specific viewpoints, Derain was not fixed to one specific location. Instead he captured the city from a range of positions, never returning to an identical subject twice in an attempt to challenge himself with each work. The notorious London fogs for which London was so well known, and under whose spell Monet had fallen, proved strangely elusive for Derain.  As a result, Derain did not pursue the same muted, soft effects of light and colour that this atmospheric condition cast over the appearance of the city, but rather focused on more radical formal experimentation.

Keith Gill, Head of Sale, Impressionist and Modern Art Evening Sale, Christie’s, London: “Derain’s time spent in London saw him produce some of the most revolutionary works of his career. With its blazing colour, radical means of execution and structure, Londres: la Tamise au pont de Westminster is a magnificent painting that takes its place within the esteemed artistic lineage of Turner, Whistler and Monet, all of whom had depicted London in their art. Among the most iconic works of Fauvism, many of this rare series of London paintings are now housed in museum collections across the world, including the Musée d’Orsay, Paris; Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; and the Tate Gallery, London, where a selection of other works from this groundbreaking London series are currently on view in the exhibition, ‘Impressionists in London’. Following the widely acclaimed exhibition of Derain’s work of this period at the Centre Pompidou, Paris, we are honoured to present this rare Fauvist work in our Evening Sale in London.”

Arriving in London with a strongly felt desire to take colour, and indeed painting, beyond traditional conventions, Derain’s radical ideas took flight upon visiting the capital’s collections of non-Western art. Visiting the ethnographic and ancient collections of the British Museum, he was immediately inspired to ‘make of the Thames something other than coloured photographs’, as he wrote to Matisse on 15 March 1906. Immersed in the capital, its national collections, and most importantly, removed from the avant-garde hub of Paris, Derain was able to forge an artistic idiom that was wholly unique.

 Also included in the sale::



Pablo Picasso’s Le coq saigné (‘The bled cock’ 1947-8, estimate: £2,200,000 – 2,800,000).  Le coq saigné has been celebrated as one of the most visually complex and arresting works of the large series of still-lifes that the artist painted during and immediately following the Second World War. A sinuously interlocking composition of colour, planar form, line and pattern, the subject itself becomes almost entirely abstract.

 

Joan Miró’s Painting (1926, estimate £600,000 – 900,000), which belongs to Miró’s famed series of ‘oneiric’ or ‘dream’ paintings, an enigmatic group of spectral compositions which the artist began in Paris in 1925 and Miró’s Tête d’homme (1932, estimate £800,000 – 1,200,000) one of a small group of twelve intimately sized, experimental oil paintings which emerged at a pivotal moment in Joan Miró’s career, following several years marked by what the artist termed a ‘crisis of personal consciousness’. 


Paul Klee’s oil-transfer drawing, Weibsteufel, die Welt behrrschend (1921, estimate £200,000 – 300,000),



Wassily Kandinsky’s gouache and watercolour Allein (1932, estimate £120,000 – 200,000)

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'Dangerous Women'

February 10, 2018, 2:36 pm

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The Patricia and Phillip Frost Art Museum
 Florida International University, Miami
February 17, 2018 - May 20, 2018

Courageous heroines and deceptive femmes fatales abound in the Old and New Testaments. From Judith to Esther, Salome to Mary Magdalene, Delilah to Lot's Daughters and Potiphar's wife, these women — perceived as dangerous to society — shaped biblical history. The Patricia and Phillip Frost Art Museum FIU presents the world premiere of Dangerous Women, the timely new exhibition that explores shifting perceptions of these historic characters, whose power to topple the strongest of male rulers made them “dangerous” but whose strength serves as an historical foundation for thinking about contemporary causes (including the “Me Too” movement).

While some were portrayed as paragons of family goodness who saved their people, others were shown as harlots and hussies, purveyors of sin, deadly temptresses and seductresses. Featuring spectacular and thought-provoking Old Master paintings from the John and Mable Ringling Museum of Art, Dangerous Women showcases more than twenty paintings and etchings of women found in the Bible by 16th and 17th century artists, including:  

 

Pietro da Cortona (Pietro Berrettini) (Cortona 1596–1669 Rome). Hagar and the Angel, ca. 1643. Oil on canvas, 114.3 × 149.4 cm. Bequest of John Ringling, 1936, SN 132 

Judith with the Head of Holofernes by Francesco Cairo (ca. 1633–37), oil on canvas

Pietro da Cortona, Fede Galizia, Pordenone, Giovanni Andrea Sirani and Francesco del Cairo.


Many of these works are accompanied by Old Master prints and drawings, including
Jan Saenredam’s series Famous Women of the New Testament:

 The Samarian Woman at the Well, from series of Famous Women of the New Testament

 The Woman of Cana, from series of Famous Women of the New Testament

 

 Mary Magdalene, from series of Famous Women of the New Testament

 
  
The Adulteress, from series of Famous Women of the New Testament. Artist: Jan Saenredam


The exhibition concludes with modern and contemporary works, including the sensuous  

 

Salome (1901) by Robert Henri,

 

Portrait of Mamma Bush by Mickalene Thomas (2010), rhinestones, acrylic and enamel on wood (Girls' Club collection)

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and Portrait of Mamma Bush(2010) by Mickalene Thomas.

“Dangerous Women demonstrates how throughout history men have feared women who wield power through their intellect and sexuality,” said Dr. Jordana Pomeroy, the Director of the Patricia and Phillip Frost Art Museum FIU.

 “This timely new exhibition of old-master paintings demonstrates how powerful women were feared, even when their acts were heroic,” adds Pomeroy. “As the museum in Miami that distinguishes itself by presenting works that span all historical periods, we want our audiences to appreciate the narrative of women who are either victims of sexual violence or dominate powerful men, which feels utterly relevant to conversations trending right now. As remote as some of these works may initially appear, art history provides a lens with which to see shifting perceptions about women over centuries,” said Dr. Jordana Pomeroy.


Whether these women were deemed as saints or sinners, their stories and passions shaped biblical history and these perceptions of women have been taught, reviewed and re-evaluated for centuries.
While some artists from the Renaissance and Baroque periods often included these characters as an excuse to paint the sensuous female nude form, other artists from these and other periods focused on the drama and morals contained in these women’s stories. 


Dangerous Women is a partnership between the Ringling Museum of Art (Florida State University), the Frost Art Museum (Florida International University) and the Cornell Museum (Rollins College). The exhibition is organized by the Ringling and will only appear at the Frost Art Museum FIU and the Cornell Museum. 

The exhibition is accompanied by a catalogue published by Scala Arts Publishers. 













Salome by Robert Henri (1909), oil on canvas

Exhibition Dedicated to Delacroix to Open at Louvre With Over 180 Works

February 12, 2018, 11:48 am

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In partnership with the Metropolitan Museum of Art in New York, in spring 2018, the Musée du Louvre will be hosting an exhibition dedicated to the artistic career of Eugène Delacroix. 

For the first time since the 1963 exhibition celebrating the 100-year anniversary of his death, this event will pool over 180 artworks by the artist, including a large number of paintings: from the young artist’s big hits at the Salon of 1820 up to his final less known and mysterious religious and landscape compositions.

The exhibition, from March to July 23, 2018, will showcase the tensions that formed this artist, striving for individuality while driven by aspirations to follow in the footsteps of 16th and 17th-century Flemish and Venetian artists. The installations and information provided will provide insight into his long, rife, and diverse career.

The exhibition will bring together masterpieces by Delacroix from museums in France (Lille, Bordeaux, Nancy, Montpellier, etc.) and exceptional international loans, particularly from the United States, Great Britain, Germany, Canada, Belgium, and Hungary.
 

Much remains to be learnt about Delacroix’s career. It spanned a little over forty years, from 1821 to 1863, but most of his best known paintings were produced during the first decade. The output from the next three quarters of his career is difficult to define, as it cannot be confined to a single artistic movement. Although Delacroix is often hailed as a forerunner of modern colorists, his career does not always fit a formalist interpretation of 19th-century art.

The exhibition is organized in three sections, presenting the three major periods in Delacroix’s long career and highlighting the motivations that may have inspired and guided his painting. The first section — focusing on the conquest and triumph of the first decade — studies the artist’s break with neoclassicism and his renewed interest in the expressive and narrative possibilities of paint. The second part explores the ways in which his large public murals (his main activity from 1835 to 1855) impacted on his easel painting, with its visible tension between the monumental and the decorative. Finally, the third section shows how his later years were seemingly dominated by a keen interest in landscape painting, tempered by an attempt to extract the essence from his visual memories.

These keys to interpretation allow for a new classification that goes beyond a mere grouping by genre and transcends the classical–Romantic divide, indicating instead that Delacroix’s painting resonated with the great artistic movements of his day: Romanticism of course, but also Realism, eclecticism, and various forms of Historicism.

Exhibition curators: Sébastien Allard, Director of the Department of Paintings, Musée du Louvre; Côme Fabre, Department of Paintings, Musée du Louvre; Asher Miller, Department of European Paintings, The Metropolitan Museum of Art.

 Musée du Louvre

Eugène Delacroix, Liberty Leading the People, Musée du Louvre, Department of Paintings © musée du Louvre, dist. RMN / Angèle Dequier

 

Eugène Delacroix: Passion and Inspiration | Louvre Museum | Paris

 

 Death of Sardanapale, by Eugene Delacroix, 1827, Musee du Louvre Museum, Paris, \

More Eugène Delacroix, Musée du Louvre:

The Barque of Dante

Hamlet and Horatio in the graveyard

 

Jewish wedding in Morocco

 

Young orphan girl in the cemetery

 

The prisoner of Chillon

The Abduction of Rebecca

Medea

The Massacre at Chios

Women of Algiers in their apartment  

Eugène Delacroix, Still Life with a Lobster. 1827 Salon. Oil on canvas. 80 x 106.5 cm. Musée du Louvre, Paris © RMN-Grand Palais (musée du Louvre) / Stéphane Maréchalle

 Metropolitan Museum of Art




Eugène Delacroix - Les Natchez, 1835 (Metropolitan Museum of Art)

Eugène Delacroix - The Abduction of Rebecca (Metropolitan Museum of Art)

Eugène Delacroix -Christ Asleep during the Tempest (Metropolitan Museum of Art) ca. 1853, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929

 

Eugène Delacroix -Ovid among the Scythians

1862, (Metropolitan Museum of Art)Wrightsman Fund, in honor of Philippe de Montebello, 2008

 

Eugène Delacroix-Saada, the Wife of Abraham Ben-Chimol, and Préciada, One of Their Daughters

1832, (Metropolitan Museum of Art)Bequest of Walter C. Baker, 1971

Eugène Delacroix, Basket of Flowers. 1848-1849. 1849 Salon. Oil on canvas. 107 x 142 cm. The Metropolitan Museum of Art, New York Image © The Metropolitan Museum of Art

Other Museums:

Eugène Delacroix, Christ in the Garden of Olives. 1824-1827. 1827-1828 Salon. Oil on canvas. 294 x 362 cm. Church of Saint-Paul-Saint-Louis, COARC, Paris © COARC / Roger-Viollet

Eugène Delacroix, Lion Hunt. 1854-1855. Exposition Universelle (1855). Oil on canvas. 173 x 361 cm. Musée des Beaux-Arts,Bordeaux © Musée des Beaux-Arts, ville de Bordeaux. Cliché L . Gauthier, F . Deval

Eugène Delacroix, The Lamentation (Christ at the Tomb).1847. 1848 Salon. Oil on canvas. 161.3 x 130.5 cm. Museum of Fine Arts, Boston. Photograph © 2018 Museum of Fine Arts, Boston

Lines of Inquiry: Learning from Rembrandt's Etchings

February 13, 2018, 8:32 am

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Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio

February 6–May 13, 2018

Treasured for their technical innovation and perceptive portrayal of the human psyche, Rembrandt’s etchings in university and college art collections in the United States have long inspired curatorial research, technical investigation, and multidisciplinary teaching approaches. This exhibition examines the scope and the subtlety of Rembrandt as a printmaker who employed a wide range of subject matter, processes, and materials. Etchings by the 17th-century Dutch master are presented through the lenses of connoisseurship, scholarly and public reception, and the history of collection-building, as well as technical and scientific approaches, such as the analysis of watermarks in the paper on which the etchings were printed.

Rembrandt Harmensz. van Rijn (Dutch, 1606–1669), "Self-Portrait Leaning on a Stone Sill," showing Basilisk watermark, 1639. Etching, with touches of drypoint; retouched in black chalk. Collection of Yale University Art Gallery. Transmitted light photograph courtesy of Theresa Fairbanks-Harris.

Organized in conjunction with Cornell University’s Herbert F. Johnson Museum of Art,
Lines of Inquiry: Learning from Rembrandt’s Etchings includes stellar impressions of Rembrandt’s etchings on loan from Cornell, Harvard, Princeton, Vassar, Syracuse, Yale, the University of Kansas, the Morgan Library & Museum, and private collections.


 

 Christ Healing the Sick,
Oberlin

The exhibition is curated jointly by Oberlin’s Curator of European and American Art Andaleeb Badiee Banta and Andrew C. Weislogel, the Seymour R. Askin, Jr. ’47 Curator of Earlier European and American Art at Cornell.

 Rembrandt Harmensz. van Rijn (Dutch, 1606–1669), Jan Six, 1647. Etching, engraving, and drypoint. Collection of the Frances Lehman Loeb Art Center, Vassar College.

The accompanying catalogue presents new research on initiatives that examine the enduring status of Rembrandt as a printmaker and the multivalent nature of his works. It includes an overview of the history of Rembrandt prints in American academic collections, a documented account of the Allen Memorial Art Museum's secret guardianship of the Morgan Library & Museum’s collection of Rembrandt etchings during World War II, and an introduction to Cornell University’s Watermark Identification in Rembrandt Etchings (WIRE) project, which is dedicated to digitally facilitating access to Rembrandt watermark scholarship.

Rembrandt van Rijn (1606-1669), Woman Sitting Half-Dressed Beside a Stove, 1658
Johnson Museum of Art, Ithaca

Jacob Lawrence’s Toussaint L’Ouverture Series

February 13, 2018, 11:43 am

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McNay Art Museum, San Antonio, Texas

February 8, 2018 to May 6, 2018

As a young student of American history, Jacob Lawrence was frustrated with the lack of narratives addressing the African American experience, as well as the absence of black heroes from history books. He later discovered that there were indeed black heroes to admire and emulate, including Harriet Tubman. He was most fascinated, however, with the leader of the 18th-century Haitian Revolution, Toussaint L’Ouverture (1743–1803). In 1938 he painted his first image of the narrative, but soon realized that this great and complex story needed to be a series.

 The Life of Toussaint L’Ouverture, No. 22: Settling down at St. Marc, he took possession of two important posts (detail), 1938. Jacob Lawrence (American, 1917–2000). Tempera on paper; 19 x 11 1/2 in. Courtesy Amistad Research Center, Tulane University, New Orleans, Aaron Douglas Collection.

Eventually, Lawrence would create 41 panels about Toussaint L’Ouverture and the struggle for Haitian self-governance. A gifted printmaker, he decided to create a portfolio of 15 screenprints based on the panels.

Echoing Thomas Jefferson’s words that “all men are created equal,” Toussaint L’Ouverture said, “I was born a slave, but nature gave me the soul of a free man.” This sentiment informed his leadership of the Haitian Revolution, and created what was the first free colonial state in which race was not a factor in determining social status.

This exhibition features 15 rarely seen silkscreen prints created by American artist Jacob Lawrence (1917–2001) between 1986 and 1997. The series portrays the life of Toussaint L’Ouverture (1742–1803), the former slave turned leader of Haiti’s independence movement. L’Ouverture led the fight to liberate Saint-Domingue from French colonial rule and to emancipate the slaves during the 1791 Haitian Revolution, the first successful campaign to abolish slavery in modern history. Lawrence had explored the same subject more than 40 years earlier—when he was only 20 years old—in a series of paintings of the same title (now in the Amistad Research Center, New Orleans). The celebrated paintings, which were featured prominently at the Baltimore Museum of Art in 1939, laid the groundwork for Lawrence’s lifelong interest in the human quest for freedom and social justice.

 

While he based these later prints on the earlier 11 x 19-inch paintings, Lawrence distilled the story to 15 works from the original 41 panels and significantly expanded their scale. He worked closely with DC-based master printmaker Lou Stovall to translate the colors and fluid movement of the original tempera paint to each composition. 

 

In the print series, the narrative follows L’Ouverture from his birth to his rise as the commander of the revolutionary army to his eventual capture by Napoleon’s men. In the original painted series, Lawrence continued the story through the death of L’Ouverture as a prisoner of war in 1803, just one year before Haiti declared independence with the crowning of Emperor Jean-Jacques Dessalines. In highlighting the life of the courageous leader Toussaint L’Ouverture, Lawrence invites us to reflect on Haiti’s transformation from an enslaved French colony to the first black Western republic. At the same time, the series reminds us of the country’s ongoing struggle to overcome poverty and political instability.

Jacob Lawrence

The Life of Toussaint L'Ouverture: The Capture (1987)

 

Jacob Lawrence

The Life of Toussaint L'Ouverture: Toussaint at Ennery (1989)

Jacob Lawrence, Flotilla from Toussaint L’Ouverture, 1996. Screenprint. The Harmon and Harriet Kelley Foundation for the Arts. ˝ 2017 Jacob Lawrence / Artist Rights Society (ARS), New York
Photograph courtesy Davidson Galleries, Seattle.

This exhibition is organized by Lyle Williams, Curator of Prints and Drawings, for the McNay Art Museum. 







More images

Fernand Léger Beauty is everywhere

February 13, 2018, 12:30 pm

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BOZAR, Centre for Fine Arts Brussels

 09 February ’18 — 03 June ’18

BOZAR is devoting an exhibition about one of the best-known modern artists, and a passionate observer of a bustling century: Fernand Léger. His painting broke with artistic conventions and sought to transcribe the fragmentation and syncopated rhythm of a fast-moving society. His environment was the urban landscape of cars and machinery. Before becoming a painter, Léger was an architect’s apprentice, and his special connection with architecture would stay with him. He shared the avant-garde poets’ fascination with new forms of visual communication like advertising and typography. He was enthralled by Charlie Chaplin and cinema, and throughout his career, Léger worked with directors, choreographers and composers, designing scenery and costumes. This remarkable exhibition aims to present every facet of this twentieth-century giant.

 

Painter of the city who bore witness to the changes taking place in his own epoch, Fernand Léger is one of the most celebrated figures of modernity. From cubism to his commitment to communism, Léger’s painting remains associated with a vision of humanity transfigured by the machine and mass production. However, over and above these powerful images, his work is at one and the same time diverse and coherent, free from categories and from movements.

“Beauty is not codified or classified, beauty is all around, in the order of a set of saucepans on the white wall of a kitchen as well as in a museum” (L'Esthétique de la machine, l'ordre géométrique et le vrai, 1923). Fernand Léger’s catchphrase rings out like a hymn to the freedom of observation, refusing any conventional taste or established hierarchy between the fine arts and everyday life. The artist perceives the aesthetic power of modern life, vibrant and colourful, and the extraordinary challenge it represents for artists.

Taking into account his career history on its diversity, this retrospective exhibition Fernand Léger. Beauty is everywhere, sheds new light on the manner in which the artist reinvents painting by drawing on the spectacle of the world and by opening himself up to the other arts. Without ever ceasing to be a painter, Fernand Léger contributes to realms as varied as book illustration, theatre sets, mural painting, experimental cinema and photomontage. It is rare for modern painters to forge links with creators coming from the world of architecture (Le Corbusier, Charlotte Perriand, Paul Nelson…) the cinema (Abel Gance, Marcel L’Herbier, Sergei Eisenstein…) dance (Jean Börlin…) music (Darius Milhaud, Arthur Honnegger…) and poetry (Blaise Cendrars Vladimir Maïakovski…).
Bringing together five decades of creation, the thematic plan reflects the living image of painting inventing itself. Nourished by the vitality of his own epoch, work by Léger is destined to escape the confines of the picture frame, to evolve into the screen, onto the stage or onto the walls of the city. Over and above the regeneration of forms, his transdisciplinary approach is tied to his political commitment and linked to his desire to make art part of daily life and to express himself to the greatest number of people.

This monographic exhibition relies on a number of exceptional loans from the Centre Pompidou, Musée national d’art moderne, completed by major works from large - scale public and private international collections. The display of numerous archival documents allows the presentation of different facets of the man : author of influential texts on painting and on his time, well seasoned traveller, professor in the workshop where hundreds of artists would be trained.

Twenty years after the great retrospective organised in Paris, the Centre Pompidou – Metz pays a tribute to the exceptional personality of this great figure of the avant–garde. Organised on a territory which bears the marks of its industrial past, the exhibition Fernand Léger. Beauty is everywhere represents one of the great events of the fortieth anniversary of the Centre Pompidou. It serves as a reminder of the convergence between the artist’s humanist ideas and the founding missions of the establishment : an openness to creation in all its forms, the ambition for an art for everybody.

 

The exhibition « Fernand Léger. Beauty is everywhere » is conceived and organized by Centre Pompidou-Metz in partnership with BOZAR, Centre for Fine Arts Brussels. It is realized with the exceptional support of Centre Pompidou, Musée national d'art moderne - Centre de création industrielle. We would also like to extend our thanks to our generous Patron. With the support of the Promotion of Brussels of the Wallonia-Brussels Federation.

The Centre for Fine Arts celebrates its 90th birthday in 2018. The exhibition Fernand Léger. Beauty is Everywhere kicks off the festivities.

 

Fernand Léger, Elément mécanique, 1924 Huile sur toile, 146 x 97 cm Legs de la Baronne Eva Gourgaud en 1965 numéro d’inventaire : AM 3717 P Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/Jacques Faujour/Dist. RMN-GP © SABAM Belgium 2018 

Fernand Léger. Fernand Léger, Le Cirque Médrano, 1918 Huile sur toile, 58 x 94,5 cm Legs de la Baronne Eva Gourgaud ...

 

Fernand Léger, Les Loisirs-Hommage à Louis David, 1948 - 1949

Fernand Léger. Le mécanicien (detail; 1918) Photo: Philip Bernard. © Adagp, Paris 2017

Fernand Léger, Les deux femmes debout, 1922 Huile sur toile, 65 x 54 cm Don de M. Jacques Zoubaloff en 1933 numéro d’inventaire : AM 1956 P Collection Centre Pompidou, Paris - Musée national d’art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/Christian Bahier et Philippe Migeat/Dist. RMN-GP © SABAM Belgium 2018

Fernand Léger, Le Cirque Médrano, 1918 Huile sur toile, 58 x 94,5 cm Legs de la Baronne Eva Gourgaud, 1965 numéro d’inventaire : AM 4316 P Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/Jacques Faujour/Dist. RMN-GP © SABAM Belgium 201

Fernand Léger, Charlot cubiste, [1924]Éléments en bois peints, cloués sur contreplaqué, 73,6 x 33,4 x 6 cm Dation en 1985 numéro d’inventaire : AM 1985-402 Collection Centre Pompidou, Paris Musée national d’art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI/Georges Meguerditchian/Dist. RMN-GP © SABAM Belgium 2018

09 February ’18 — 03 June ’18

Fernand Léger

Beauty is everywhere

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•••••••

BOZAR is devoting an exhibition about one of the best-known modern artists, and a passionate observer of a bustling century: Fernand Léger. His painting broke with artistic conventions and sought to transcribe the fragmentation and syncopated rhythm of a fast-moving society. His environment was the urban landscape of cars and machinery. Before becoming a painter, Léger was an architect’s apprentice, and his special connection with architecture would stay with him. He shared the avant-garde poets’ fascination with new forms of visual communication like advertising and typography. He was enthralled by Charlie Chaplin and cinema, and throughout his career, Léger worked with directors, choreographers and composers, designing scenery and costumes. This remarkable exhibition aims to present every facet of this twentieth-century giant.
The exhibition « Fernand Léger. Beauty is everywhere » is conceived and organized by Centre Pompidou-Metz in partnership with BOZAR, Centre for Fine Arts Brussels. It is realized with the exceptional support of Centre Pompidou, Musée national d'art moderne - Centre de création industrielle. We would also like to extend our thanks to our generous Patron. With the support of the Promotion of Brussels of the Wallonia-Brussels Federation.
The Centre for Fine Arts celebrates its 90th birthday in 2018. The exhibition Fernand Léger. Beauty is Everywhere kicks off the festivities.

More on Christie’s Impressionist and Modern Art Evening Sale 27 February

February 15, 2018, 8:02 am

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Christie’s Impressionist and Modern Art Evening Sale on 27 February will launch ‘20th Century at Christie’s’, a series of auctions that will take place in London from 20 February to 7 March 2018. Works from prestigious private collections will be offered, ranging from the structured still - lifes of Giorgio Morandi in ‘The Eye of the Architect’ to the early cubist composition of Georges Braque and Francis Picabia’s playful collage in ‘Abstraction Beyond Borders’, a collection that traces the development of abstrac tion across Europe in the 20th C entury. These are complemented by works by Claude Monet , Théo Van Rysselberghe and Jan Toorop from The Triton Collection Foundation and a rare Oskar Kokoshka from the Rein old Collection. 

Alongside leading masterpieces from the 20th Century, ranging from Kandinsky to Degas and from Derain to Picasso, the diversity of those developing a radical artistic language at this time is represented by artists including Kees Van Dongen, Georges Vantongerloo, František Kupka and Edvard Munch. 

Leading highlights from the Evening Sale include 


André Derain’s Londres: la Tamise au pont de Westminster (1906 - 07, estimate: £6,000,000 - 9,000,000 , 





Pablo Picasso’s late painting Mousquetaire et nu assis (1967, estimate: £12,000,000 - 18,000,000 , 

 

and Wassily Kandinsky’s Studie für Landschaft (Dünaberg) (1910, estimate: £3,000,000 - 5,000,000 , 



Alongside these are Edgar Degas’s Dans les coulisses ( circa 1882 - 1885, estimate: £8,000,000 - 12,000,000 ),



Kees Van Dongen’s La femme au collier - fond rouge (1905, estimate: £5,000,000 - 7,000,000 , illustrated above ) 

and two masterpieces by Claude Monet:  



Prairie à Giverny (1885, estimate: £7,000,000 - 10,000,000) 

 

and Pivoines (Peonies) (1887, estimate: £3,500,000 - 5,500,000). 



The Triton Collection Foundation Claude Monet’s Vétheuil (1879, estimate: £4,000,000 - 6,000,000 ) is being offered from the Triton Collection Foundation , whose extensive loan programme to over seventy museums globally has made public access a top priority . It dates from one of the most crucial turning points of Monet’s career , where Monet embraced the landscape in its purest form, captu ring the ephemeral effects of light and atmosphere to create what many consider to be some of the finest works of his career.  

Claude Monet, Vétheuil , oil on canvas , 1879, estimate: £4,000,000 - 6,000,000 Left: Wassily Kandinsky, Studie für Landschaft (Dünaberg) , oil and gouache on board, 1910, estimate: £3,000,000 - 5,000,000 Right: Claude Monet , Pivoines (Peonies) , oil on canvas, 1887 , e stimate: £3,500,000 - 5,500

Frederic Church: A Painter’s Pilgrimage

February 15, 2018, 10:53 am

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Exhibition Venues

Detroit Institute of Arts, 10/22/17–01/14/18
Reynolda House Museum of American Art, Winston-Salem, NC, 02/08/18–05/13/18
Wadsworth Atheneum Museum of Art, Hartford, CT, 06/02/18–08/26/18

Reynolda House Museum of American Art will present "Frederic Church: A Painter’s Pilgrimage" from Feb. 9 – May 13, 2018. The exhibition is the first to explore the American artist’s paintings inspired by his travels to ancient sites in the Middle East and the Mediterranean. More than 50 paintings, oil studies, and drawings from the late 1860s through the early 1880s will be on view.

The most popular artist in mid-19th-century America, Frederic Edwin Church (1826–1900) took landscape painting to new heights of grandeur and was best known for his large, visually stunning paintings of American scenes as well as views of South America, the North Atlantic, and the Caribbean. But from 1867 until the end of his life, many of Church’s most important paintings represented ancient cities or buildings that he saw during his 1867–69 trip to the Middle East, Rome, and Athens. While Church’s paintings of the New World focused on the natural world, his works from the Old World explored human history.

The exhibition brings together nearly all of Church’s most important paintings of the Mediterranean region and Holy Land in order to explore this major shift in his artistic practice. 

“'Frederic Church: A Painter’s Pilgrimage' provides a remarkable opportunity to see the work of one of the most honored Hudson River School artists whose painting

 


'The Andes of Ecuador' is one of the most important works in the Reynolda House collection,” says Allison Perkins, director of Reynolda House Museum of American Art. “All of the work in the exhibition was created after Church observed firsthand some of antiquity’s most extraordinary cities, buildings, temples, and ruins. The exhibition juxtaposes pencil drawings and oil studies that Church completed during his trip with paintings he completed back in his studio.”

Lenders to the exhibition include The Metropolitan Museum of Art and Cooper Hewitt, Smithsonian Design Museum, New York; Museum of Fine Arts Boston; Detroit Institute of Arts; The Nelson-Atkins Museum of Art, Kansas City, Missouri; Olana State Historic Site, Hudson, New York; and private collections.

A catalogue accompanies the exhibition, with essays by Kenneth John Myers, curator of American art, Detroit Institute of Arts; Gerald Carr, independent scholar;  Kevin J. Avery, senior research scholar, The Metropolitan Museum of Art, New York; and Mercedes Volait, director of the research center, InVisu at the Institute national d’histoire de l’art, Paris. The exhibition was organized by the Detroit Institute of Arts.

Exhibition Highlights

Highlights of "Frederic Church: A Painter’s Pilgrimage" include three of the largest and most important paintings inspired by the trip. The one that Church did the most to publicize was Jerusalem from the Mount of Olives, 1870. When it was exhibited the following year, spectators flocked to see the painting, using opera glasses to examine the details. For his first canvas of a major building, Church chose the most archetypal structure of Western civilization: The Parthenon.

During his fifteen days in Athens, he created 30 sketches and studies in pencil and oil (nine of which are in the exhibition). The resulting painting,


 

 “The Parthenon,” 1871, Frederic Church, oil on canvas. The Metropolitan Museum of Art, New York. Bequest of Maria DeWitt Jesup, from the collection of her husband, Morris K. Jesup, 1914 (15.30.67

"The Parthenon," 1871, drew much admiration and excellent reviews. The success of the painting led Church to idealize the Roman ruins at Baalbek in

Frederic Edwin Church, Syria by the Sea, 1873, oil on canvas. Detroit Institute of Arts.

"Syria by the Sea," 1873, which combines a Corinthian column and spectacular ruins with a powerful shining sun.

Among a large selection of rarely seen oil studies and pencil drawings that Church completed during his travels, the exhibition presents one previously unknown and unusually finished oil study,

 

• View of Baalbek,” 1868, Frederic Church, oil and pencil on board. Detroit Institute of Arts

"View of Baalbek," 1868.

Two privately owned paintings,

 

"Evening on the Sea,"1877-78,



and "Springtime in the Levant," 1878, are being seen in a museum exhibition for the first time. 

Following his journey to the Middle East and Europe, Church embarked on what became his last major artistic creation: the estate he named Olana, crowning a high hill overlooking the Hudson River one hundred miles north of New York City. Inspired by Near Eastern architecture and ornament, as well as by the artist’s own aesthetic and spiritual ideals, Olana absorbed his attention for well over three decades. Included in the exhibition are some of the architectural drawings that Church created while planning his Persian-style temple on a hill.

"Frederic Church: A Painter’s Pilgrimage" unites a major Church painting in Reynolda House Museum of American Art’s collection, "The Andes of Ecuador," 1855, with later work by the artist in order to examine the way the focus of Church’s late work shifted from the natural world to human history.  While "The Andes of Ecuador" represents the natural features of a South American landscape, including waterfalls, ravines, plateaus, and mountain peaks, the paintings in "Frederic Church: A Painter’s Pilgrimage" focus on ancient cities and buildings.

"Frederic Church: A Painter’s Pilgrimage" has been organized by the Detroit Institute of Arts. Generous support has been provided by the Terra Foundation for American Art and the Henry Luce Foundation. Additional support has been provided by the National Endowment for the Arts. A significant loan of objects has been provided by Cooper Hewitt, Smithsonian Design Museum. 

Catalogue

More Images

 
   

“El Khasneh, Petra,” 1868, Frederic Church, brush and oil on paperboard. Cooper Hewitt, Smithsonian Design Museum, New York. Gift of Louis P. Church, 1917-4-485-a 

 

 

 “Jerusalem from the Mount of Olives,” 1870, Frederic Church, oil on canvas. The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of the Enid and Crosby Kemper Foundation, F77–40/1 

 

 
“Olana from the Southwest,” about 1872, Frederic Church, oil on paperboard. Cooper Hewitt, Smithsonian Design Museum, New York. Gift of Louis P. Church, 1917-4-666

“Parthenon at Night, Athens,” 1868, Frederic Church, oil and black chalk on paperboard. Cooper Hewitt, Smithsonian Design Museum, New York. Gift of Louis P. Church, OL.1917-4-671 

 
 

“Standing Bedouin,” 1868, Frederic Church, oil and graphite on paper. Cooper Hewitt, Smithsonian Design Museum , New York. Gift of Louis P. Church, 1917-4-752-a  

 

 “The Urn Tomb, Silk Tomb. and Corinthian Tomb, Petra,” 1868, Frederic Church, oil on paper mounted on canvas. Olana State Historic Site, Hudson, NY. New York State Office of Parks, Recreation and Historic Preservation. OL.1981.52  

 

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Leonardo da Vinci: A Life in Drawing

February 16, 2018, 9:17 am

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1 February – 6 May 2019 - exhibitions of 12 drawings at the following locations:

• Ulster Museum, Belfast
• Birmingham Museum and Art Gallery
• Bristol Museum and Art Gallery
• National Museum Cardiff
• Kelvingrove Art Gallery and Museum, Glasgow
• Leeds Art Gallery
• Walker Art Gallery, Liverpool
• Manchester Art Gallery
• Millennium Gallery, Sheffield
• Southampton City Art Gallery
• Sunderland Museums and Winter Gardens
• A further location to be announced 

24 May – 13 October 2019 - exhibition of over 200 drawings
The Queen's Gallery, Buckingham Palace, London

22 November 2019 – 15 March 2020 - exhibition of 80 drawings
The Queen's Gallery, Palace of Holyroodhouse, Edinburgh


In February 2019, to mark the 500th anniversary of the death of Leonardo da Vinci, 144 of the Renaissance master's greatest drawings in the Royal Collection will go on display in 12 simultaneous exhibitions across the UK.

Leonardo da Vinci: A Life in Drawing, a nationwide event, will give the widest-ever UK audience the opportunity to see the work of this extraordinary artist. 12 drawings selected to reflect the full range of Leonardo's interests – painting, sculpture, architecture, music, anatomy, engineering, cartography, geology and botany – will be shown at each venue in Belfast, Birmingham, Bristol, Cardiff, Glasgow, Leeds, Liverpool, Manchester, Sheffield, Southampton and Sunderland, with a further venue to be announced.

Following the exhibitions at these  venues, in May 2019 the drawings will be brought together to form part of an exhibition of over 200 sheets at The Queen's Gallery, Buckingham Palace, the largest exhibition of Leonardo's work in over 65 years.  A selection of 80 drawings will then travel to The Queen's Gallery, Palace of Holyroodhouse in November 2019, the largest group of Leonardo's works ever shown in Scotland.

Leonardo used ink made from oak galls and iron salts, which is transparent in infrared light, allowing his black chalk underdrawing to be seen for the first time.



Examination of A Deluge, c.1517–18 (to be shown at the National Museum Cardiff) revealed that beneath the pattern-like arrangement of rain and waves in brown ink, Leonardo drew a swirling knot of energy in black chalk at the heart of the composition.



Similarly, in Studies of water, c.1517–18 (to be shown at the Millennium Gallery, Sheffield) he built up the image in stages, first creating an underlying structure of water currents in chalk and then adding little rosettes of bubbles on the surface in ink, almost as decoration.

All the drawings by Leonardo in the Royal Collection were bound into a single album by the sculptor Pompeo Leoni in Milan around 1590 and entered the Collection during the reign of Charles II. What appear to be two completely blank sheets of paper from this album will be on public display for the first time at The Queen's Gallery, Buckingham Palace. Examination in ultraviolet light has revealed these sheets to be Studies of hands for the Adoration of the Magi, c.1481 and among Leonardo's most beautiful drawings. Watch a clip from the recent Royal Collection Season on the BBC showing the sketches appearing under ultraviolet light.

Leonardo executed the studies of hands in metalpoint, which involves drawing with a metal stylus on prepared paper.  One of the sheets was examined at the UK's national synchrotron, the Diamond Light Source at Harwell, Oxfordshire, using high-energy X-ray fluorescence to map the distribution of chemical elements on the paper.  It was discovered that the drawings had become invisible to the naked eye because of the high copper content in the stylus that Leonardo used – the metallic copper had reacted over time to a become a transparent copper salt.



By contrast, A design for the Sforza monument, c.1485–8 (to be shown at Leeds Art Gallery), which is drawn with a silver stylus, is still fully visible.

Expressions of fury in horses, lions and a man by Leonardo da Vinci (1452–1519). Photograph: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2016

Leonardo da Vinci – The superficial anatomy of the shoulder and neck, c.1510-11; Pen and ink with wash, over black chalk | 29.2 x 19.8 cm | Royal Collection

 

 

Leonardo da Vinci's drawing of hemisected man and woman in coition. (From folio RL 19097v, by permission of Royal Collection Trust; copyright © 2014 Her Majesty Queen Elizabeth II.) (Online version in colour.)

More images

Picasso: The Late Work

February 16, 2018, 9:39 am

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Museum Barberini, Potsdam
March 9 to June 16, 2019

 
The future Jacqueline and Pablo Picasso Museum 

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A stepdaughter of Pablo Picasso plans to open a museum in the Southern French city of Aix-en-Provence by 2021.

Catherine Hutin-Blay, the 70-year-old daughter of Picasso’s second wife, Jacqueline Roque (1927-1986), will display some 2,000 works that she inherited from her mother, in the former convent Collège des Prêcheursin. The property was purchased from the Aix-en-Provence town council for about $14 million.

A number of the Picassos in Hutin-Blay's collection have never been exhibited or published before. The future Jacqueline and Pablo Picasso Museum is expected to draw 450,000 to 500,000 visitors per year to the city of 150,000 residents.

A preview of works from the collection will go on view March 9 to June 16, 2019, at the Museum Barberini in Potsdam. The exhibition Picasso: The Late Work will display Picasso's creations in the final two decades of his life (1953-1973) when he painted more portraits of his wife Jacqueline than any of his other models. The selection will show how Picasso kept being an innovator until the very end of his artistic production.

 

Jacqueline with Flowers (1954)

 

The Doves (1957)

 

Bust Of A Woman With A Hat (1962)

 

Homme assis (autoportrait) 1965

Related article

'Picturesque and Sublime: Thomas Cole’s Trans-Atlantic Inheritance'

February 16, 2018, 11:39 am

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Thomas Cole, The Clove, Catskills, Oil on canvas, 1827, 25 ¼ x 35 1/8 in. New Britain Museum of American Art. Charles F. Smith Fund, 1945.22.

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To celebrate the 200th anniversary of Cole’s arrival from England in 1818, the Thomas Cole Site is partnering with the Yale Center for British Art to present the special exhibition Picturesque and Sublime: Thomas Cole’s Trans-Atlantic Inheritance in Thomas Cole’s New Studio, in Catskill, NY.

Landscape art in the early 19th century was guided by two rival concepts: the picturesque, which emphasized touristic pleasures and visual delight, and the sublime, an aesthetic category rooted in notions of fear and danger. British artists including J.M.W. Turner and John Constable raised landscape painting to new heights and their work reached global audiences through the circulation of engravings. Thomas Cole, born in England, emigrated to the United States in 1818, and first absorbed the picturesque and sublime through print media. Cole transformed British and continental European traditions to create a distinctive American form of landscape painting.

This exhibition, from May 1 to Nov. 4, 2018, is designed to complement the major Cole exhibition at The Met and is curated by Tim Barringer, Paul Mellon Professor in the History of Art at Yale; Gillian Forrester, Senior Curator of European Art at the Whitworth Art Gallery, University of Manchester (and previously at the Yale Center for British Art); Jennifer Raab, Associate Professor of the History of Art at Yale; and two doctoral candidates at Yale, Sophie Lynford and Nicholas Robbins.

Picturesque and Sublime will present masterworks on paper by major British artists, including Turner and Constable, together with significant oil-on-canvas paintings by Thomas Cole to demonstrate Cole’s radical achievement of transforming the well-developed British traditions of landscape representations into a new bold formulation, the American Sublime.




Thomas Cole, Button Wood Tree, Ink on paper, 13 1/2″ x 16 7/8″, The Albany Institute of History & Art, Gift of Mrs. Florence Cole Vincent, 1958.28.36.

Catalogue

 

April 17, 2018
192 pages, 9 x 11
120 color illus.
ISBN: 9780300233537
PB-with Flaps

 

The authors here explore the role of prints as agents of artistic transmission and look closely at how Cole’s own creative process was driven by works on paper such as drawings, notebooks, letters, and manuscripts. Also considered is the importance of the parallel works of William Guy Wall, best known for his pioneering Hudson River Portfolio. Beautifully illustrated with works on paper ranging from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, as well as notable paintings, this book offers important insights into Cole’s formulation of a profound new category in art—the American sublime.

Tim Barringer is Paul Mellon Professor in the History of Art at Yale University. Gillian Forrester is senior curator of historic fine art at the Whitworth Art Gallery, Manchester. Jennifer Raab is assistant professor in the history of art at Yale University. Sophie Lynford and Nicholas Robbins are doctoral candidates in the history of art at Yale University.

Book: Making the Americas Modern: Hemispheric Art 1910-1960

February 16, 2018, 11:55 am

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This book presents an audacious account of the ways in which the arts in the Americas were modernized during the first half of the twentieth century. Rather than viewing modernization as a steady progression from one ‘ism’ to another, Edward J. Sullivan adopts a comparative approach, drawing his examples from North America, the Caribbean, Central and South America. By considering the Americas in this hemispheric sense he is able to tease out many stories of art and focus on the ways in which artists from different regions not only adapted and experimented with visual expression, but also absorbed trans-national as well as international influences. He shows how this rich diversity is most evident in the various forms of abstract art that emerged throughout the Americas and which in turn had an impact on art throughout the world.

 

Diego Rivera - House over the Bridge, Museo Nacional de Arte (MUNAL), Mexico City, Mexico

 

Childe Hassam, The Fourth of July, 1916, New York Historical Society



Georgia O'Keeffe, East River from the Shelton Hotel, The Metropolitan Museum of Art

• Hardback
• 140 illustrations
• 336 pages
• 9½ x 6½ in
• ISBN 9781786271556
• Published March 2018

About the Author

Edward J Sullivan is the Helen Gould Sheppard Professor of Art History at New York University. He has written numerous books and essays on 19th- and 20th-century art of the Americas and the Iberian Peninsula.

The photographs of Harold Edgerton

February 17, 2018, 8:23 am

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The photographs of Harold Edgerton—a pioneer of flash technology and a largely under-recognized figure in the history of twentieth century American photography—will be on view beginning Friday, March 30 in the Whitney’s third floor Susan and John Hess Family Gallery. The works—a revelatory selection of about forty photographs shot from the 1930s through the 1960s—are drawn entirely from the Whitney’s collection, which includes 122 of Edgerton's works.

 

The works on view include photographs depicting single and multiple-exposure images of household products, performances, sporting events, and staged scenarios. Some of the photographs were taken in controlled environments like the bullet piercing a playing card, while others were made in public spaces requiring complex lighting and logistical coordination.

Artist

Harold Edgerton (1903-1990)

Title

Untitled (Man and violin)

Date

n.d.

Medium

Gelatin silver print

Dimensions

Sheet: 4 × 5 1/16 in. (10.2 × 12.9 cm) Image: 3 9/16 × 4 1/2 in. (9 × 11.4 cm)

Edition information

Vintage

Credit line

Whitney Museum of American Art, New York; Gift of The Harold and Esther Edgerton Family Foundation

Accession number

96.117.54

“Throughout his work, Edgerton ingeniously married playfulness to rational inquiry, joy to reason, and experimentation to formal innovation,” said Whitney assistant curator Carrie Springer, the organizer of the exhibition.

Artist

Harold Edgerton (1903-1990)

Title

Dennie Shute

Date

1938

Medium

Gelatin silver print

Dimensions

Image: 14 3/4 × 15 7/8 in. (37.5 × 40.3 cm) Mount (board): 24 × 19 7/8 in. (61 × 50.5 cm)

Credit line

Whitney Museum of American Art, New York; Gift of The Harold and Esther Edgerton Family Foundation

Accession number

96.117.27

Rights and Reproductions Information

© artist or artist’s estate

In the early 1930s, Harold Edgerton (1903–1990), an engineer and photographer, developed flash technology that allowed him to photograph objects and events moving faster than the eye can perceive. Combining technical insight and an aesthetic sensibility, Edgerton’s photographs gave unprecedented clarity to the physical world and revealed the magic of everyday life.

Artist

Harold Edgerton (1903-1990)

Title

Flight of a Dove

Date

1934

Medium

Gelatin silver print

Dimensions

Sheet: 23 7/8 × 20 in. (60.6 × 50.8 cm) Image: 21 5/16 × 18 in. (54.1 × 45.7 cm)

Edition information

18/25

Credit line

Whitney Museum of American Art, New York; Gift of The Harold and Esther Edgerton Family Foundation

Accession number

96.117.78

Rights and Reproductions Information

© artist or artist’s estate

Born in Nebraska, Edgerton learned about photography as a teenager from his uncle. His formal studies were in electrical engineering, and he earned a Doctorate of Science from MIT in 1931. It was in that year that Edgerton began to develop significant innovations for the stroboscope, electronic flash lighting equipment that he used in high-speed photography. 

Artist

Harold Edgerton (1903-1990)

Title

Untitled (Milk Drop 3)

Portfolio/Series

Drop Falling into Cup of Milk

Date

c. 1935

Medium

Gelatin silver print

Dimensions

Sheet: 14 × 10 15/16 in. (35.6 × 27.8 cm) Image: 10 5/8 × 8 in. (27 × 20.3 cm)

Edition information

Edition of 10

Credit line

Whitney Museum of American Art, New York; Gift of The Harold and Esther Edgerton Family Foundation

Accession number

96.117.62

Rights and Reproductions Information

© artist or artist’s estate

A member of the MIT faculty from 1927 through 1968, Edgerton also established a business partnership to develop applications for his innovations, and was deeply engaged throughout his career in collaborating with photographers, scientists, and various organizations to develop new methods for photographing a wide range of subjects in motion. 

Deeply involved with the development of sonar and deep-sea photography, his equipment was used by Jacques Cousteau in searching for shipwrecks and the Loch Ness monster. 

Although Edgerton was uncomfortable being called an artist, his work significantly expanded the legacy of such nineteenth-century figures as Eadweard Muybridge and Thomas Eakins, and shared some of the conceptual terrain of early twentieth century movements such as Cubism and Futurism.