Jan Bruegel the Elder at Auction

June 21, 2018, 2:11 pm

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Sotheby’s Sale of Master Paintings on 1 February 2018 

A Wooded River Landscape with a Landing Stage, Boats, Various Figures and Village Beyond is a stunning work by 17 th -century Flemish master Jan Bruegel the Elder, and stands as one of the finest river landscapes by the artist in private hands (front page, middle, estimate $2.5/3.5 million). A primary example of his work on copper, the painting’s vibrant colors, intact glazes and thick impasto are evidence of its remarkable condition, and its meticulous attention to detail further contributes to the captivating jewel -like effect so prized in works by the major Flemish master. 

 

Sotheby's Old Master & British Paintings Evening Sale

08 July 2015

 

Jan Brueghel the Elder

THE VISION OF SAINT HUBERT

Estimate

200,000— 300,000

GBP

LOT SOLD. 245,000 GBP

 

Sotheby's Old Master & British Paintings Evening Sale

09 July 2014

 

 

 

Jan Brueghel the Elder

THE GARDEN OF EDEN WITH THE FALL OF MAN

Estimate

2,000,000— 3,000,000

GBP

LOT SOLD. 6,802,500 GBP

 

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James M. Reed Print Collection.

June 27, 2018, 3:42 pm

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The Fairfield University Art Museum in Fairfield, Connecticut, announces the major gift of the James M. Reed Print Collection. Assembled over several decades by artist, collector and master printer James Reed, the collection, which will be given in its entirety, consists of over 1,500 prints spanning the 16ththrough the early 21st centuries. The great strength of the Reed collection is 19th-century French etching and lithography. Géricault, Delacroix, Daumier, Manet, Redon, and Fantin-Latour are among the major artists of the period represented. Over 30 old master prints dating from the 16th-18th centuries are also included.

Léopold Flameng after Eugène Delacroix, St. Sébastien secouru, ca. 1870s. Etching. Fairfield University Art Museum, Gift of James Reed, 2017. (2017.35.668)

The second concentration of the collection is a significant group of over 50 German Expressionist prints, including woodcuts and lithographs by Emil Nolde, Ernst Kirchner, and Max Beckmann among others. James Reed has also collected modern prints by iconic names including Jasper Johns, Robert Rauschenberg, Claes Oldenburg, and Jim Dine, as well as lithographs, etchings and woodcuts by established contemporary printmakers, many of whom he has collaborated with as master printer at Milestone Graphics, the fine printmaking studio he owns and directs and which is an important institution for artists working in Connecticut and the Northeast. This part of the collection includes examples of Mr. Reed’s own work as an artist and printmaker, which is represented in more than 20 public collections around the country, including the Metropolitan Museum of Art and the New York Public Library. The modern and contemporary prints in the James M. Reed Print Collection are promised to the museum as a bequest.

Linda Wolk-Simon, Frank and Clara Meditz Director and Chief Curator of the Fairfield University Art Museum, called the gift of the James Reed Print Collection “truly transformative.” Explaining its significance for the museum she noted, “Unlike our peer institutions, whose foundational holdings typically comprise rich collections of prints—long an important resource in the teaching of art history in addition to being artworks to display on the walls—Fairfield has lacked a collection of works on paper. Though we have made small strides to rectify this, acquiring a handful of old master and contemporary British prints since our founding seven years ago, this lacuna seemed hopelessly insurmountable. The situation has changed, literally overnight, with the glorious gift of the James M. Reed Collection, which provides an endlessly rich font of marvelous works on paper for both display in the museum and for teaching across multiple disciplines. We are profoundly indebted to James Reed for this truly historic gift, and for the extraordinary generosity of spirit it represents.”

An exhibition celebrating the gift of the James M. Reed Print Collection and featuring some 50 highlights drawn from the full range of old master, 19th-century, German Expressionist, and modern and contemporary prints will open in the museum’s Walsh Gallery on March 14, 2019 and remain on view through June 8. Several programs will be organized in conjunction with the exhibition, including a conversation and printing demonstration with James Reed, and an exhibition publication will be produced. The exhibition and programs are free and open to the public; dates and other information will be posted on the museum’s website in the coming months (fairfield.edu/museum). As a long-term project, the museum plans to catalogue the entire collection as part of the online collections database.

James Reed has taught printmaking as an adjunct professor of fine arts for over 30 years. He studied at the University of Missouri, Kansas City; San Francisco State University; Tamarind Institute; and the University of New Mexico, and had a curatorial and conservation internship at the Achenbach Foundation in San Francisco. He was a curatorial assistant for the print collection at San Francisco State University and is currently Manager and Curator of the Gabor Peterdi International Print Collection at Silvermine Art Center in New Canaan, Conn. Mr. Reed has received a Ford Foundation Fellowship and a Rockefeller Research Grant. His art has been the subject of solo exhibitions at the Institute Tecnólogico in Monterey, Mexico, the Museum of Modern Art, San Francisco, and Goat Shed Gallery in Brooklyn, and he has participated in more than 150 invitational group exhibitions in the United States, Latin America and France.

French Pastels: Treasures from the Vault

June 29, 2018, 5:55 am

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Jean-François Millet, Dandelions, 1867–68. Pastel on tan wove paper. Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton.

(Museum of Fine Arts, Boston)

• Edgar Degas, Dancers Resting, 1881–85. Pastel on paper mounted on cardboard. Juliana Cheney Edwards Collection.
  

  Museum of Fine Arts, Boston
• Johan Frederik Thaulow, Cottages in the Snow, 1891. Pastel on canvas. Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball.
  

  Museum of Fine Arts, Boston

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(ArtfixDaily.com) 

The fragility of powdery pigment and the light sensitivity of the paper on which it rests mean pastels can rarely be exhibited—typically for only a few months per decade. French Pastels: Treasures from the Vault at the Museum of Fine Arts, Boston (MFA), provides an opportunity to see nearly 40 masterworks by 10 avant-garde artists who reinvigorated the challenging medium in the 19th century, from depictions of rural life by Jean-François Millet to portrayals of ballerinas by Edgar Degas. Drawn primarily from the MFA’s holdings and supplemented by key loans from a private collection, the exhibition is organized thematically, showcasing artists’ use of the colorful sticks of ground pigment to capture the ephemeral—fleeting expressions of the face, the movement of fabric or atmospheric effects—and beauty in the mundane. Pastel, which required none of the drying time of oil paint, was perfectly suited to these aims. New and bold colors, made possible by the advent of synthetic dyes, encouraged experimentation in the mid-19th century, and Millet and Degas were among the leading innovators. In addition to exploring their techniques and artistic processes, the exhibition also highlights works by their contemporaries: Mary Cassatt, Léon-Augustin Lhermitte, Edouard Manet, Claude Monet, Camille Pissarro, Odilon Redon, Pierre-Auguste Renoir and Johan Frederik Thaulow. 
French Pastels: Treasures from the Vault is on view from June 30, 2018 through January 6, 2019 in the Charlotte F. and Irving W. Rabb Gallery.
“To really appreciate how astonishing these pastels are—the extraordinary variety of surfaces and marks achieved with this beautiful, colorful dust—you really have to spend time with them, up close and in person, and that’s a very rare opportunity to have,” said Katie Hanson, Assistant Curator of Paintings, Art of Europe.
Millet developed his pastel practice in the mid-1860s, producing luminous, evocative views of shepherds, farmyard and country themes that employed the versatile medium to dazzling effect. His depictions of flowers and grass present them from the point of view of a bug or small animal, intimate in their proximity, lush in their details and color. Pastel covers the sheet in Dandelions (1867–68), showing no glimpse of sky save for the bright patches of light touching the grass and the little white blossom at lower left. In Primroses (1867–68), the cowslip primroses glow, brilliant yellow amid the dense darkness of the forest floor, while a slug with a glistening antenna moves along the rough earth. In Shepherdess with her Flock and Dog (1863–65), the artist imbues a sense of monumentality to the contemplative figure of the young shepherdess, delicately balancing luminous pastel with dark conté crayon to convey sunlight peeking from behind the clouds above, illuminating the herd yet leaving the peasant’s downturned face in shadow.
Nearly all of Millet’s late pastels were commissioned by Emile Gavet, an architect and arts patron who provided him with a monthly stipend and drawing supplies. Following Gavet’s financial downturn, his collection of nearly 100 pastels by Millet was sold at the Hôtel Drouot in June 1875. Twelve of the works on view in the exhibition were included in this historic auction, which was a revelation for artists at the time. “When I entered the room at Hôtel Drouot where they were exhibited,” wrote the awe-struck Vincent van Gogh, “I felt something akin to: Put off thy shoes, for thou standest on holy ground.”
Degas also experimented boldly with pastel, using processes that still elude explanation. In the exhibition, works from across more than three decades of his career highlight his inventiveness. They include four pastels depicting his most famous subject—ballerinas, whose lives he explored and portrayed on stage, in rehearsals and backstage in private moments. Degas achieved a great range of effects in these works. In Dancers Resting (1881–85), he rendered the glints of light on the ballerinas’ hair with small, linear strokes, the opaque outer skirts with broader, heavier strokes, and the puffy underskirt by rubbing the medium diffusing the pigment either with his hand or a rag. In Dancers in Rose (about 1900), however, the encrusted pastel takes on the appearance of a dense fabric, rather than a light airy powder. Degas also often worked in a cumulative way, changing the scale of the page with strips of paper before having it mounted onto a firm surface. In Seated Dancer (1895–1900, Isabelle and Scott Black Collection), he revised his composition as he worked—viewers can note the repositioning of the dancers’ legs and the modification of the size and shape of the paper itself, with strips added at both sides. These pastels bring visitors close to the artist’s process through their visible strokes and seams.
While renowned as a great portrayer of people and urban entertainments, Degas was also a landscapist. The exhibition includes two of his distinctive color monotype landscapes, created in an unusual process. The artist applied paint or printers’ ink onto a metal plate, placed a dampened sheet of paper on top of it, and ran it through a printing press. Degas left some of his monotypes as they came off the printing press, but enhanced and modified the two works on view with pastel once the printed matrix had dried. The exhibition also includes landscapes by Monet, from an early moment in his career when he was just beginning to work en plein air, and his Norwegian friend Thaulow, who used pastel to depict the powdery blowing snow, harmonizing medium with motif.
Additional notable works on view include Pissarro’s Poultry Market at Gisors (1885), which hovers between the effect of painting and drawing and was given by the artist to Monet in exchange for one of his canvases, as well as the work of Mary Cassatt, shown alongside a box of pastels once used by the artist.

"Delacroix" opens on September 17 at The Metropolitan Museum of Art

June 30, 2018, 1:29 pm

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Delacroix to Open September 17

Exhibition Dates: September 17, 2018–January 6, 2019 Exhibition Location: The Met Fifth Avenue, The Tisch Galleries, Gallery 899, 2nd Floor Press Preview: Wednesday, September 12, 10 am–noon

French painter Eugène Delacroix (1798–1863) was one of the greatest creative figures of the 19th century. Through his choice of daring subjects and compositions, a vibrant palette, and bold brushwork, he set into motion a cascade of innovations that changed the course of art. As Van Gogh wrote in 1885: "What I find so fine about Delacroix is precisely that he reveals the liveliness of things, and the expression and the movement, that he is utterly beyond the paint." Although Delacroix is celebrated as the embodiment of the Romantic era, much remains to be understood about his life and prolific career. Delacroix, which opens on September 17 at The Metropolitan Museum of Art, will be the first comprehensive retrospective in North America devoted to the artist. Visitors will discover a protean genius who continues to set the bar for artists today. The monumental exhibition will illuminate Delacroix's restless imagination in all its complexity through approximately 145 paintings, drawings, and prints—many of which have never been shown before in the United States. In addition to works from The Met collection, the exhibition will include exceptional loans from the Musée du Louvre and more than 60 museums and private collections throughout Europe and North America. Delacroix is organized by The Metropolitan Museum of Art and the Musée du Louvre. Exhibition Overview  The exhibition will feature the three main phases of Delacroix's career, which spanned more than four decades. The first section will be devoted to his formative years during the 1820s, when his ambitious paintings exhibited at the annual Paris Salons won him public recognition. The second section will focus on his exploration of historical themes, often on a grand scale, informed by public commissions from the 1830s onward. The third section will present an overview of the artist's final years, marked by his triumph at the Universal Exposition of 1855 and his growing interest in nature. The presentation will enable visitors to explore the diversity of themes that preoccupied Delacroix throughout his life. For example, he engaged with the art of the past; had a lifelong fascination with literary, historical, and biblical themes; and made transformative contributions to printmaking and book illustration. The exhibition will spotlight Delacroix's interest in the world beyond Europe, including his own epochal voyage to North Africa in 1832. The variety of works will reveal Delacroix's creative process and his progressive mastery of materials, including oil paint, watercolor, and graphic media. Among the highlights will be Delacroix's landmark works   Greece on the Ruins of Missolonghi (1826), The Battle of Nancy (1831),  and Women of Algiers in Their Apartment (1834).    Visitors will have the first opportunity in a generation to examine closely Christ in the Garden of Olives (1824–27), removed from its perch high on the wall of the Parisian church of Saint-Paul-Saint-Louis and cleaned especially for the exhibition. Delacroix's genius as a lithographer will be demonstrated in the 1828 French edition of Goethe's Faust. The book will be paired with never-before-exhibited proof impressions for its illustrations, along with preparatory drawings for individual plates.  The Met's Department of Paintings Conservation has completed a yearlong treatment of the seminal still life Basket of Flowers (1848–49), removing a scrim-like layer of old varnish to reveal Delacroix's full coloristic brilliance.   Saint Sebastian Tended by the Holy Women (1836)  and Medea about to Kill Her Children (1838) will convey the grandeur and gravitas of the artist's maturity,  while his anthropomorphic approach to animal subjects will be on full display in Young Tiger Playing with Its Mother (1830) and The Lion Hunt (1855). Exhibition visitors will come away with a broadened appreciation for Delacroix's remarkable oeuvre and its enduring appeal. Delacroix is organized by Asher Miller, Assistant Curator in the Department of European Paintings at The Met, in collaboration with Sébastien Allard, Director of the Department of Paintings at the Musée du Louvre, and Côme Fabre, Curator in the Department of Paintings at the Musée du Louvre. The exhibition will be accompanied by a richly illustrated catalogue offering a fresh take on Delacroix's complex character.

Canaletto at Auction

June 30, 2018, 1:48 pm

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Sotheby’s Sale of Master Paintings on 1 February 2018 

The February auction offers an impressive pair of Venetian views by Canaletto, whose inimitable success in capturing the architecture of 18th -century Venice has made him the undisputed leader of the genre (estimate $3/4 million). Most likely completed in England in the 1740s, the pair offers waterfront views of two of the most recognizable façade in La Serenissima: 
 
the Church of the Redentore 

and the Prisons of San Marco. 
 

While there are other known views of the Church of the Redentore by Canaletto, the present view of the Prisons of San Marco is a unique composition for the artist of which no other version is known. 

 

Sotheby’s Old Master & British Paintings Evening Sale on 3 December 2014 

‘Venice, The Piazza San Marco Looking East Towards The Basilica’.  

Estimate5,000,000— 7,000,000

GBP

LOT SOLD. 5,458,500 GBP

Sotheby's 2012 

 

Giovanni Antonio Canal, called Canaletto

VENICE, A VIEW OF THE CHURCHES OF THE REDENTORE AND SAN GIACOMO, WITH A MOORED MAN-OF-WAR, GONDOLAS AND BARGES

Estimate

5,000,000— 7,000,000

USD

LOT SOLD. 5,682,500 USD

Christie's 2015

Christie's 2014

Giovanni Antonio Canal, il Canaletto (Venice 1697-1768)

Palazzo Vendramin-Calergi, on the Grand Canal, Venice

Price realised

GBP 1,314,500

Estimate

GBP 800,000 - GBP 1,200,000

Christie's Old Master & British Paintings Evening Sale

London 2 July 2013

 

Giovanni Antonio Canal, called Canaletto...

The Molo, Venice, from the Bacino di San Marco

PRICE REALIZED

GBP 8,461,875

Christie's 2008

 

Giovanni Antonio Canal, Il Canaletto (Venice 1697-1768), The Piazzetta di San Marco, Venice, looking west, with the Liberia, oil on canvas, 18½ x 30¾ in.

 

 

Christie's 2000

 

Giovanni Antonio Canal, il Canaletto (1697-1768)

The Campo Santi Giovanni e Paolo, Venice, with the West End of the Church and the Scuola di San Marco

Price realised

GBP 7,703,750

Estimate

GBP 3,000,000 - GBP 4,000,000

Constable at auction

June 30, 2018, 6:18 pm

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Sotheby’s Old Masters Evening Sale on 6 December 2017

 

John Constable ( 1776 - 1837 ) is one of Britain’s best - loved and most significant landscape painters. A key figure in the British Romantic movement of the early 19th century, Constable, together with J.M.W. Turner, changed the course of European landscape painting forever. This winter, Sotheby’s London will present a recently rediscovered landscape by the British artist which is without question one of the most exciting and important additions to Constable’s oeuvre to have emerged in the last fifty years. Painted between 1814 and 1817,

Dedham Vale with the River Stour in Flood belongs to a small group of Constable’s early Suffolk paintings remaining in private hands. The work will be offered in Sotheby’s Old Masters Evening sale on 6 December, with an estimate of £2 - 3 million.

Julian Gascoigne, Senior Specialist, British Paintings at Sotheby’s said:

“Constable’s views of Dedham Vale and the Stour valley have become icons of British art and define for many everything that is quintessential a bout the English countryside. Dedham Vale with the River Stour in Flood was long mistakenly thought to be by Ramsay Richard Reinagle (1775 - 1862), a friend and contemporary of Constable’s, but recent scientific analysis and up - to - date connoisseurship has unanimously returned the work to its rightful place among the canon of the great master’s work and established beyond d oubt its true authorship . It is without question one of the most exciting and important additions to Constable’s oeuvre to have emerged in the last fifty years”. 

“Constable Country”

“ I should paint my own places best – Painting is but another word for feeling. I associate my 'careless boyhood' to all that lies on the banks of the Stour. They made me a painter...” John Constable

This rare masterpiece depicts the area of the Stour Valley around Dedham Vale, on the border between Suffolk and Essex where Constable spent his boyhood years and which has become synonymous with the great painter.

Famously known around the world today as 'Constable Country', the area has inspired the artist’s most famous paintings, from
 
 The White Horse, 1819 (Frick Collection, New York) to


The Haywain, 1821 (National Gallery, London)
 
and The Leaping Horse, 1825 (Royal Academy, London).
 
The works belongs to a group of paintings similar in size and style that Constable painted between 1814 and 1817, all of which are views of the Stour Valley and the area surrounding East Bergholt. These works were painted partly on the spot and show the artist’s commitment to naturalism at its most faithful.

The Fitzhugh Commission

Whilst the painter’s later works tended to be purchased either by Constable’s great friend John Fisher or by patrons or dealers with metropolitan or international connections, the earlier Suffolk paintings tend to have closer associations with patrons or friends in the local area. This painting is thought to have been commissioned by Thomas Fitzhugh as a wedding present for his future wife, Philadelphia Godfrey, the daughter of Peter Godfrey who lived at Old Hall, East Bergholt and was a near neighbour and friend of the artist's family. The view is taken from the bottom of her parent’s garden, looking out over the valley with the river in flood, a symbol of fecundity, and was intended as a memento of her childhood home for her new married life in London.

Among the highlight s in the sale are two recently rediscovered landscapes by John Constable (1776 – 1837). The first, Dedham Vale with the River Stour in Flood is one of the most exciting and important additions to the artist’s oeuvre to have emerged in the last 50 years. Painted between 1814 and 1817, the work belongs to a small group of Constable’s early Suffolk paintings remaining in private hands and will be offered with an estimate of £2 - 3 million.

Video:

http://www.sothebys.com/en/news-video/videos/2017/experience-the-captivating-beauty-of-constable-country.html

The second work by Constable is the first sketch for one of the artist ’s most celebrated paintings,  

 
The Opening of Waterloo Bridge, today in the collection of Tate Britain. Previously thought lost, the work, dating from circa 1819 – 20, depicts a rare view of London by the artist and presages Monet’s famous series of views of Waterloo Bridge created almost a century later (est. £1 - 1.5 million). 

Sotheby's Old Master & British Drawings

09 July 2014

 

John Constable, R.A.

VIEW OF THE CITY OF LONDON FROM SIR RICHARD STEELE'S COTTAGE, HAMPSTEAD

Estimate

200,000— 300,000

GBP

LOT SOLD. 794,500 GBP

 

Sotheby's

Old Master & British Paintings Evening Sale

04 December 2013

John Constable, R.A.

DEDHAM VALE, WITH A VIEW TO LANGHAM CHURCH FROM THE FIELDS JUST EAST OF VALE FARM, EAST BERGHOLT

Estimate

200,000— 300,000

GBP

Sotheby'sOld Master and British Paintings Evening Sale

06 July 2011

 

SALISBURY CATHEDRAL FROM THE MEADOWS

Estimate

500,000— 700,000

GBP

LOT SOLD. 657,250 GBP

 Cristie's 2016
 

John Constable, R.A. The full-scale six-foot sketch for View on the Stour Near Dedham

 Cristie's 2012

 

 

‘The Lock’ by John Constable. 

Spain: 500 Years of Spanish Painting from the Museums of Madrid

June 30, 2018, 6:30 pm

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San Antonio Museum of Art
June 23–September 16, 2018

 Francisco de Zurbarán (1598-1664), Saint Isabel of Portugal, ca. 1635, Oil on canvas, h. 72 7/16 in. (184 cm); w. 38 9/16 in. (98 cm), Museo Nacional del Prado, Madrid P01239 © Museo Nacional del Prado, Madrid.

EL GRECO. VELÁZQUEZ. GOYA. SOROLLA. PICASSO. These are just some of the Spanish masters whose paintings are included in Spain: 500 Years of Spanish Painting from the Museums of Madrid. This summer, the San Antonio Museum of Art will present a dramatic survey of five hundred years of Spanish painting, stretching from the union of Queen Isabella and King Ferdinand in the late fifteenth century to the turn of the twentieth century. Spain will contain more than forty works of art, the majority from major museums in Madrid, and very few of which have previously been on view in the United States.
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Organized in celebration of the Tricentennial of the city of San Antonio, the exhibition will convey the splendor of Spanish artistic traditions. This rich heritage is an aspect of what makes San Antonio one of the most distinctive places in the United States.

The Museo Reina Sofía will lend Torerillos de pueblo (young village bullfighters, 1906) by Ignacio Zuloaga 

Spain traces the continuity of specific Spanish pictorial traditions, including portraiture, landscape from the earliest hints of naturalism to the impressionist and expressionist movements of the late nineteenth century, devotional painting, and still life.


Organized by Dr. Katherine Crawford Luber, the Kelso Director, and Dr. William Keyse Rudolph, Chief Curator and The Marie and Hugh Halff Curator of American Art, Spain will only be on view in San Antonio.  

Spain features works by iconic artists El Greco, Diego Velázquez, Bartolomé Esteban Murillo, Jusepe de Ribera, Francisco de Goya y Lucientes, Joaquín Sorolla y Bastida, and Pablo Picasso. It also celebrates the artistic achievements of many other Spanish masters, such as Juan de Flandes, Luis de Morales, Luis de Madrazo y Kuntz, Antonio María Esquivel, and Ignacio Zuloaga.“Spanish artistic traditions are part of the formative influences upon the culture of San Antonio," says Dr. Luber. "With this exhibition, our residents and visitors will have the chance to engage with extraordinary works of art.”

The exhibition checklist includes masterpieces from some of the most important museums in Madrid:

• Museo Nacional delPrado
• Museo Thyssen-Bornemisza, including the personal collection of the Countess Thyssen-Bornemisza
• Museo Nacional Centro de Arte ReinaSofía
• Museo LázaroGaldiano
• Museo de la Real Academia de Bellas Artes de SanFernando
• MuseoCerralbo
• Museo delRomanticismo
• MuseoSorolla

Key loans from the Cleveland Museum of Art; the McNay Art Museum; the Meadows Museum at Southern Methodist University; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; and the Virginia Museum of Fine Arts add to the distinguished international mix, as well as tell the further story of the active collecting of Spanish painting by American museums.

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Becoming a Woman in the Age of Enlightenment French Art from The Horvitz Collection

June 30, 2018, 6:37 pm

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Hart Museum

October 6 - December 31, 2017 

 

Ackland Art Museum

26 January 2018 - 8 April 2018

 

Crocker Art Museum

May 13, 2018 — August 19, 2018

Jean-Baptiste Oudry, Seated Lady in a Garden

n.d. Oil on canvas, 39 3/8 x 35 7/16 in. The Horvitz Collection.

This exhibition examines the many paths and stages of women's lives through the art of 18th-century France. Works by Fragonard, Boucher, Watteau, Greuze, and others, all drawn from the finest private collection of French art in the United States, show a variety of women, from court ladies to washerwomen, in their many societal roles. From the ancien régime to the Revolution and beyond, women's position and power were transformed. Organized thematically, the exhibition's 100-plus paintings, drawings, and sculptures explore cultural and literary archetypes that affected women's self-image, their development from childhood to old age, their romances, and their familial responsibilities. In addition to a new understanding of French 18th-century art, Becoming a Woman provides a new view of the feminine world at the dawn of modernity.

The Road to Fortune (detail), Pierre-Antoine Baudouin Courtesy the Horvitz Collection

Eighteenth-century France was the crucible for some of the most elegant, sophisticated, and refined art ever made. It was also a hotbed of philosophical and cultural reflection on many major issues, including what was known as the “woman question.” Against a backdrop of powerful conventional thinking that assigned women to limited and secondary roles based on the presumed dictates of biology, some voices began arguing for an alternative view, one that saw woman as the potential equal of man in intelligence, creativity, responsibility, and power. Women could have identities beyond beauty, motherhood, and emotional susceptibility.



This exhibition, by turns charming and challenging, shows for the first time how art and artists explored all sides of this debate, from stunningly refined portrayals of beautiful young women to depictions of idyllic family life, from mythological scenes of ideal or despicable female behavior to evocations of women’s creative prowess, and from touching images of romance and marriage to respectful presentations of maturity and old age.

 

With over 100 paintings, sculptures, and especially drawings, selected from one of the world’s best private collections of French art, Becoming a Woman includes works by not only some of the era’s most famous names—such as Francois Boucher, Jean-Honore Fragonard, and Jacques-Louis David—as well as a full spectrum of lesser-known talents, represented by works of the highest aesthetic quality. A number of women artists are represented, including Anne Vallayer-Coster, Adelaide Labille-Guiard, and Pauline Azou.

Becoming a Woman is curated by Melissa Hyde, Professor of Art History, University of Florida Research Foundation Professor, University of Florida, and the late Mary D. Sheriff, W.R. Kenan Jr. Distinguished Professor of Art History, The University of North Carolina at Chapel Hill. It is organized by Alvin L. Clark, Jr, Curator, The Horvitz Collection and The J.E. Horvitz Research Curator, Harvard Art Museums/Fogg.



An illustrated catalog with an essay by the curator will accompany the exhibition.

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1939: Exhibiting Black Art at the BMA

June 30, 2018, 6:49 pm

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The Baltimore Museum of Art,
June 13–October 28, 2018

Dox Thrash. Griffin Hills, c. 1940. The Baltimore Museum of Art, BMA 1942.3

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In 1939, The Baltimore Museum of Art (BMA) presented one of the first major exhibitions in the U.S. to feature African American artists. Contemporary Negro Art served “as a declaration of principles as to what art should be in a democracy and as a gauge of how far in this particular province we have gone and may need to go,” wrote renowned philosopher and art critic Alain Locke in the exhibition brochure. Nearly 80 years later, the museum pays tribute to this exhibition with 1939: Exhibiting Black Art at the BMA.

 On view June 13–October 28, 2018, it features 14 prints and drawings by artists who were included in the 1939 show along with archival materials.



Dox Thrash. "Glory Be!"

The origins of this landmark exhibition date back to 1937, when BMA Board of Trustees President Henry Treide extended a city-wide survey to over 200 social, labor, and special interest groups in Baltimore, inquiring what they most wanted from a city art museum. The committee representing Baltimore’s African American community responded with a recommendation that the museum’s galleries begin to display artwork generated by and for the black community. As a direct result of the feedback, the BMA hosted an exhibition of 116 works by 29 black artists in February 1939. The Harmon Foundation, a New York-based organization dedicated to the patronage of black cultural production coordinated the loans of artworks to the exhibition, which it co-organized with BMA Acting Director Charles Ross Rogers and renowned Howard University philosopher Alain Locke. More than 12,000 visitors saw Contemporary Negro Art during its two-week presentation at the BMA that year.



James Lesesne Wells. "Looking Upward."1928. Gift of Ruth & Jacob Kainen, Chevy Chase,

Highlights of 1939: Exhibiting Black Art at the BMA include the first work by a black artist to enter the museum’s collection, Dox Thrash’s watercolor Griffin Hills, as well as works by Jacob Lawrence, James Lesesne Wells, and Hale Woodruff. The exhibition also draws attention to behind-the-scenes figures who worked on the project through archival materials shown publicly for the first time. These include president of the Baltimore Women’s Cooperative Civic League Sarah Collins Fernandis, NAACP president Lillie Mae Carroll Jackson, and renowned Civil Rights lawyer and activist Clarence Mitchell, Jr.

This exhibition is curated by BMA Prints, Drawings and Photographs Curatorial Assistant Morgan Dowty.

Classic Beauties. Artists, Italy and the Esthetic Ideals of the 18th Century

July 1, 2018, 3:09 pm

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Hermitage Amsterdam’s new exhibition (through Jan. 18), Classic Beauties. Artists, Italy and the Esthetic Ideals of the 18th Century, is a summer art highlight on the Continent.

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The show tells how artists and tourists flocked to Italy, and more especially Rome, in the second half of the eighteenth century. From all over Europe they travelled to the Eternal City in search of inspiration and to see for themselves the newly excavated classical Greco-Roman sculptures and buildings. Their experiences prompted a new and austere kind of fashionable architecture and, in the visual arts, an unprecedentedly sensual style that sent shock waves through society: a naked, superhuman beauty more daring than anything attempted by the Greeks and Romans. Neoclassicism was born.


 

The archaeological finds sparked a craze for travel among young aristocrats across the continent. Many spent months travelling to and sightseeing in Italy. Among them were Johann Wolfgang von Goethe and the ‘Count and Countess of the North’ (the later Russian Tsar Paul I and his wife Maria Fyodorovna). In the course of their ‘Grand Tour’ they encountered the greatest artists of the day.
With over sixty sculptures, paintings and drawings by 25 top names, the exhibition offers visitors their own Grand Tour of Italy. On the way, it introduces them to the artists of the period, including Pompeo Batoni, Anton Raphael Mengs, Angelica Kauffmann and – most celebrated of all – Antonio Canova. The show features no fewer than eight sculptures by the latter, including his iconic

Three Graces, Cupid and Psyche and Hebe.

photo: Aurelio Amendola, State Hermitage Museum, St Petersburg

To create Classic Beauties, the Hermitage Amsterdam has had exclusive access to the collection of the State Hermitage Museum in St Petersburg. The displays are further enriched with loans from other private and public collections, including Paul and Maria’s Pavlovsk Palace in Russia and the Teylers Museum in Haarlem (The Netherlands).

Lots of images

Matisse et Picasso, la comédie du modèle

July 2, 2018, 7:37 am

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Musée Matisse

Du 23 juin 2018 au 29 sept. 2018



Henri Matisse, Marguerite, 1907. Huile sur toile Musée national Picasso-­‐Paris. Donation en 1973 © Succession H. Matisse. Photo: © RMN-­‐Grand Palais (Musée national Picasso-­‐Paris) / Mathieu Rabeau.



Henri Matisse
Jeune fille en blanc, fond rouge, hiver 1946
Huile sur toile
Dation Pierre Matisse en 1991
Musée national d’art moderne / Centre de création industrielle, Centre Pompidou, Paris
Dépôt au musée des Beaux-arts de Lyon, 1993
© Succession H. Matisse
Photo : © RMN-Grand Palais / René-Gabriel Ojéda / Thierry Le Mage  




Pablo Picasso
Peintre à la palette et au chevalet, 1928
Huile sur toile
Musée national Picasso-Paris
Dation en 1979
© Succession Picasso, 2018
Photo : © RMN-Grand Palais (Musée national Picasso-Paris) / Adrien Didierjean

 

La Flûte de Pan, Pablo Picasso, 1923, Antibes, huile sur toile, 205 x 174 cm, , Dation Pablo Picasso, 1979, MP79, Musée national Picasso, -, Paris © RMN, -, Grand Palais (Musée national P, icasso, -, Paris) / Jean, -, Gilles Berizzi © , Succession Picasso 2017,

Aftermath: Art in the Wake of World War One

July 2, 2018, 1:17 pm

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Tate Britain, Linbury Galleries

 5 June – 23 September 2018

Marking 100 years since the end of the First World War, this exhibition explores the immediate impact of the conflict on British, German and French art. As the first exhibition to examine the culture of memorials alongside new developments in post-war art it will consider how artists responded to the physical and psychological scars left on Europe. Aftermath brings together over 150 works from 1916 to 1932 by artists including George Grosz, Fernand Léger and C.R.W. Nevinson. During this tumultuous period, artists began to explore new imagery and new ways of making art in their responses to the experience of war, the culture of remembrance, and the rebuilding of cities and societies.

The First World War began to be constructed as memory almost as soon as it had begun. During the war artists created works which reflected on its long-term impact. Battlefield landscapes and images of soldiers’s graves such as

 

William Orpen’s A Grave in a Trench 1917

 

and Paul Jouve’s Tombe d’un soldat serbe a Kenali 1917 evoked silence and absence in the aftermath of battle.

After the armistice official public memorials provided a focus for mourning and remembrance. Artists including Käthe Kollwitz, André Mare and Charles Sargeant Jagger produced sculptural memorials to commemorate those who lost their lives in the conflict. The exhibition explores the different forms that memorials took, and their importance for social and political cohesion. It also shows the more personal memorials created using relics of the battlefield such as shrapnel and mortar shells.

Soldiers’ wounds were an alternative memorial, visible in flesh rather than stone, and disabled veterans were a constant reminder of the terrible cost of war.

Works such as

George Grosz (1893-1959)

Grey Day

1921

Oil paint on canvas

1150 x 800 mm

Staatliche Museen zu Berlin, Nationalgalerie. Acquired by the Federal State of Berlin.

© Estate of George Grosz, Princeton, N.J. 2018. 

George Grosz’s Grey Day 1921

Otto Dix (1891-1969)

Prostitute and Disabled War Veteran. Two Victims of Capitalism

1923

Pen and ink on yellow card-board

469 x 373 mm

LWL- Museum für Kunst and Kultur (Westfälisches Landesmuseum) / Sabine Ahlbrand-Dornseif. © Estate of Otto Dix 2018.

and Otto Dix’s Prostitute and Disabled War Veteran 1923 used imagery of disabled veterans to demonstrate the inequalities in German society. In France, veterans were an important part of the visual culture of memorial ceremonies. In Britain, images of wounded soldiers such as Henry Tonks’s medical pastel portraits were usually seen in the context of therapy and healing.

This turbulent period also saw the birth of dada and surrealism in the work of Hannah Höch, Max Ernst, André Masson and Edward Burra among others. Artists used new visual forms to process experiences and memories of conflict. Dada photomontages by Hannah Höch reused war imagery while fragmented bodies and prosthetic limbs featured in works like Grosz and Heartfield’s The Petit-Bourgeois Philistine Heartfield Gone Wild. Electro-Mechanical Tatlin Sculpture 1920.

As well as the physical and psychological scars left on Europe, the exhibition also shows how post-war society began to rebuild itself, inspiring artists such as Georges Braque, Christian Schad and Winifred Knights to return to classicism and tradition while others such as Fernand Léger, Paul Citroen and C.R.W. Nevinson turned their minds to visions of a technological future in the modern city.

Aftermath: Art in the Wake of World War One is curated by Dr Emma Chambers, Curator, Modern British Art and Dr Rachel Rose Smith, Assistant Curator, Modern British Art.

 

The exhibition is accompanied by a catalogue from Tate Publishing .

Aftermath: Art in the Wake of World War One

Tate Britain, 5 June – 20 September 2018

Christopher Richard Wynne Nevinson (1889 – 1946)

Paths of Glory

1917

Oil paint on canvas

457 x 609 mm

© IWM (Art.IWM ART 518)

Christian Schad 1894 – 1982

Self-Portrait

1927

Oil on wood

760 x 620 mm

Lent from a private collection 1994

© Christian Schad Stiftung Aschaffenburg/VG Bild-Kunst, Bonn and DACS, London 2017

Christopher Richard Wynne Nevinson (1889 – 1946)

Ypres After the First Bombardment

1916

Oil paint on canvas

991 x 1248 x 73 mm

Museums Sheffield 

Curt Querner (1904 – 1976)

Demonstration

1930

Oil paint on canvas

870 x 660 mm

Staatliche Museen zu Berlin, Nationalgalerie.

Photo credit: bpk/ Jörg P. Anders

© DACS, 2018

Edward Burra 1905-1976

The Snack Bar

1930

Oil paint on canvas

762 x 559 mm

Tate

© The estate of Edward Burra, courtesy Lefevre Fine Art, London

George Grosz (1893-1959)

“Daum” Marries her Pedantic Automaton “George” in May 1920, John Heartfield is Very Glad of It (Meta-Mech. Constr. After Prof. R. Huasmann)

1920

Watercolour, pencil, pen, ink and collage on card

425 x 319 mm

Berlinische Galerie, Landesmuseum für Moderne Kunst, Berlin

© Estate of George Grosz, Princeton, N.J. 2018. 

George Grosz (1893-1959)

The Petit-Bourgeois Philistine Heartfield Gone Wild. Electro-Mechanical Tatlin Sculpture

1920

900 x 450 x 450 mm

Berlinische Galerie, Landesmuseum für Moderne Kunst, Berlin

© Estate of George Grosz, Princeton, N.J. 2018. 

Georges Rouault (1871-1958)

"Arise, you dead!" (War, plate 54)

1922-27

Photo-etching, aquatint and drypoint on paper

800 x 630 x 30 mm

Fondation Georges Rouault

© ADAGCP, Paris and DACS, London 2018

Hannah Hoch (1889 – 1978)

Dada Rundschau

1919

437 x 345 mm

Berlinische Galerie, Landesmuseum für Moderne Kunst, Berlin

© DACS, 2018

Jacob Epstein (1880-1959)

Torso in Metal from “The Rock Drill”

1913-14

Bronze

705 x 584 x 445 mm

Tate

© The Estate of Jacob Epstein

Otto Dix (1891-1969)

War: Skull

1924

Etching on paper

257 x 195 mm

The George Economou Collection.

© Estate of Otto Dix 2018

Paul Nash (1889 – 1946)

Wire

1918-9

Watercolour, chalk and ink on paper

486 x 635 mm

© IWM (Art.IWM ART 2705)

William Orpen (1878 – 1931)

To the Unknown British Soldier in France

1921-8

Oil paint on canvas

1542 x 1289 mm

© IWM (Art.IWM ART 4438)

William Roberts (1895 – 1980)

The Dance Club (The Jazz Party)

1923

Oil paint on canvas

762 x 1066 mm

Leeds Museums and Galleries

© Estate of John David Roberts. By permission of the Treasury Solicitor

EDWARD BURNE-JONES

July 4, 2018, 8:24 am

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TATE BRITAIN  
24 October 2018 – 24 February 2019 

This autumn, Tate Britain will present the first major Burne-Jones retrospective to be held in London for over 40 years. Renowned for otherworldly depictions of beauty inspired by myth, legend and the Bible, Edward Burne-Jones (1833–98) was a pioneer of the symbolist movement and the only Pre-Raphaelite to achieve world-wide recognition in his lifetime. 

This ambitious and wide-ranging exhibition will bring together over 150 works in different media including painting, stained glass and tapestry, reasserting him as one of the most influential British artists of the 19th century. Edward Burne-Joneswill chart his rise from an outsider of British art to one of the great artists of the European fin de siècle. Burne-Jones rejected Victorian industrial ideals, offering an enchanted parallel universe inhabited by beautiful and melancholy beings. The exhibition will bring together all the major works from across his four-decade career, depicting Arthurian knights, Classical heroes and Biblical angels. Spectacular large-scale paintings like 

 Love among the Ruins 1870-3

Watercolour, bodycolour and gum arabic on paper

96 x 152 cm

Private collection

Love among the Ruins1870-73 

 

and The Wheel of Fortune1883 will show his international impact, including at the 1889 Exposition Universelle when he emerged on the world stage as the leading light of symbolist art. 

Two rooms dedicated to the artist’s most famous narrative cycles will be shown together for the first time. These huge canvases are among his finest and best-loved works, telling 

Perseus and the Sea Nymphs (The Arming of Perseus) 1877

Bodycolour on paper

1528 x 1264 mm

Southampton City Art Gallery

the action-packed story of Perseus 

The Rose Bower 1885-90

Oil paint on canvas
1250 x 2310 cm

The Faringdon Collection Trust

and the dreamlike fairy tale of Sleeping Beauty. 

Burne-Jones’s lack of formal training in fine art allowed him to develop a distinct and highly idiosyncratic approach to painting that bridged the fine and decorative arts. The exhibition will open with a focus on his early career, highlighting his work as a church decorator. Striking examples of stained glass such as The Good Shepherd1857-61 will be presented alongside The Adoration of the Magi 1861, a large-scale altarpiece created for the church of St Paul’s in Brighton.

 Considered one of the greatest draughtsmen of the 19th century, Burne-Jones’s remarkable drawings such as 

Desiderium 1873

Graphite on paper

21 x 13 cm

Tate

Desiderium will also be showcased to demonstrate his sensitive and personal response to Renaissance Old Masters. 

Familiar faces populate Burne-Jones’s otherwise imaginary worlds, drawn from the artist’s intimate circle of family and friends. Several of these figures will feature in a section of the exhibition highlighting Burne-Jones’s unique approach to portraiture. 

Portrait of Amy Gaskell 1893
Oil paint on canvas

95 x 61 cm

Private collection

His paintings of  Amy Gaskell



and Lady Windsor1893-95 stand in contrast to the fashionable society portraits of the day, presenting idealised likenesses with stark minimal compositions and a restrained colour palette. 

Tate Britain will also explore the key role of the decorative arts in Burne-Jones’s career, including his long working relationship with William Morris. Both men were committed to social reform and intended their collaborative work to reach a broad audience through beauty of design and execution. 



The dazzling Graham Piano1879-80 will be displayed 

alongside embroideries, illustrated books and spectacular large-scale tapestries like 



The Arming and Departure of the Knights of the Round Tableon the Quest for the Holy Grail1890-1894 

Adoration of theMagi 1894

Tapestry

2580 x 3840 mm

Manchester Metropolitan University Special Collections 

and Adoration of the Magi.

Edward Burne-Jones will be curated by Alison Smith, Chief Curator, National Portrait Gallery and Tim Batchelor, Assistant Curator, Tate Britain. 


The exhibition will be accompanied by a catalogue from Tate Publishing.

:

Phyllis and Demophoön 1870
Watercolour on paper
93 x 47 cm
© Birmingham Museums Trust

 

The Baleful Head1885

Bodycolour on paper
153 x 129 cm

Southampton City Art Gallery

Laus Veneris 1873-8
Oil paint on canvas
1194 x 1803 mm
Laing Art Gallery (Tyne & Wear Archives & Museums) 

The Calling of St Peter c.1857

Stained and painted glass

1072 x 356 mm

Victoria and Albert Museum

 

The Doom Fulfilled 1888

Oil paint on canvas
155 x 140 cm

Staatsgalerie, Stuttgart

The Garden Court1874-84

Oil paint on canvas
1250 x 2310 cm

The Faringdon Collection Trust

The Death of Medusa (I) c.1882

Bodycolour on paper
125 x 117 cm

Southampton City Art Gallery

The Death of Medusa (II) c.1881-2
Bodycolour on paper
1525 x 1365 mm
Southampton City Art Gallery 

The Rock of Doom 1885-8
Oil paint on canvas
1550 x 1300 mm
Staatsgalerie Stuttgart

Atlas Turned to Stone c.1878

Bodycolour on paper

1502 x 1902 mm

Southampton City Art Gallery

Gustav Klimt. Artist of the Century - Leopold Museum

July 6, 2018, 2:54 pm

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Comprehensive exhibition divided into eight thematic emphases highlights periods in the artist’s oeuvre

Marking the transition from historicism to Jugendstil, Gustav Klimt’s oeuvre shaped the beginning of modern art in Vienna. 100 years after his death, the Leopold Museum pays tribute to the leading figure in Vienna around 1900 with a comprehensive exhibition divided into eight thematic emphases and illustrating all the periods of the artist’s oeuvre by means of some 35 paintings, 90 drawings, 30 photographs and approx. 150 archival documents.

Along with exhibits from the Leopold Museum and the Leopold Private Collection, the exhibition also features numerous works given to the museum by a Klimt descendant as a new permanent loan, as well as four paintings and six drawings from a private collection, which were also entrusted to the museum as permanent loans. The presentation further includes select loans from Austrian and international collections, and for the first time provides comprehensive insights into the collection of the Klimt Foundation, which acts as scientific research and cooperation partner to this exhibition.

The presentation Gustav Klimt. Artist of the Century traces an arc from Klimt’s beginnings at the height of the Gründerzeit era dominated by historicism, via his artistic paradigm shift and the evolution of his own, individual style from the mid-1890s, when he created his first drafts for the Faculty Paintings for the ceremonial hall of Vienna University, which would cause a scandal. The overview continues with Gustav Klimt as a leading figure of the Vienna Secession, whose members broke with esthetical conventions and paved the way for Jugendstil, and goes on to shine the spotlight on his activities as a sought-after portraitist of the wealthy Viennese bourgeoisie as well as on his highly erotic, symbolistically charged female depictions.

Sommer sojourns in the Salzkammergut region – Klimt’s landscapes

Gustav Klimt’s regular summer sojourns on the Attersee with Emilie Flöge and her family set in around the turn of the century. Klimt’s need for privacy and distance was especially great after the controversy caused by his Faculty Paintings. Far from the city and surrounded by intimate friends, Klimt found both relaxation and inspiration. A selection of his works created during these stays in the Salzkammergut region can be seen in the exhibition.

“Along with exceptional works from international collections and from the museum’s own holdings, a new permanent loan is now on display at the Leopold Museum – Klimt’s only Viennese landscape, the work Schönbrunn Landscape (1916). Klimt’s landscapes make up around one quarter of his painterly oeuvre. They were predominantly created in nature, or at times from photographs and picture postcards in his Vienna studio. The artist wanted to depict a natural environment independent of man that reflects a tranquil atmosphere – his interest in a symbolic expression and in aspects of timelessness and transience were central to these works,” explains Hans-Peter Wipplinger, the curator of the exhibition.

Death and Life and The Bride enter into a dialogue for the first time

The exhibition sees two monumental allegorical works by Klimt enter into a dialogue for the first time: Death and Life (1910/11, reworked in 1915/16) has been part of the Leopold Museum’s collection compiled by Rudolf Leopold for 40 years, while The Bride(1917/18) was brought into the collection of the Klimt Foundation in 2013. Since the Faculty Paintings, Gustav Klimt had addressed the cycle of life and its individual phases.

During the last years of his oeuvre, and shaped by personal experiences, Klimt started to rework the first version of Death and Life in 1915 and transferred depictions of individual stages of life as solitary figures to his work The Bride. The paintings, which are both shown in the exhibition, were prepared by Klimt with numerous drawings. The sketchbook for his last allegory has survived, and affords valuable insights into the process of the work’s composition and creation.

“The first presentation of drawings along with the extant sketchbook and the painting The Bride from the collection of the Klimt Foundation allows visitors to delve directly into the fantasies and visions of this exceptional artist. The painting further affords scope for new interpretations and, through its Expressionist accents, links Gustav Klimt as a pioneer of modernism in Austria with his successors Oskar Kokoschka and Egon Schiele,” according to the exhibition’s curator Sandra Tretter.

GUSTAV KLIMT

1862–1918

FRAUENBILDNIS, UM 1893

PORTRAIT OF A WOMAN, C. 1893

Öl auf Leinwand

| Oil on canvas

155 × 75 cm

Belvedere, Wien, 2013, Dauerleihgabe aus Privatbesitz

Belvedere, Vienna, 2013, Permanent loan from private collection

Foto

| Photo:

Belvedere, Wien

| Vienna/

Johannes Stoll

 

GUSTAV KLIMT

1862–1918

KLARA KLIMT, UM 1880

KLARA KLIMT, C. 1880

Öl auf Leinwand

| Oil on canvas

30,3 × 21,3 cm

ARGE Sammlung Gustav Klimt/Dauerleihgabe im Leopold Museum, Wien

ARGE Collection Gustav Klimt/Permanent loan, Leopold Museum, Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

SITZENDES JUNGES MÄDCHEN, UM 1894

SEATED YOUNG GIRL, C. 1894

Öl auf Holz

| Oil on wood

14,1 × 9,6 cm

Leopold Museum, Wien

| Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

GUSTAV KLIMT

1862–1918

SCHUBERT AM KLAVIER (ENTWURF), 1896

SCHUBERT AT THE PIANO (STUDY)

Öl auf Leinwand

| Oil on canvas

30 × 39 cm

Privatsammlung/Dauerleihgabe im Leopold Museum, Wien

Private collection/Permanent loan, Leopold Museum, Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

MÄDCHEN IM GRÜNEN, 1896–1899

GIRL IN THE FOLIAGE

Öl auf Leinwand

| Oil on canvas

32,4 × 24 cm

Klimt-Foundation, Wien

| Vienna

Foto

| Photo:

Klimt-Foundation, Wien

| Vienna

GUSTAV KLIMT

1862–1918

AM ATTERSEE, 1900

ON LAKE ATTERSEE

Öl auf Leinwand

| Oil on canvas

80,2 × 80,2 cm

Leopold Museum, Wien

| Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

DIE GROSSE PAPPEL II (AUFSTEIGENDES GEWITTER), 1902/03

THE LARGE POPLAR II (GATHERING STORM)

Öl auf Leinwand

| Oil on canvas

100,8 × 100,8 cm

Leopold Museum, Wien

| Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

OBSTGARTEN AM ABEND, 1898

ORCHARD IN THE EVENING

Öl auf Leinwand

| Oil on canvas

69 × 55,6 cm

Privatsammlung/Dauerleihgabe im Leopold Museum, Wien

Private collection/Permanent loan, Leopold Museum, Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

TANNENWALD I, 1901

PINE FOREST I

Öl auf Leinwand

| Oil on canvas

90,5 × 90 cm

Kunsthaus Zug, Stiftung Sammlung Kamm

Foto

| Photo:

Kunsthaus Zug, Stiftung Sammlung Kamm/Alfred Frommenwiler

GUSTAV KLIMT

1862–1918

FREUNDINNEN I (DIE SCHWESTERN), 1907

FRIENDS I (SISTERS)

Öl auf Leinwand

| Oil on canvas

125 × 42 cm

Klimt-Foundation, Wien

| Vienna

Foto

| Photo:

Klimt-Foundation, Wien

| Vienna

 

GUSTAV KLIMT

1862–1918

SCHÖNBRUNNER LANDSCHAFT, 1916

SCHÖNBRUNN LANDSCAPE

Öl auf Leinwand

| Oil on canvas

110 × 110 cm

Privatbesitz

| Private collection

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

TOD UND LEBEN, 1910/11, UMGEARBEITET 1915/16

DEATH AND LIFE, REWORKED IN 1915/16

Öl auf Leinwand

| Oil on canvas

180,8 × 200,6 cm

Leopold Museum, Wien

| Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

DIE BRAUT, 1917/18 (UNVOLLENDET)

THE BRIDE, 1917/18 (UNFINISHED)

Öl, schwarze Kreide auf Leinwand

| Oil, black chalk on canvas

165 × 191 cm

Klimt-Foundation, Wien

| Vienna

Foto

| Photo:

Klimt-Foundation, Wien

| Vienna

 

GUSTAV KLIMT

1862–1918

LITZLBERGKELLER, 1915/16

Öl auf Leinwand

| Oil on canvas

110 × 110 cm

Privatsammlung

| Private collection

Foto

| Photo:

Bildarchiv

| picture archives

Manfred Thumberger

 

GUSTAV KLIMT

1862–1918

BRUSTBILD EINER JUNGEN DAME MIT HUT UND CAPE IM PROFIL NACH LINKS, 1897/98

BUST PORTRAIT OF A YOUNG LADY WITH HAT AND CAPE IN PROFILE FROM THE LEFT

Kohle, schwarze Kreide auf Packpapier

| Charcoal, black chalk on brown paper

42,3 × 22,6 cm

Leopold Museum, Wien

| Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

 

GUSTAV KLIMT

1862–1918

TÄNZERIN IM FLAMENCO-KOSTÜM,

STUDIE ZU „JUDITH II (SALOME)“, UM 1908

DANCER IN A FLAMENCO COSTUME,

STUDY FOR

“

JUDITH II (SALOME), C. 1908

Bleistift, roter Farbstift, schwarze Kreide, Gouache, Deckweiß auf Japanpapier

Pencil, red crayon, black chalk, gouache, opaque white on Japanese paper

55 × 34,9 cm

Leopold Museum, Wien

| Vienna

Foto

| Photo:

Leopold Museum, Wien

| Vienna/

Manfred Thumberger

 

John Singer Sargent and Chicago's Gilded Age

July 9, 2018, 9:41 am

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John Singer Sargent. Mrs. George Swinton (Elizabeth Ebsworth), 1897. Wirt D. Walker Collection.

From July 1 through September 30, 2018, the Art Institute of Chicago will present an exhibition of American portraitist John Singer Sargent with a focus on his numerous Chicago connections. Featuring nearly 100 objects from the Art Institute’s collection, private collections, and public institutions, John Singer Sargent and Chicago’s Gilded Age examines Sargent’s impressive breadth of artistic practice and the network of associations among the artist, his patrons, his creative circle, and the city. 

Through the lens of Sargent’s work, this exhibition explores the cultural ambitions of Chicagoans to shape the city into a center of art, the development of an international profile for American artists, and the interplay of traditionalism and modernism at the turn of the 20th century. 

John Singer Sargent (1856–1925) was the most sought-after portraitist of his generation, creating powerful, striking likenesses of his sitters. 

Although he is best known for his portraits, Sargent excelled in a variety of genres and media, including landscapes, watercolors, and murals. 

This exhibition presents the full range of Sargent’s talents, surveying his touchpoints to Chicago while also illuminating the city’s vibrant art scene. Sargent first showed at the Art Institute—at the time located at Michigan Avenue and Van Buren Street—in 1890, the year Chicago officially became the nation’s “second city” in terms of population. 

 

John Singer Sargent. La Carmencita, 1890. Musee d'Orsay, Paris. © RMN (Musée d’Orsay) / Gérard Blot.

Among his paintings on view was La Carmencita, a commanding portrait of a Spanish dancer that is at once old and new—a tribute to Old Master painting that is also an Impressionist exploration of color and brushwork. The composition drew crowds of visitors to the museum, helping to put Chicago on the map as a recognized center for contemporary art and culture. After rebuilding from the Great Fire of 1871, the city was an amalgam of new and old itself–attuned to innovation and change while also recognizing the value of traditions.

In the late 19th century, Chicago leaders endeavored to advance the city’s cultural profile to match its already prominent reputation as a center of industry and transportation. 

Exhibition curator Annelise K. Madsen, Gilda and Henry Buchbinder Assistant Curator of American Art, describes this study of Chicago through the lens of Sargent: 

“The Midwest is perhaps an unexpected point of departure for an examination of this thoroughly cosmopolitan painter, who made his career in Europe, attracted a transatlantic set of patrons, and cultivated professional ties primarily on the East Coast. Yet Sargent was indeed a fascinating player in the cultural history of Chicago at the turn of the 20th century. This exhibition presents the scope of Sargent’s talents while also recounting the integral narratives of local collectors, exhibitions, and institutions that are part of the artworks’ own histories.”

Between 1888 and 1925, Sargent’s paintings were included in more than 20 public displays in the city, among them the Inter-State Industrial Exposition, the World’s Columbian Exposition, exhibitions at the Arts Club of Chicago, and the Art Institute’s American Annuals. 

John Singer Sargent. Portrait of Charles Deering, 1917. The Art Institute of Chicago, anonymous loan.

The artist’s Chicago story owes much to local businessman Charles Deering, who built an important collection of his works over a lifetime of friendship. Other area patrons and Art Institute supporters, including Martin A. Ryerson, Annie Swan Coburn, Robert Allerton, and the Friends of American Art, attest to the city’s enthusiasm for the artist and made possible the museum’s early acquisitions of his work.

Catalogue:

John Singer Sargent and Chicago’s Gilded Age

Annelise K. Madsen; With contributions by Richard Ormond and Mary Broadway

This groundbreaking study focuses on John Singer Sargent’s sustained, yet largely overlooked, involvement with Chicago’s vibrant Gilded Age culture. Documenting the artist’s personal connections to the city and the prominence of his work in Chicago collections, Annelise K. Madsen explores Sargent’s various contributions to Chicago’s artistic life, including his long-standing participation in local exhibitions. With scholarly rigor, this volume also delves into the taste and scope of midwestern patronage at the turn of the century, offering valuable insights into Chicago’s civic and cultural ambitions. 

 

Richly illustrated,John Singer Sargent and Chicago’s Gilded Ageis an original and engaging examination of the complex relationship between one of the most cosmopolitan artists of his generation and the city of Chicago.
 

Annelise K. Madsen is the Gilda and Henry Buchbinder Assistant Curator of American Art and Mary Broadway is associate conservator of prints and drawings, both at the Art Institute of Chicago. Richard Ormond is John Singer Sargent’s grandnephew and a leading scholar of the artist’s work. 

John Singer Sargent. The Fountain, Villa Torlonia, Frascati, Italy, 1907. The Art Institute of Chicago, Friends of American Art Collection. 

John Singer Sargent. Harriett Pullman Carolan, 1911. Private collection.

 

 

John Singer Sargent. Lake O'Hara, 1916. Harvard Art Museums/Fogg Museum, Louise E. Bettens Fund.

John Singer Sargent. Portrait of Mrs. Edward L. Davis and Her Son, Livingston Davis, 1890. Los Angeles County Museum of Art, Frances and Armand Hammer Purchase Fund. Photo © Museum Associates/ L

John Singer Sargent. Street in Venice, 1882. National Gallery of Art, Washington, Gift of the Avalon Foundation.

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Celebrating Tintoretto: Portrait Paintings and Studio Drawings

July 12, 2018, 2:08 pm

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Exhibition Dates:	October 16, 2018–October 1, 2020
Exhibition Location:	The Met Fifth Avenue

Celebrating Tintoretto: Portrait Paintings and Studio Drawingswill focus on the small-scale, informal portraiture of Venetian painter Jacopo Tintoretto in celebration of the 500th anniversary of his birth.

Jacopo Tintoretto was one of the preeminent Venetian painters of the sixteenth century, renowned for his monumental narrative scenes and his insightful portraits of patricians and citizens. In celebration of the five hundredth anniversary of the artist's birth, this exhibition explores an innovative and little-studied aspect of Tintoretto's portraiture: small-scale, informal portrait heads characterized by immediacy, intense observation, and startling modernity. These works capture both the appearance and the spirit of the sitter, and are painted with the artist's famous prestezza, or quickness.

The exhibition brings together for the first time approximately ten portrait studies from European and American museums and private collections, drawing them into a larger discussion of the artist's portraiture and approach to painting. The exhibition also highlights significant facets of artistic practice in the Tintoretto workshop, in particular the dynamic relationship between Jacopo and his son Domenico, through a series of figural drawings and a painting in The Met collection, The Finding of Moses.

Celebrating Tintoretto: Portrait Paintings and Studio Drawings is organized by Andrea Bayer, The Met's interim Deputy Director for Collections and Administration and Jayne Wrightsman Curator in the Department of European Paintings, and Alison Manges Nogueira, Associate Curator in The Robert Lehman Collection.

Modern Wonder: The John Marin Collection

June 8, 2018, 6:01 am

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Colby College Museum of Art, Waterville, Maine
June 5 to August 19, 2018.

John Marin, Stonington, Maine, 1923. Watercolor and charcoal, 21 3/4 x 26 1/4 in. Colby College Museum of Art. Gift of John Marin Jr. and Norma B. Marin, 1973.047

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Modern Wonder: The John Marin Collection opens at the Colby College Museum of Art, in Waterville, Maine, from June 5 to August 19, 2018.

“The life of today, so keyed up, so seen, so seemingly unreal yet so real and the eye with so much to see and the ear to hear…. What is it?” John Marin spent his lifetime answering this question. He looked at the towering skyscrapers and bustling streets of Manhattan, the rollicking waters and windy coast of Maine and saw great forces at work. Large or small, manmade or natural, Marin embraced these forces and made their expression the focus of his painting and printmaking. His watercolors, etchings, and oils sparkle and burst with the joy and delight of experiencing what the world looks, sounds, and feels like in a singular moment.

 

John Marin, New York City View, c. 1925. Watercolor and charcoal, 8 1/2 x 7 1/8 in. Colby College Museum of Art. Gift of John Marin Jr. and Norma B. Marin, 1973.048

Modern Wonder explores the verve and exuberance of John Marin and his art. Pulled from one of the largest collections of the artist’s works in the world, the exhibition covers the length and breadth of his career during the first half of the twentieth century, a period marked by massive technological advancements and the acceleration of everyday American life. With its vigorous lines, bright colors, and dynamic compositions, Marin’s art embodies a thoroughly modern view of the places he loved. The energy emanating from his work captivated audiences during his lifetime and it continues to inspire and astonish today.

Celebrating Tintoretto: Portrait Paintings and Studio Drawings

July 12, 2018, 2:08 pm

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Exhibition Dates:	October 16, 2018–October 1, 2020
Exhibition Location:	The Met Fifth Avenue

Celebrating Tintoretto: Portrait Paintings and Studio Drawingswill focus on the small-scale, informal portraiture of Venetian painter Jacopo Tintoretto in celebration of the 500th anniversary of his birth.

Jacopo Tintoretto was one of the preeminent Venetian painters of the sixteenth century, renowned for his monumental narrative scenes and his insightful portraits of patricians and citizens. In celebration of the five hundredth anniversary of the artist's birth, this exhibition explores an innovative and little-studied aspect of Tintoretto's portraiture: small-scale, informal portrait heads characterized by immediacy, intense observation, and startling modernity. These works capture both the appearance and the spirit of the sitter, and are painted with the artist's famous prestezza, or quickness.



The exhibition brings together for the first time approximately ten portrait studies from European and American museums and private collections, drawing them into a larger discussion of the artist's portraiture and approach to painting. The exhibition also highlights significant facets of artistic practice in the Tintoretto workshop, in particular the dynamic relationship between Jacopo and his son Domenico, through a series of figural drawings

 

and a painting in The Met collection, The Finding of Moses.

Celebrating Tintoretto: Portrait Paintings and Studio Drawings is organized by Andrea Bayer, The Met's interim Deputy Director for Collections and Administration and Jayne Wrightsman Curator in the Department of European Paintings, and Alison Manges Nogueira, Associate Curator in The Robert Lehman Collection.

Leonardo: Discoveries from Verrocchio’s Studio

July 14, 2018, 10:13 am

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Press Release (PDF)
Image Sheet (PDF)



Yale University Art Gallery 

June 29–October 7, 2018

A landmark exhibition investigating Leonardo da Vinci’s early years as an artist, featuring paintings newly attributed to the Renaissance master

On view at the from June 29 through October 7, Leonardo: Discoveries from Verrocchio’s Studio investigates a virtually unknown period in the career of perhaps the most famous artist of the Italian Renaissance, Leonardo da Vinci (1452–1519).

Leonardo da Vinci and Lorenzo di Credi, A Miracle of Saint Donatus of Arezzo (detail), ca. 1475–85. Oil on panel. Worcester Art Museum, Mass., Theodore T. and Mary G. Ellis Collection, inv. no. 1940.29. Photo: Image courtesy the Worcester Art Museum

Leonardo da Vinci and Lorenzo di Credi, A Miracle of Saint Donatus of Arezzo (detail), ca. 1475–85. Oil on panel. Worcester Art Museum, Mass., Theodore T. and Mary G. Ellis Collection, inv. no. 1940.29. Photo: Image courtesy the Worcester Art Museum.

The exhibition focuses on the claim of Leonardo’s first biographers that as a boy he was apprenticed to the sculptor, painter, and goldsmith Andrea del Verrocchio (ca. 1435–1488). Verrocchio is a mysterious personality. While many of his sculptures in bronze and marble are today admired as iconic masterpieces of 15th-century Florentine art, scholars have never agreed on a list of surviving paintings that might be by him, or even whether any of them are by one artist alone. Consequently, previous attempts to determine what Leonardo might have learned from Verrocchio have rarely led to serious proposals to identify the earliest works of that revolutionary genius.

Only one fully documented altarpiece commissioned from Andrea del Verrocchio is known. Installed in the cathedral of Pistoia, near Florence, it was described in the 16th century as the work of Leonardo’s fellow pupil in Verrocchio’s shop, Lorenzo di Credi, an attribution accepted without question by most scholars. Two small paintings once part of this altarpiece—an Annunciation and a scene depicting a miracle of Saint Donatus of Arezzo—are now in the collections of the Musée du Louvre, Paris, and the Worcester Art Museum, Massachusetts, respectively. These, too, have conventionally been attributed to Lorenzo di Credi, an artist of relatively modest talents.

In March of this year, a small exhibition in Worcester united the Louvre and Worcester paintings for the first time since they were separated, probably in the early 19th century. The Gallery’s exhibition follows that display with 11 additional paintings and sculptures, exploring the wider context of Verrocchio and his studio of artist-helpers. Among these studio assistants, the most remarkable by far was Leonardo da Vinci, and the exhibition at Yale argues that it was Leonardo, not his younger “classmate” Lorenzo, who should be recognized as the author of the Louvre painting as well as large parts of the Worcester panel.

Another painting being shown at the Gallery may also have been conceived as a Verrocchio commission, but like the Louvre and Worcester panels, it was largely executed by Leonardo. The little-known Triumph of Aemilius Paulus from the Musée Jacquemart-André in Paris has only twice before been exhibited publicly. It is one of a pair of panels that functioned as fronts of cassoni: painted furniture chests commissioned for patrician weddings in Florence, this one involving the Mannelli family in or around 1473.

 

Its companion, the Battle of Pydna—which is also preserved at the Musée Jacquemart-André and was also painted in large part by Leonardo—could not travel to New Haven but is fully discussed in the related publication Leonardo: Discoveries from Verrocchio’s Studio, Early Paintings and New Attributions, being released by the Yale University Art Gallery concurrent with the exhibition.

Two other major paintings that could not travel are also identified as collaborations between Leonardo and another artist, in this case probably his teacher, Verrocchio, and are discussed at length in the book:


 
the Virgin and Child with Two Angels in the National Gallery, London,

 

and the Virgin with the Seated Child in the Gemäldegalerie, Staatliche Museen zu Berlin.

While it springs from a renewed focus on Verrocchio as a painter and the influence he exerted on the young Leonardo, the Gallery’s exhibition also investigates the collaborative nature of sculptures produced in what must have been a large and industrious workshop. It includes three rarely studied sculptures in marble, terracotta, and stucco, each with a reasonable claim to having been made by Verrocchio and illustrating different aspects of his reliance on pupils and assistants.

Comparative works by Lorenzo di Credi, Domenico Ghirlandaio, Francesco di Simone Ferrucci, Biagio d’Antonio, and Jacopo del Sellaio attest to the spread of Verrocchio’s influence throughout Florentine artistic circles at the end of the 15th century. Finally, two paintings—one of which, in a private collection, has never before been exhibited publicly—are proposed as possible early works by Verrocchio, completing the hypothetical picture of the early careers of both the master and his illustrious pupil.

 “The seeds of this exhibition were sown over 20 years ago when Laurence Kanter, now Chief Curator and the Lionel Goldfrank III Curator of European Art at the Gallery, then Curator-in-Charge of the Robert Lehman Collection at the Metropolitan Museum of Art, New York, noticed that a small painting, A Miracle of Saint Donatus of Arezzo in the Worcester Art Museum, Massachusetts, modestly attributed there to Leonardo’s friend, fellow student, and imitator Lorenzo di Credi, must have been painted as a collaborative effort with Leonardo himself,” explains Jock Reynolds, the Henry J. Heinz II Director at the Gallery. “The painting then became an object of close study and analysis by our good colleagues at Worcester and by their counterparts at the Centre de Recherche et de Restauration des Musées de France and the Musée du Louvre, Paris, where a companion panel, the Annunciation, has long been a bone of contention among Leonardo scholars. Their work, combined with Kanter’s further research into comparable objects and historical context, blossomed in unforeseen directions, resulting in this controversial and compelling exhibition and publication.”

Kanter’s attributions rest on three main premises: that Lorenzo di Credi not only was a painter of inferior talent and intellect to his friend Leonardo but also had a distinctively recognizable style of his own; that paintings and sculptures produced in Verrocchio’s studio, as in so many Renaissance workshops, more frequently merit multiple attributions than is commonly supposed; and that Leonardo must have learned to paint in tempera before mastering his characteristic oil technique, as tempera was the medium employed by his mentor, Verrocchio. Few art historians have attempted to ascribe early works in tempera to the Renaissance polymath.

“While attributing new paintings to Leonardo may be seen as an act of hubris,” states Kanter, “simply recognizing the logic behind these three premises indicates how repetitive, and at the same time uncertain, scholarship can be, even about the works of this artistic giant. Perhaps misled by unquestioned ‘truths’ or reverence for the canon, we lose sight of the fact that Leonardo, like young people of every generation, began as a student. Even genius needs to start somewhere. With patience and close looking, it is usually possible to trace the path of those first steps.” Leonardo: Discoveries from Verrocchio’s Studio invites all—scholars, art lovers, and those who are simply curious— to look closely, consider the evidence, and come to their own conclusions.

1] Leonardo da Vinci,

The Annunciation,ca. 1475–79. Oil on panel. Musée du Louvre, Paris,

Photo: Centre de Recherche et de Restauration des Musées de France,

Jean-Louis Bellec

2] Leonardo da Vinci,The Annunciation(detail), ca. 1475–79. Oil on panel. Musée du Louvre, Paris, Photo: Centre de Recherche et de Restauration des Musées de France

Jean-Louis Bellec

3] Leonardo da Vinci and Lorenzo di Credi,

A Miracle of Saint Donatus of Arezzo,ca. 1475–85. Oil on

panel. Worcester Art Museum, Mass., Theodore T. and Mary G. Ellis Collection, .

Photo: Image courtesy the Worcester Art Museum

4] Leonardo da Vinci and Lorenzo di Credi,

A Miracle of Saint Donatus of Arezzo (detail), ca. 1475–85.

Oil on panel. Worcester Art Museum, Mass., Theodore T. and Mary G. Ellis Collection, inv. no. 1940.29.

Photo: Image courtesy the Worcester Art Museum

5] Leonardo da Vinci and collaborator,

The Triumph of Aemilius Paulus,ca. 1472–73. Tempera on panel.

Musée Jacquemart-André, Institut de France, Paris,Photo:

©

 Studio Sébert

Photographes

6] Leonardo da Vinci and collaborator,

The Triumph of Aemilius Paulus

 (detail), ca. 1472–73. Tempera

on panel. Musée Jacquemart-André, Institut de France, Paris, inv. no.

mjap-p

 1822.2. Photo:

©

 Studio

Sébert Photographes

7] Lorenzo di Credi,

The Annunciation,ca. 1500. Oil on panel. Alana Collection, Newark, Del.

Photo: Christopher Gardner

8] Andrea del Verrocchio,

 Virgin and Child,ca. 1465. Tempera on panel. Alana Collection, Newark, Del.

Photo: © Foto Giusti Claudio

9] Andrea del Verrocchio and workshop(?),

Virgin and Child with an Angel,ca. 1475–85. Marble.

Museum of Fine Arts, Boston, Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton, Photo: © 2018 Museum of Fine Arts, Boston

Andrea del Verrocchio,

Virgin and Child,ca. 1470–75. Stucco. Allen Memorial Art Museum, Oberlin

College, Ohio, R. T. Miller, Jr., Fund, inv. no. 1944.167. Photo: Image courtesy Allen Memorial Art

Museum, Oberlin College, Ohio

Related Publication

Leonardo: Discoveries from Verrocchio’s Studio, Early Paintings and New Attributions

Laurence Kanter
With contributions by Bruno Mottin and Rita Piccione Albertson




This groundbreaking reexamination of the beginnings of Leonardo da Vinci’s life as an artist sug- gests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio. Anchoring this analysis are important yet often overlooked considerations about Verrocchio’s studio—specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did.

 

The book searches for the young artist’s hand among the tempera works from Verrocchio’s studio and proposes new criteria for judging Verrocchio’s own painting style. Several paintings are identified here as likely the work of Leonardo, and others long consid- ered works by Verrocchio or his assistant Lorenzo di Credi may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83.



In addition to Laurence Kanter’s detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.



146 pages / 8 × 111/4 inches / 102 color and 17 black-and-white illustrations / Distributed by Yale University Press / 2018 / Hardcover / ISBN 978-0-300-23301-8 / Price $35; Members $28

Exhibition Credits

Exhibition organized by Laurence Kanter, Chief Curator and the Lionel Goldfrank III Curator of European 

GALA SALVADOR DALÍ

July 20, 2018, 3:24 pm

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Museu Nacional d'Art de Catalunya , Barcelona

July 5th to October 14th, 2018 

CURATOR : Estrella de Diego, professor of Art History (UCM)

With this exhibition, the Museu Nacional d'Art de Catalunya and Fundació Gala - Salvador Dalí intend to reveal Gala: muse, artist and a key figure in twentieth - century art. Companion to Dalí and before that, to the poet Paul Éluard, admired sometimes, sometimes ignored or slighted, Gala is undoubtedly a key figure of the vanguards. Without her, the surrealist playing board is missing a piece. Paintings by Max Ernst, photographs by Man Ray and Cecil Beaton and especially the works by Salvador Dalí are much more than portraits: they make up an autobiographical journey where, as a post modernism heroine, Gala imagined and created her own image. 

Moreover, this exhibition will follow Salvador Dalí’s evolution as a painter and brings together a significant collection of his works, some 60 in total, including oil paintings and drawings. 

The exhibition will also present a selection of paintings, drawings and photographs by ot her artists who were part of the surrealist universe, such as Max Ernst, Picasso, Man Ray, Cecil Beaton and Br assa ï . An interesting collection of letters, postcards and books will also be on display for the first time, as well as dresses and objects from Gala's personal boudoir . 

In total, the exhibition will present approximately 180 pieces that reconstruct Gala’s complex and fascinating character. The exhibition will unveil a Gala who camouflaged herself as a muse while forging her own path as an artist: she writes, imagines and creates her own image, in addition to playing an essential role in Dalí's artistic development. 

“Who was the real Gala? Who was this woman whom everybody noticed, who awakened the hatred of Breton or Buñuel; unconditional love in Éluard and Dalí; passion in Max Ernst; loyal friendship in Crevel and was Man Ray’s model... Was she, above a ll else, simply an inspiring muse for artists and poets? Or, de spite having few signed pieces – only a few surreal objects that are currently lost, certain cadavres exquis and the pages of a diary – was she more of a creator? 

Gala was a creative woman who wrote, read and designed her own clothes, in addition to her image when Dalí portrays her; she co - authored so many of her second husband’s work that towards the end of his life, he began to sign his pieces with both their names – ‘Gala - Salvador Dalí’ . 

And we could go further still: if we believe that Dalí is not only the paintings he paints but the image he constructs, to what extent can we say that Gala is part of that maneuver of the “artist as a work of art?” These are some of the questions that Estrella de Diego poses in this exhibition. Never before has an exhibition dedicated to Gala been proposed at an international level, partly because of the preconceptions regarding her and partly because of the extreme fragility of many of the pieces that are essential to reconstruct her portrait. 

 

Salvador Dalí Galatea of the Spheres 1952 © Salvador Dalí, Fundació Gala-Salvador Dali, VEGAP, Barcelona, 2018
Salvador Dalí Dalí Seen from the Back Painting Gala from de Back Eternalized by Six Virtual Corneas Provisionally Reflected by Six Real Mirrors 1972-1973 © Salvador Dalí, Fundació Gala-Salvador Dali, VEGAP, Barcelona, 2018
	Salvador Dalí Dream caused by the Flight of a Bee Around a Pomegrate one second before awakening c. 1944 © Salvador Dalí, Fundació Gala-Salvador Dali, VEGAP, Barcelona, 2018

The works in this exhibition will come mainly from Dalí Foundation , contributing more than 40 pieces, and from private collections and international museums such as the Dalí Museum in St. Petersburg (Florida); Haggerty Mu seum of Art, (Milwakee); Centre d’Art Georges Pompidou (Paris); Bayerische Staatsgemäldesammlungen, Pinakothek der Moderne (Munich); Museo di Arte Moderna e Contemporanea di Trento e Rovereto (Rovereto); Fundación Thyssen - Bornemisza and Museo Nacional Cent ro de Arte Reina Sofía (Madrid), among others.