Drawn from a single private collection, Arbus, Frank, Penn: Masterworks of Post-War American Photography comprises 38 glorious vintage gelatin silver prints of many of the icons of the era, including
Diane Arbus’s
“Identical Twins, Roselle, N.J.,”
“Boy with a Toy Hand Grenade in Central Park,”
and “Jewish Giant at Home with his Parents in the Bronx”;
The Irving Penns in this exhibit all date from the seminal period in his career 1948-51, and cover his three most important series from those years: the “small trades,” the “big nudes,” and the confrontational portraits of the diminutive yet fierce mountain-top residents of Cuzco, Peru.
The Robert Franks date from 1953-58 and feature some of the key works reproduced in The Americans, arguably the most influential photography book of the 20th century. Frank’s sly lens captured the incipient fissures of Eisenhower-era America across several fault lines, racial, generational, urban/rural, that were to explode in the decade to follow.
The Diane Arbus photos date from 1961-70 and include her most celebrated portraits. Arbus's photographs merged Frank’s unblinking socially-conscious lens with a piercing psychological approach akin to Penn’s Cuzco work which stands as a vision all her own.
Francisco de Goya y Lucientes is among the best-known figures in the history of Spanish art and renowned as one of the greatest painters of all time. He is also revered as one of history’s greatest draftsmen and printmakers. This exhibition will showcase more than seventy-five of his paramount works on paper from the unparalleled collections of the Museum of Fine Arts, Boston. Goya in Black and White will explore the evolution of the artist’s graphic work in all media. The importance of black and white will be shown throughout the exhibition—not only literally, in black ink on white paper, but also figuratively, as in the oppositions of night and day, the balance between menacing shadow and hopeful light, that pervade the artist’s imagination.
Comprised of prints from the MFA’s renowned collection of works by the Spanish artist Francisco Goya (1746–1828), the exhibition explores grand themes of war and revolution, as well as more intimate aspects of the human condition. Goya’s subject matter—directly critical or slyly satirical—frequently addresses the extremes of human behavior and emotion. One of the titans of European art, the Spanish master examined opposites—black and white, night and day—to better understand and express the range and nuances of experience.
Court painter to four kings of Spain and a prolific portrait painter, Goya turned to printmaking to augment his finances, to advertise his artistic talents, to educate and produce propaganda, and to stimulate his creative energies. He made four major print series—Caprichos,Disasters of War, Tauromaquia, and Disparates—with the intention of exposing personal and institutional folly, and the terrors associated with the violence of war. In Goya’s prints, the deep black of etched lines and the white glow of paper are expressive vehicles for accentuating moments of heightened emotion or historical consequence. Goya also made drawings in series, and his extended sequences on paper can be viewed as philosophical essays of the Enlightenment, in visual form.
The exhibition features prints from Goya’s four major print series,
Bullfighting Scene, known as Suerte de Varas 1824 Oil on canvas The J. Paul Getty Museum, Los Angeles [cat. no. 22]
Goya painted this powerful work in Paris in the summer of 1824 as a gift for the wealthy businessman Joaquín María de Ferrer y Cafranga, who commissioned portraits of himself and his wife at the same time. (They are also included in this exhibition.) Some of the motifs in the painting recur in the lithographs below, the Bulls of Bordeaux, made the following year. Goya applied paint with a brush, palette knife, and his thumb covered in a rag, giving the painting a rough, expressive quality that accentuates the ferocity of the subject matter.
El famoso Americano, Mariano Ceballos 1825 Crayon lithograph with scraper, on white paper The Metropolitan Museum of Art, New York, Bequest of Mrs. Louis H. Porter, 1946 [cat. no. 23]
The Spanish American matador Mariano Ceballos gained a reputation in Madrid for his ability to fight one bull while mounted on another, a risky performance that cost him his life in 1780. Goya provides a dramatic setting for the lunging move of his protagonist by leaving the stone behind him almost white, as if he were illuminated by a spotlight.
Bravo toro 1825 Crayon lithograph with scraper on white paper The Metropolitan Museum of Art, New York, Rogers Fund, 1920 [cat. no. 24]
This print reveals Goya’s linear shorthand, in which forms are abstractly represented by staccato strokes and touches. In a similarly unorthodox construction of space, the perspective is tilted forward, closing out the sun, the sky, and all but the first few rows of spectators.
Dibersión de España (Spanish Entertainment) 1825 Crayon lithograph with scraper on white paper The Metropolitan Museum of Art, New York, Rogers Fund, 1920 [cat. no. 25]
This lithograph depicts the moment at the start of a fiesta when the bulls run free and foolhardy amateurs charge the ring — with somewhat gruesome results. Rough highlights appear where the oily crayon has been carved away from the stone with a scraper. By distorting the size of the animals in relation to the crowd and surrounding them in a brilliant ring of light, Goya magnifies the power of the bulls and the dangers they pose.
Plaza Partida (Divided Ring) 1825 Crayon lithograph with scraper on white paper The Metropolitan Museum of Art, New York, Rogers Fund, 1920 [cat. no. 26]
In Spain, canceled fiestas were often made up by scheduling simultaneous corridas in an arena divided by a temporary wall, such as the one seen here. Goya scatters the focal points over the surface of the print, re-creating the visual stimulation that would have been experienced by a witness to the spectacle.
“The Bulls of Bordeaux” lithographs;
and the spectacular, rare aquatint Seated Giant, a landmark in art history and a prime example of the tension between night and day, power and paralysis, that characterizes Goya’s work.
Also included are rare trial proofs for the prints and first-edition impressions, with examples showing Goya’s working methods as he developed an idea from drawing to proof to final state.
This exhibition is organized by the Museum of Fine Arts, Boston.
Musée national Picasso-Paris From 4 September 2018 to 13 January 2019
What does 'masterpiece' mean to Pablo Picasso? The exhibition Picasso.
Masterpieces ! seeks to answer this question by assembling many of
Picasso's great works from around the world, some of which are being
exhibited in Paris for the very first time. Thanks to exceptional loans,
masterpieces from all over the world will dialogue with those from the
collection of the Musée national Picasso-Paris to offer a new interpretation
of Picasso's creations, with particular attention to the critical reception
of his works. Focusing on past exhibitions, reviews, and texts, this show
explores how Picasso's works have become, thoughtout the years, iconic
masterpieces. The archives of the Musée national Picasso-Paris play an
essential role in recounting this story.
EXHIBITION STRUCTURE
1. LE CHEF-D'OE UVRE INCONNU
Achieving perfect beauty, the absolute masterpiece: this is the dream that the painter
Frenhofer, the hero of Honoré de Balzac's novel, Le Chef-d'oeuvre inconnu, pursued in vain. Published for the first time in 1831, the text was illustrated a century later by Pablo
Picasso, at the request of art dealer Ambroise Vollard. The theme of the painter and his
model which Picasso explores in his work represents the kind of ideal artistic vision which
leads to Frenhorfer's death as he attempts to portray the expression of a soul, to reach
perfection through a work of art.
The artist at work is a running theme in Picasso's oeuvre. His many self-portraits, alone
or with a model, are also reflections on the creative process. One of the most prolific
painters of the 20th century, relentlessly seeking new modes of expression, Picasso
dedicated his life to a quest similar to that of Frenhofer. Through a selection of key
works, milestones of Picasso's artistic career, the exhibition "Picasso: Masterpieces!"
looks back at this journey.
From the conditions in which the artwork was produced to the influence of its critical reception, the exhibition examines the events that helped make each piece an icon of art. Throughout the 20th century, from the academic tradition to modern revolutions, Picasso's pursuits radically redefined the concept of the masterpiece.
2. SCIENCE ET CHARITÉ
Science and Charité is one of the rare pieces from Picasso's youth which he kept for
himself, before it was donated to the Museu Picasso in Barcelona in 1970. Thanks to the
close relationship between this institution and the Musée national Picasso-Paris, this work
is now being exhibited in Paris for the first time.Picasso was only 16 when he painted Science et Charité
While studying at Llotja, theSchool of Art and Design of Barcelona, he chose to paint a theme popular at art shows and among the followers of social realism: visiting the ill. The artist combines images from his daily life with academic models. His father acts as the model for the doctor, and
the subject echoes a personal drama, the death of his younger sister Conchita in 1895.
Sent to the General Exhibition of Fine Arts in Madrid, the work received an honourable
mention, before it was awarded a gold medal at the Provincial Exhibition of Malaga. It
demonstrates the incredible technical skill shown by the young Picasso.
3. LES DEMOISELLES D'AVIGNON
When he discovered Les Demoiselles d'Avignon in 1907, Georges Braque said, "It is as
though, with your painting, you wanted us to eat oakum or drink oil." From its creation
until its exhibition at the Salon d'Antin in Paris in 1916, the work evoked reactions of
indifference, incomprehension and rejection.
An emblematic canvas of the pictorial revolutions of the 20th century, Les Demoiselles d'Avignon was a foundational work in the bith of cubism. Jacques Doucet bought the piece in 1924 at the recommendation of poet André Breton, who was, at the time, one of the few able to recognize the significance of the acquisition.
However, when the designer died, the work returned to the art market. It joined the collection of the New York Museum of Modern Art in 1939. This institutional recognition conferred upon the painting the status of a modern masterpiece, more than thirty years after it was first created.
Les Demoiselles d'Avignon no longer travels. The artist kept many studies for the painting
throughout his life which today shed light on the genesis of the work. These studies have become icons of the Musée national Picasso-Paris.
4. LES ARLEQUINS
The Harlequin figure, Picasso's nostalgic double, features throughout the
artist's works. In 1923, amidst the Return to Order, it embodies the classic
ideal which Picasso expresses in the genre of portraiture. The harlequin
theme, particularly appreciated by the dealer Paul Rosenberg, quickly
gained favour in the art world, even leading to a fund-raising campaign in
1967 to enable the city of Basel to acquire Arlequin assis.
50 13/16 x 76 3/8 inches (129.1 x 194 cm The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
On 8 February 1937, Picasso's birthplace, Malaga, was seized by nationalist
troops. In the space of just a few days - on the 10th, 12th and 18th of
February - Picasso painted three troubling beach scenes featuring dominant,
imposing bathers. He distorted their bodies and opted for a mineral palette.
The landscapes are reduced to just a few lines. The viewer's gaze is focused
on these monstrous figures, inspired by Picasso's conversations with
surrealists Man Ray, Paul Éluard and Dora Maar, with whom he spent the
summers of 1936 and 1937.
Long kept in private collections, these three works have rarely been
exhibited. Representing a true series of masterpieces, they have been
brought together for the first time in France for this exhibition, thanks to a
partnership between the Peggy Guggenheim Foundation in Venice, the Lyon
Museum of Fine Arts and the Musée national Picasso-Paris.
6. FEMMES À LEUR TOILETTE
Femmes à leur toilette, a monumental collage created in the winter of 1937-1938,
is today presented for the first time since its restoration in 2018.
Choosing the traditional theme of hairstyling, Picasso stages three women
grooming themselves, evoking a series of romantic partners with whom he had
been close. The images of Olga Picasso, Marie-Thérèse Walter and Dora Maar
haunt the composition of this tapestry cartoon, the only one designed by the
artist, which he kept throughout his life. Completed at the Grands-Augustins
studio in Paris, the work directly recalls Guernica, created a few months earlier.
Picasso returns to the concept of a very large format and assembles on the
canvas a multitude of paper cuttings with varied motifs. The artist, who had
given up on the idea of including elements of painted paper in Guernica at the
start of the year, here gives free rein to this procedure inspired by the cubist
studies of papier collé.
Femmes à leur toilette embodies the artistic revolutions that Picasso orchestrated throughout his life and is one of the masterpieces of the Musée national Picasso-Paris.
7. LA DANSE
In spring 1925, Picasso and his wife Olga joined the Ballets russes in Monte
Carlo. Picasso's interest in dance, never waning since his participation in the
ballet Parade in 1917, is shown here in a troubling round dance, and recalls the
death of his friend, painter Ramon Pichot. Although each figure is represented
through its own visual vocabulary, the influence of surrealism can be seen
through the distortion of the bodies and in the composition, which evokes a
crucifixion, a favourite theme of the group.
Exhibited in 1939, alongside Guernica, at the New York Museum of Modern Art,
La Danse remained in Picasso's ownership for forty years; the artist refused to
part from it despite keen interest from collectors. It was eventually acquired
by the Tate Gallery in London in 1965, five years after the museum's major
retrospective dedicated to the artist. This masterpiece of British collections
was presented at the Grand Palais in 1966, in the exhibition "Hommage à
Pablo Picasso", and is today on temporary loan from the Tate.
8. LE FAUCHEUR
In 1943, Picasso chose the technique of assemblage to sculpt the original
plaster version of Le Faucheur, whose face is the imprint of a sand-cast mould.
Beyond this play on everyday objects, André Malraux saw in
the bronze cast a true masterpiece, the very incarnation of the "act of death". On 19 November
1966, at the opening of the exhibition "Hommage à Pablo Picasso" at the
Grand and Petit Palais, Picasso expressed the desire, never realised, to create
a huge, monumental version of the work dedicated to Charles Baudelaire.
In 1968, under Malraux's initiative, the law on the gifting of artworks as
payment of death duties was established. Eleven years later, Le Faucheur
joined the national collections after Picasso's heirs consented to gift it to the
state. It is today exhibited in the very heart of the Hôtel Salé.
9. OBJETS
Paper cuttings, iron wires and tablets... the pieces presented in this room
offer a new perspective on Picasso's artistic process. With just a few
gestures, the artist transforms everyday objects into artworks, combining
humour and poetry. In the majestic Vénus du gaz , the artist re-appropriates a
wood stove burner by placing it vertically.
Most of these objects were kept by the surrealist photographer Dora Maar,
who shared her life with Picasso from 1936. They were photographed by
Brassaï at Picasso's request. Then, in 1949, the art dealer Daniel-Henry
Kahnweiler included them in his work "Les Sculptures de Picasso." During
the public sale of the Dora Maar collection in 1998, these objects attracted
huge attention, Picasso's renown helping to forge their status as iconic
works which re-examine the notion of the masterpiece under a new light.
10. JOSEP PALAU I FABRE
« Mirar la producción de Picasso, descubrir su obra, tiene que generar
siempre, una euforia benefactora, porque él es, por encima de todo, vital »
(Josep Palau i Fabre, Barcelone, 16 février 2003)
"Estimat Picasso" ("Dear Picasso"), this is the title of one publication by
Josep Palau i Fabre (1917-2008), the Catalan poet and writer, who became
friends with the artist in the 1960s. He dedicated more than twenty works
to Picasso and gave him pride of place in his collection, today kept by the
Fundació Palau in Caldes d’Estrac, in the province of Barcelona. Within this
collection, the many dedications Picasso wrote to Palau i Fabre attests to the
close bond between the artist and the biographer. Through his publications
and collection, they writer offers a dual reading of Picasso's work, authoring
both literary and scientific studies that portray the Spanish artist as a genius
of the 20th century, and providing a glimpse of the private and everyday
creation of a masterpiece, as exemplified by the marionette theater made by
Picasso for his daughter Maya in 1942, exhibited in this room.
11. SCULPTURES
In Cannes, Picasso enjoyed displaying his sculptures in the garden of the
villa La Californie which he bought in 1955. Photographs by David Douglas
Duncan provide an account of this installation which was only accessible to
visitors of the studio. The sculptures are pretexts for much of his technical
experiments as well as intimate works; as shown with Petit Cheval, created
from the legs of table for the Spanish artist's grandson Bernard Ruiz-
Picasso.
It was only in 1966 that the general public was able to discover the full
wealth of Picasso's sculpted work, during the exhibition "Hommage à Pablo
Picasso", held at the Grand and Petit Palais, curated by Jean Leymarie.
196 sculptures were presented, revealing an immense variety of subjects,
materials and techniques. The event was extremely popular, and Picasso's
sculptures which had once dwelled in the shadows of studios, finally
acquired the public status of a masterpiece.
12. LA CHÈVRE
Between spring 2017 and spring 2019, the Musée national Picasso-Paris
is launching an international cultural event bringing together over 60
institutions within the framework "Picasso-Méditerranée". This collaboration
through the loan of masterpiece has facilitated dialogue between the Musée
Picasso in Antibes and the Picasso museum of Paris.
During the summer of 1946, Picasso lived in Golfe-Juan, near Antibes.
Romuald Dor de La Souchère invited him to set up his studio in the
Grimaldi museum, where he was the director. The artist worked there from
September to November and, upon his departure, left 23 paintings and 44
sketches to the city. Twenty years later, Château Grimaldi became the first
museum dedicated to Picasso in France, contributing to the artist's renown.
Of the works produced in Antibes, La Chèvre is a majestic representation of
an important animal in Picasso's bestiary. As though incomplete, somewhere
between a sketch and a painting, the animal's body combines realist drawing
and cubist geometrization.
After the creation of this unique masterpiece, the goat as a motif, inhabiting
the landscapes of Bacchanalia and a symbol of the years in the south of
France, becomes one of the emblems of Picasso's work.
13. LITHOGRAPHIES
The collaboration between Picasso and lithographer Fernand Mourlot began
in Paris in 1945, in a printing studio on Rue de Chabrol. Their conversations
led to the creation of the famous
Colombe which, after being spotted by the poet Aragon in 1949, became a symbol of peace printed in millions of copies found across the entire world. In the printer's studio, the collaborations
continued.
In 1948, Mourlot printed 215 of Picasso's plates for the book,
Le Chant des morts by Pierre Reverdy, a masterpiece of book illustration.
The two men pushed the boundaries of lithography and embarked on an
unprecedented exploration of poster art. The lithographic stones on which
the two men worked as well as the tools and souvenirs of these experiments,
are today exhibited for the first time.
In 1970, Fernand Mourlot published the catalogue "Picasso Lithographe."
The work reveals the abundance of Picasso's research on prints and his
virtuosity in the art of duplication; his printed images rank among his
masterpieces.
14. AVIGNON
From May to October 1970, the Palais des Papes in Avignon dedicated a
first exhibition to Picasso. Designed by the publisher Christian Zervos and
his wife Yvonne, who died a few months before its opening, the project
inventoried the artist's creations between the years 1969 and 1970. On 23
May 1973, Jacqueline Roque opened a second exhibition at the Palais des
Papes, "Picasso 1970-1972", one month after the artist's death. The works
exhibited received virulent criticism; some were referred to as 'scribbles.'
In the 1980s, however, new interpretations of Picasso's last paintings
emerged. As they became compared to the works of such artists as Francis
Bacon and David Hockney, art historians began to reassess their value.
15. EPILOGUE
For the writer and art historian Pierre Daix, Rembrandt and Picasso are
united by an "ancient intimacy." Traces of Rembrandt (1606-1669) are
found throughout the Spanish artist's career, from his works on
Le Chef-d'oeuvre inconnu in the 1930s to the prints he focused on at the end of his
life. Beginning in the 1960s, Picasso quoted Rembrandt in his musketeers
motif. Picasso's dedication to engraving, which he pursued intensely in
his last studio, was largely feuled by references to the great master of the
technique. For Picasso, Rembrandt represented at once a guardian figure
and a rival from a bygone century who epitomized a creative genius. His
reflections on the self-portrait, a genre that Rembrandt explored throughout
his life and which characterizes over 80 of his pieces, is a clear inspiration in
the last works of the Spanish artist. In 1972, a few months before his death,
Picasso paid tribute to the Dutch master in his ultimate masterpieces. Both
artists are brought together here, a presage to the exhibition "Les Louvre de
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 1870-73
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 the action-packed story of Perseus 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.
Two celebrated series of Pre-Raphaelite paintings will be brought together in their entirety for Tate Britain’s Burne-Jones retrospective this autumn. The artist’s most famous narrative cycles, The Briar Rosec.1890 and the unfinished Perseusseries (started 1875), have never been shown together before. A major highlight of the exhibition, two rooms will be dedicated to displaying these dramatic large-scale canvases as immersive environments full of exquisite detail. One series is drawn from the northern fairy tale of Sleeping Beauty, depicting a princess and her court frozen in time in a medieval dream world, while the other depicts the action-packed classical myth of Perseus, a hero who slays Medusa and saves Andromeda from a sea monster. Exceptional loans from five different collections will provide a once-in-a-lifetime opportunity to experience these outstanding works together.
All four canvases in Burne-Jones’s The Briar Rose cycle will be shown in a museum setting for the first time, together with the panels painted to link each image to the next. Considered some of the artist’s finest and best loved works, this group of eight-foot long paintings caused a sensation when they were first unveiled at Agnew’s Gallery in London in 1890, with thousands of people queuing to see them. Each intricately detailed scene illustrates Charles Perrault’s famous fairy tale of Sleeping Beauty. The princess – modelled on Burne-Jones’s own daughter Margaret – is shown surrounded by attendants as she waits for the prince to wake her with a kiss. Shortly after they were made, the paintings were purchased by Alexander Henderson for his home Buscot Park in Oxfordshire, where they remain to this day as part of the Faringdon Collection.
The Perseus cycle (see images below) was commissioned by 26-year-old MP and future Prime Minister Arthur Balfour, who granted Burne-Jones free reign to create an installation for his London home. The artist proposed ten large-scale oil paintings, retelling the ancient Greek myth of Perseus, but some of the most ambitious and compelling designs were never realised. To complete the cycle, Tate Britain will bring together four finished oil paintings from Germany with six spectacular full-scale preparatory paintings from Southampton, a silver and gold leaf panel from Cardiff and the watercolours for the overall scheme in Tate’s own collection. These works will be among 150 paintings, tapestries and stained-glass panels to be shown in Tate Britain’s major autumn exhibitionEdward Burne-Jones.
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 Shepherd 1857-61 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
Desiderium1873 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.
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
and Adoration of the Magi1894.
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.
“[…] I think it may be time for at least one painting to be hanging at the St.-G. [Staatsgalerie].” Egon Schiele to his friend and patron Arthur Roessler, 21 June 1916
His wish would be fulfilled as there are now a total of twenty works by Egon Schiele in the Belvedere’s collection, including two permanent loans. 2018 is the centenary of his death. Marking this occasion, an in-depth exhibition considers all of the artist’s works that are – or were – in the Belvedere’s collection. It traces the genesis of a collection and also presents new findings about Schiele’s works.
Highlights include
Eduard Kosmack,
Portrait of Wally Neuzil,
Facade of a House,
Death and Maiden,
Embrace,
and Four Trees.
Curator Kerstin Jesse answers questions about the works’ acquisition and motifs, shedding light, for example, on the people portrayed in the images. The show is enriched by many loans, especially preliminary studies and sketches related to the works at the Belvedere.
Preparations for the exhibition included scientific analyses resulting in new findings about the artist’s painting technique and working methods and these will also be presented for the first time. In addition, it features a selection of papers and documents from the archives, some which have never been on public view before and offer deeper insights into the acquisition histories and the fates of individual collectors.
The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states.
The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states.
Featuring works by around eighty artists including Josef Capek, Friedl Dicker-Brandeis, Albin Egger-Lienz, Gustav Klimt, Oskar Kokoschka, Koloman Moser, Antonin Prochaska, Egon Schiele, Lajos Tihanyi, and many more.
An exhibition by the Belvedere, Vienna and the Centre for Fine Arts, Brussels (BOZAR) in cooperation with the Museum of Fine Arts, Budapest – Hungarian National Gallery
The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states.
Featuring works by around eighty artists including Josef Capek, Friedl Dicker-Brandeis, Albin Egger-Lienz, Gustav Klimt, Oskar Kokoschka, Koloman Moser, Antonin Prochaska, Egon Schiele, Lajos Tihanyi, and many more.
An exhibition by the Belvedere, Vienna and the Centre for Fine Arts, Brussels (BOZAR) in cooperation with the Museum of Fine Arts, Budapest – Hungarian National Gallery
Currier & Ives (American, 1834–1907) after Artist Unknown (American, 19th Century), The Great Fire at Boston, Nov. 9 & 10, 1872, 1872. Hand-colored lithograph on paper, 7 15/16 x 12 11/16 in. Clark Art Institute, Gift of J. Thomas Wilson, 1981.23
A new exhibition, Extreme Nature!, on view at the Clark Art Institute November 10, 2018–February 3, 2019, examines how nature’s extremes—remote, fantastical, and unpredictable—permeated artistic imagery throughout the nineteenth century. During this period, news outlets detailed natural disasters around the globe, researchers defined modern scientific fields, and authors like Jules Verne popularized the science fiction genre. More than thirty-five prints, drawings, photographs, and books included in the exhibition explore how artists absorbed and responded to emerging research in the physical and life sciences to probe nature—from volatile weather patterns and celestial activity to the earth’s cavernous depths.
Extreme Nature! is organized by Michael Hartman, a 2018 graduate of the Williams Graduate Program in the History of Art, which is jointly administered by the Clark. “Michael brings a fresh and informed curatorial perspective to works on paper in the Clark’s collection,” said Olivier Meslay, the Hardymon Director of the Clark. “The exhibition provides a fascinating consideration of many rarely-seen works. It is an excellent representation of the value of the collaboration between the Clark and Williams College in preparing the next generation of art historians.”
Natural Disaster
The public’s interest in nature’s unrelenting fury developed into a morbid fascination with disaster in the nineteenth century. Popular magazines and scientific journals transformed floods, fires, and catastrophes at sea into cataclysmic spectacles.
Currier & Ives issued lithographs like The Great Fire at Boston, Nov. 9 & 10, 1872 (1872) to document the devastating blazes that engulfed the city, while Winslow Homer (American, 1836–1910) contemplated water’s unbridled power in etchings such as
Winslow Homer (American, 1836–1910), Saved, 1889. Etching on paper, 16 7/8 x 30 1/16 in. Clark Art Institute, 1972.16
Saved (1889), portraying a rescue in choppy waters.
The eight eruptions of Mount Vesuvius in the nineteenth century formulated the basis of a popular fireworks show staged in New York that purported to reenact the decimation of Pompeii.
Charles Graham’s (American, 1852–1911) Fire-Works at Manhattan Beach—“The Last Days of Pompeii” (1885) transforms the prospect of disaster into an eerily beautiful and exciting occurrence.
Alluring Landscapes
Mountainous topographies, rocky bluffs, and plummeting waterfalls by artists such as Aaron Draper Shattuck (American, 1832–1928) illustrate how the modern foundation of geology and other natural sciences influenced artistic portrayals of the landscape.
The replication of nature’s minutest details in Shattuck’s Monument Mountain (c. 1862) in southern Berkshire County, Massachusetts,
in William Westall’s (English, 1781–1850) Entrance to Peak Cavern, Derbyshire (c. 1822),
and in a late 1890s color photochrom of Niagara Falls elicited wonder and excitement among viewers who might imagine the exhilarating experience of encountering these geographic phenomena.
William Bradford’s (American, 1823–1892) photographs of towering arctic icebergs and
Timothy O’Sullivan’s (American, c. 1840–1882) Cañon de Chelle, Walls of the Grand Cañon about 1200 feet in height (1871) brought these locales into the popular mindset while also scientifically documenting geological features using the latest in photographic technology.
Volatile Atmospheres
The late-eighteenth-century invention of the hot air balloon contributed to modern meteorology. By the end of the century, new discoveries in weather encouraged an interest broader than the bounds of the atmosphere—one that questioned the stars, considered the moon’s formation, and examined the power of the sun. Scientists’ observations from the air, as well as increasing global travel, brought heightened awareness of atmospheric conditions. Publications like early meteorologist Luke Howard’s 1803 classification of clouds as cumulus, stratus, and cirrus inspired artists such as Joseph Mallord William Turner (English, 1775–1851) and John Martin (English, 1789–1854) to portray weather’s volatility with greater attention to detail.
]William Baillie’s (Irish, 1723–1818) dramatic The Three Trees (c. 1800) depicts a zigzagging lightning bolt as it strikes three trees on a hilltop. Based on Rembrandt van Rijn’s (Dutch, 1606–1669) etched landscape of the same name, Baillie’s etching added darkened storm clouds and violent lightning, suggesting an interest in the relationship between electricity and this severe form of weather.
Extremes Imagined
Extreme Nature! is drawn primarily from the Clark’s permanent and library collections with additional material on loan from The Troob Family Foundation, Williams College Museum of Art, and Williams College’s Chapin Library. The exhibition is on view in the Eugene V. Thaw Gallery for Works on Paper.
The Guggenheim Museum Bilbao September 21, 2018–March 24, 2019
Drawn from the Solomon R. Guggenheim Foundation’s Thannhauser Collection, Van Gogh to Picasso: The Thannhauser Legacy features nearly fifty works by Impressionist, Post-Impressionist, and early modern masters, including Paul Cézanne, Edgar Degas, Édouard Manet, Pablo Picasso, and Vincent van Gogh. The exhibition marks the first occasion that a significant portion of the renowned Thannhauser Collection has been exhibited outside of New York since its arrival at the Guggenheim in New York in 1965—over fifty years ago. The Thannhauser works bring to the fore avant-gardists who sought to liberate art from academic genres and techniques in the late nineteenth century. These artists explored the fleeting effects of nature and ways to capture the spectacle of the changing city at the start of the twentieth century, and employed stylistic devices such as loose brushwork and innovative practices like fracturing and faceting the picture plane.
The Thannhauser Collection is a bequest of nineteenth - and early - twentieth - century art given to the Solomon R. Guggenheim Foundation by Justin K. and Hilde Thannhauser. Justin K. Thannhauser was the son of the German Jewish art dealer Heinrich Thannhauser, who founded the Moderne Galerie in Munich in 1909. From an early age, Justin K. worked alongside his father in the flourishing gallery and helped build an impressive and versatile exhibition program that included the French Impressionists and Post - Impressionists and regularly featured contemporary German artists. For example, t he Moderne Galerie presented the premier exhibitions of the Neue Künstlervereinigung München (New Artists’ Association of Munich) and Der Blaue Reiter (The Blue Rider), both of which included Vasily Kandinsky, in 1909 and 1911, respectively. The Thannhausers also mounted in 1913 one of th e first m ajor Pablo Picasso retrospective s , thus initiating the close relationship between Justin K. Thannhauser and Picasso that lasted until the artist’s death in 1973. An ambitious businessman, Justin K. Thannhauser opened a second gallery in Lucerne in 1919 with his cousin Siegfried Rosengart. Eight years later, the highly successful Thannhauser galleries relocated their Munich gallery to the thriving art center of Berlin. There, the dealer organized major exhibitions of the work of such artists as Paul Gauguin, Henri Matisse, and Claude Monet. Business operations were nonetheless hindered in the next decade with the establishment of a Nazi government bent on purging the “degenerate art” of the avant - garde. The Thannhauser gallery in Berlin closed in 1937, shortly after Justin K. Thannhauser and his family immigrated to Paris. Thannhauser eventually settled in New York in 1940 and established himself as a private art dealer. The Thannhausers’ commitment to promoting artistic innovation paralleled the vision of Solomon R. Guggenheim. In appreciation of this shared spirit, Justin K. Thannhauser gave a significant portion of his art collection, including more than 30 works by Picasso, to the Solomon R. Guggenheim Foundation, which owns and operates the eponymous museum in New York . Selections from the Thannhauser Collection have been on view at the Guggenheim since 1965. A bequest of ten additional works received after the death of Hilde Thannhauser , Justin’s second wife and widow, in 1991, augmented the Guggenheim’s holdings and enhanced the legacy of this family of important art dealers. This landmark presentation of the Thannhauser Collection at the Guggenheim Museum Bilbao will not only trace the development of modernism at the turn of the century, but also underscore the Thannhauser family’s steadfast support of experimental art. OVERVIEW OF THE EXHIBITION Collecting Impressionism The Thannhauser Collection played a major role in expanding the range of the Solomon R. Guggenheim Foundation’s holdings to include the immediate precursors to the modern era. As prominent dealers in Germany in the first decades of the twentieth century, the Thannhauser family not only made a commitment to local contemporary artists, but also they organized important group and solo exhibitio ns featuring French avant - gardists from the late nineteenth century, including Paul Cézanne, Edgar Degas, and Édouard Manet. These rebellious artists, centered in Paris and largely associated with the loosely defined group of Impressionists , sought to liberate themselves from academic genres and techniques, exploring instead the fleeting effects of nature and urban subject matter, and employing stylistic de vices such as loose brushwork in order to impart an illusion of spontaneity. They developed formal innovations that prepared the ground for the rapid proliferation of radically new approaches to art in the next century.
Manet’s Before the Mirror(1876), for example, illustrates the unconventional new types of subject matter in its depiction of a courtesan before her psyche, or mirror, in a state of partial undress. One assumes the role of spectator and intrudes upon this private moment in the boudoir, as the model — back turned — grasps an extended corset string.
Another painting , Pierre - Auguste Renoir’s Woman with Parakeet(1871), predates the artist’s Impressionist styl e but is nonetheless rendered with the feathery, textured brushwork that characterizes his work. The intimate scene captures a young, upper - middle - class woman playing with her pet bird, yet the stifling interior restricts the model’s space, just like that of her parakeet when confined to its gilded cage. These tensions embody the daily experience of a fashionable Parisian lady. Unlike men, women were confined almost exclusively to indoor domestic spaces and were not permitted to move freely about the city. Collecting Post - Impressionism and Early Modernism The Thannhausers’ assembling of European art of the fin - de - siècle — a complex period defined by economic, political, social, and psychological turmoil, often in the name of progress — captures the diversity of artistic styles that emerged in reaction to the two dominant strains in art at the time: academic naturalism and the Impressionist adherence to the natural world. Artists such as Paul Gauguin and Vincent van Gogh, both subjects of critical exhibitions organized at the early Thannhauser gallery in Munich, turned their artistic eye inward. Van Gogh, in particular, translated reality through the lens of personal experience and emotion. As so - called Post - Impressionists, these artists reacted agai nst the idea of art as a “window to the world” and used sinuous lines and non - naturalistic colors to imbue their paintings with an emotive tenor.
Painted during Van Gogh’s recovery from an attack of mental distress, Mountains at Saint - Rémy (July 1889) evokes the artist’s emotional state — not to mention the awe - inspiring presence of the rock formations near his hospital grounds — through its thick application of paint and animated brushstrokes.
Georges Braque Landscape near Antwerp (Paysage près d’Anvers), 1906
Similarly, Georges Braque, in his Fauvist painting Landscape near Antwerp (1906), employed vibrant, expressionistic colors and deconstructed the landscape as a sensation of patterned light.
Still other varied art forms appeared at the turn of the century, including the flattened, stylized work of the untrained artist Henri Rousseau. Set amid an unspecified forest setting, Rousseau’s The Football Players(1908) is at once a joyful romp and a hauntingly dreamlike scene. Pablo Picasso Drawn to Paris, which had become the international nexus of the art world, the Spanish - born artist Pablo Picasso first came to the city in 1900 for the World’s Fair.
Le Moulin de la Galette (1900), the foremost painting executed during the course of his two - month stay, reflects the young Picasso’s fascination with the lusty decadence and gaudy glamour of Parisian night life. His artistic style rapidly evolved from more naturalistic to his melancholic Blue period and subsequent Rose period, before Picasso came to pioneer with Georges Braque the faceted forms and flattened spatial planes associated with Cubism. This movement developed in the crucial years from 1907 to 1914 and is regarded as one of the most innovative and influential artistic styles of the twentieth century. By the 1930s, Picasso is a renowned and established artist and his practice continues to evolve . Collector and dealer Justin K. Thannhauser, had a strong personal relation ship with Picasso that started early in both men’s careers, in February 1913, when the Thannhauser family gallery in Munich mounted one of the first major Picasso exhibitions in Germany. More than 30 works by Picasso — spanning 65 years of the artist’s career — entered the Guggenheim Foundation’s collection in 1978 and 1991 with the respective donations of Justin K. and Hilde Thannhauser. Highlights from the Thannhauser Collection include
Picasso’s Fernande with a Black Mantilla (1905 – 06)
and Woman with Yellow Hair (1931). The subject of the former painting is Fernande Olivier (née Amélie Lang), Picasso’s mistress, whom he met in 1904. The artist produced more than sixty works featuring Olivier before the pair parted ways in 1912. Here Picasso depicts an enigmatic Olivier wear ing a traditional Spanish mantilla. The sleeping woman in the 1931 canvas portrays another companion, Marie - Thérèse Walter . Walter became a constant subject in Picasso’s work of the 1930s, the period in which she lived with him ; she is often shown in a state of graceful repose or sleep — for Picasso, the most intimate of depictions. CATALOGUE Van Gogh to Picasso: The Thannhauser Legacyis accompanied by a richly illustrated publication that offers a concentrated survey of works by such modern masters as Georges Braque, Paul Cézanne, Edgar Degas, Paul Gaugin, Édouard Manet, Pablo Picasso, and Vincent van Gogh, and brings to light revelatory new scholarship on the history of the Thannhauser family and galleries and, more broadly, the cultural milieu of early - twentiet h - century Europe. T exts on the individual artw orks present extensive technical analyses based on the latest advances in conservation technology , offering rare insight s into the artists’ materials and processes.
Short essays on collection highlights written by current and former Guggenheim curators and conservators illuminate the artists’ stylistic innovations, and an in - depth essay by Megan Fontanella, Curator, Modern Art and Provenance, Solomon R. Guggenheim Foundation , recounts the genesis of Justin K. Thannhauser’s art collection and its eventual tr ansfer to the Guggenheim. Outlining his ambitious career as an art dealer and collector in Europe during the interwar years and into the calamity of World War II, Fontanella explores how Thannhauser’s lifelong endorsement of avant - garde art and eye for ori ginal talent helped define the artistic vanguards of twentieth - century art.
The publication will be printed in English and Spanish. Edited by Megan Fontanella ; t exts by Julie Barten, Susan Davidson, John K. Delaney, Lidia Ferrara, Megan Fontanella, Vivien Greene, Sasha Kalter - Wasserman, Natalia Lauricella, Gillian McMillan, Nathan Otterson, Federica Pozzi, Samantha Small, Lena Stringari, Jeffrey Warda, and Jeffrey Weiss.
“I knew little of these basic problems [of environmental conservation] when I first made snapshots in and around Yosemite. I was casually making a visual diary – recording where I had been and what I had seen – and becoming intimate with the spirit of wild places. Gradually my photographs began to mean something in themselves; they became records of experiences as well as of places. People responded to them, and my interest in the creative potential of photography grew apace. My piano suffered a serious rival. Family and friends would take me aside and say, ‘Do not give up your music; the camera cannot express the human soul' …I found that while the camera does not express the soul, perhaps a photograph can! …Stieglitz's doctrine of the equivalent as an explanation of creative photography opened the world for me. In showing a photograph he implied, ‘Here is the equivalent of what I saw and felt.' That is all I can ever say in words about my photographs; they must stand or fall, as objects of beauty and communication, on the silent evidence of their equivalence.”
-- Ansel Adams
Ansel Adams – photographer, musician, naturalist, explorer, critic and teacher – was a giant in the field of landscape photography. His work can be viewed as the end of an arc of American art concerned with capturing the “sublime” in the unspoilt Western landscape. This tradition includes the painters Albert Bierstadt, Thomas Cole and Thomas Moran, and the photographers Carleton Watkins, Timothy O'Sullivan and William Henry Jackson.
For much of his early adulthood, Adams was torn between a career as a concert pianist versus one in photography; later, he famously likened the photographic negative to a musical score, and the print to the performance. Yet most museumgoers are only familiar with the heroic, high- gloss, high-contrast prints that Adams manufactured to order in the 1970s-80s, coinciding with the emergence of the first retail galleries devoted to photography; as performances, these later prints were akin to “brass bands.”
Much less familiar are the intimate prints, rich in the middle tones – the “chamber music” – that Adams crafted earlier in his career. The present show focuses on the masterful small-scale prints made by Adams from the 1920s into the 1950s. Already in this time period there is quite an evolution of printing style, from the soft-focus, warm-toned, painterly “Parmelian prints” of the 1920s; through the f/64 school of sharp-focused photography that he co-founded with Edward Weston and Imogen Cunningham in the 1930s; and, after the War, towards a cooler, higher-contrast printmaking approach.
Several singular examples are included in this exhibition. The extraordinarily rare print of Moonrise, Hernandez is one of the earliest extant – with its light gray (rather than deep black) sky with wispy clouds, it is literally “day and night” when compared to his much more common, much darker, printings from the 1970s and 1980s.
The print of Frozen Lake and Cliffs is considered the finest vintage print extant; it was the announcement for the blockbuster show “Ansel Adams at 100,” curated by the late John Szarkowski.
Monolith, the Face of Half Dome is represented by two contrasting examples: the vintage 6x8 inch Parmelian print from 1927, and a rare transitional 16x20 inch matte-surface mounted print from the early 1940s which shows Adams first experimenting with scale but not yet consistently committed to glossy paper stock.
Clearing Winter Storm, taken from Inspiration Point, is Adams' most celebrated Yosemite view. The exhibit features the earliest known vintage print of this seminal image (a 1938 date appears on his original typewritten label), which just surfaced in 2005. Hitherto this photograph had generally been dated “circa 1944”; it is noteworthy that such an iconic image can be re-dated in this manner by a full six years.
A stunning array of over 40 paintings from the New - York Historical Society’s collection by renowned Hudson River School artists, including Thomas Cole, Asher B. Durand, Albert Bierstadt, Jasper Cropsey, John F. Kensett, and William T. Richards, will be on view at the Worcester Art Museum from September 8 through November 25, 2018. Painted between 1818 and 1886, the works illustrate America’s scenic splendor as seen through the eyes of some of the country’s most important painters.
In the first decade of the 19th century, the expansive landscapes of the Hudson River Valley and adjacent areas, such as the Catskills and the Adirondack Mountains, inspired an elite group of American artists known as the Hudson River School. Coming together under the influence of British émigré painter Thomas Cole (1801 – 1848), they shared a philosophy and appreciation for the natural landscape. Today their collective works are considered the first uniquely American art movement. In their idyllic depic tions of the landscape, these artists conveyed not only the majesty of America, but an image of man living in harmonious balance with nature. The Poetry of Nature: Hudson River School Landscapes from the New - York Historical Society opens with seminal works by Thomas Cole and Asher B. Durand (1796 – 1886). Cole first traveled up the Hudson in 1825, where he captured the wildness of the American landscape in his paintings. Durand, who frequently worked alongside Cole, was instrumental in leading the group after the latter’s untimely death in 1848. Cole’s romantic interpretations of the American landscape — represented in the exhibition by his painting,
Catskill Creek, New York , depicting a tranquil sunset view on the Catskill Creek — demonstrate his mastery of perspective; he is able to convey vast open spaces and create rich atmospheric effects. Durand favored tighter views and closely observed details of nature. Paintings in the exhibition will present his vivid compositions, from majestic mountain ranges to tranquil woodland interiors and studies of trees. Durand’s influential Letters on Landscape Painting (1855 – 1856), promoted the movement for plein air painting, calling such excursions, “hard - work - play.” As president of the National Academy of Design, he advocate d for the landscape paintings by his Hudson River School colleagues at that institution and facilitated the patronage and rise of the Hudson River School. Coinciding with an increase in leisure travel, the Hudson River painters also journeyed to regions no ted for their beauty outside of New York State. New Hampshire, coastal New England, and even the mountains of Virginia were among the areas featured in their works. The exhibition was organized by the New - York Historical Society, which holds one of the mo st renowned collections of Hudson River School paintings. Dr. Linda S. Ferber, the museum director emerita of New - York Historical and a leading authority on Hudson River School artists, is the curator for this extraordinary exhibition.
Albert Bierstadt, Autumn Woods, 1886.
(New-York Historical Society
Niagara Falls (1818) by Louisa Davis Minot. Oil on linen, 76.2 × 103.2 cm; Gift of Mrs. Waldron Phoenix Belknap, Sr., to the Waldron Phoenix Belknap, Jr., Collection. Collection of the New-York Historical Society
\William Louis Sonntag (1822-1900), Morning in the Blue Ridge Mountains, Va., ca. 1858, oil on canvas, 36 x 56 in., The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-107
Museum of Fine Arts, Houston (MFAH), March 10, to June27, 2019
Few artists have left behind as complete an account of their life and work as Vincent van Gogh(1853–1890). In March 2019, the Museum of Fine Arts, Houston, presents Vincent van Gogh: His Life in Art, an exhibition showcasing key passages in the artist’s life, fromhisearly sketchesto his final paintings, and chronicling his pursuit of becoming an artist.
His Life in Art presents more than 50 portraits, landscapes, and still lifes, the exhibition will be on view at the Museum of Fine Arts, Houston(MFAH), from March 10, to June27, 2019.
In a majorcollaboration, The Van Gogh Museum, Amsterdam, and the Kröller-Müller Museum, Otterlo, which, together,holdthe largest collections in the world of Van Gogh’s work, will lend pieces to Houston.“This exhibition will offer visitors avivid portrait of Van Gogh’s evolution as an artist,”commented MFAH Director Gary Tinterow. “We are grateful to the Van Gogh and Kröller-Müller Museums for lending so many of these rarely traveled masterworks from their collections for this exclusive presentation here in Houston.” “
The popular story of Van Gogh has tended to focuson his last few years and his death,” said David Bomford, curator of the exhibition and chair, Department of Conservation, and Audrey Jones Beck curator, Department of European Art, MFAH. “But there is a rich and complex narrative that starts much earlier, one that is defined by Van Gogh’s tremendous drive to become an artist.”
Exhibition Overview
The exhibition explores Vincent van Gogh’s early years as an artist in theDutch village of Nuenenfrom 1883to 1885; his renewed inspiration following exposure to fellow artists and city life in Paris; his further development in Arles,where he created series of landscapes and vibrant portraits; and lastly his inspiration from nature,reflected in the paintings he created toward the end of his life inSaint-Rémy and Auvers.
In addition, facsimiles of Van Gogh’s letters will build outthe narrative of the artist’s life. Incorporated throughout the exhibition, they trace his hopes of becoming a marketable painter in Paris, his longing to live among a community of artists, and his struggles with his personal relationships and his mental health.Early
Years as an Artist
Vincent van Gogh became an artist at 27, taking up painting in 1881after stintsas an art dealer, teacher, bookseller, and minister, all unsuccessful. His brother, Theo, encouraged him to concentrate on drawing, spurring Van Gogh to work on his technique and connect with other artists. He was largely self-taught, and his early work reflects an engagement with Realism and an interest in conveying both the physical and psychological conditions of his subjects.
Van Gogh sent his work to Theo in exchange for the financial support his brother offered. “I’m sending you three scratches that are still awkward, but from which I hope you’ll nonetheless see that there’s gradual improvement. You must remember that I haven’t been drawing for long, even if I did sometimes make little sketches as a boy,”Van Gogh wrote in a letterto his brother on April 2, 1881.
His development as a painter continued, as he produced farm scenes in the village of Nuenen following in the footsteps of admired artists such as Jean-François Millet. He studied and recorded every facet of rural life, realistically portraying with the harsh circumstances of farm laborers rather than idealizing them. During this time, Van Gogh’s character studies culminated in portrayals of rurallife.
Van Gogh’s works from his time in Nuenen also feature an old church tower,which he painted as a tribute to those whohad been laid to rest among the fields they had planted.
In Search of Renewal
From Nuenen, Van Gogh left for Antwerp to enroll in an art academy and take drawing classesin November 1885. Abandoning the theme of rural farm life, he shifted his focus to portraiture.
Shortly following, he left for Paris where he moved in with Theo.The city inspired a brighter palette,while his friendships with Emile Bernard and Henri de Toulouse-Lautrec had a major influence on his work.
Featured in this section is a portrait of Agostina Segatori, the owner of Café du Tambourin, a gathering spot for Parisian artists that Van Gogh frequented.
While in Paris, he discovered a new source of inspiration in Japanese woodcuts, which he had begun to collect. Their influence is reflected in the bold outlines, dramatic cropping, and color contrasts of Van Gogh’s work.
Light and Color in the South
After two years in Paris, Van Gogh grew weary of city life and longed for a setting like those in the Japanese landscapes he admired. He hoped to find itin the south of France, and relocated to Arles. “I noticed some magnificent plots of red earth planted with vines, with mountains in the background of the most delicate lilac. And the landscape under the snow with the white peaks against a sky as bright as the snow was just like the winter landscapes the Japanese did,” he wrote to Theo on February 21, 1888.
With this return to the countryside,Van Gogh developeda recognizable style of his own, characterized by long, rhythmic brushstrokes and thick layers of paint in increasingly brighter colors.Inspired by the bright light and the colorsof southern France, he painted fields of wheat, vineyards, and vibrant portraits.
But months of personal crisis followed. Still Life with a Plate of Onions (1889) was one of the first paintingsVan Gogh completed after returning home from the hospital where he was treated after slicing off his ear.
On that day, January 17, 1889, he wrote to his brother Theo that he intended to begin working to get used to painting againand had already done a few studies. But Van Gogh’s mental health continued to fluctuate. He admitted himself to Saint-Paul-de-Mausole psychiatric asylum in Saint-Rémy in May 1889.
Nature as a Source of Enduring Inspiration
At the asylumin Saint-Rémy, Van Gogh created dozens of paintings of the gardens of the institution, the fields outside his window,and of thefew possessions that he hadin his room. During this period, in which he produced some of his most iconic masterworks, including Starry Night and Irises, he also ventured into the wheat fields and olive groves.
In his studio, he made a series of paintings after prints, resulting in such idyllic scenes as
Peasant Woman Binding Wheat Sheaves(1889), once again inspired by the work of Millet.
In May of 1890, Van Gogh left Saint-Rémy for Auvers, seeking out the care of the doctor Paul Gachetat the suggestion of painter Camille Pissarro.
Van Gogh spent his last weeks painting landscape after landscape, including
Ears of Wheat in June 1890, one of the latest of his works in the MFAH exhibition. He committed suicide on July 27 of that year.
Publication
This exhibition is accompanied by an illustrated catalogue highlighting the 50 drawings and paintings, drawn primarily from the Van Gogh Museum, Amsterdam, and the Kröller-Müller Museum, Otterlo.
Vincent Van Gogh, Head of a Woman Wearing a White Cap November 1884–May 1885
His homeland, Catalonia, offered him inspiration, Paris his first springboard, and Palma de Mallorca the great studio he had always dreamed of. Between these places, Joan Miró created an oeuvre that is devoid of anecdotes, mannerisms, or any complacency towards modes of expression. To achieve this, he constantly questioned his pictorial language, even if it broke his momentum. Although he was interested in the twentieth century avant-garde, he did not adhere to any school or any group, being wary of artistic chimeras. From the 1920s onwards, Miró expressed his desire to "murder painting" and developed innovative practices. His work presents itself as a tool of protest and bears witness to his struggles. He never ceased to grapple with materials in order to affirm the power of the creative gesture. Characterised by this "primitive" energy, he is one of the few artists, with Pablo Picasso, to have launched a challenge to surrealism and abstraction (which he always considered a dead end). An inventor of forms, Miró translates into poetic and powerful terms the freedom of which he was so fiercely jealous and uses the full force of painting.
I do not have long to live, and I must dedicate all my time to painting,’ wrote Claude Monet in a 1918 letter to the Parisian art dealer, Georges Bernheim. ‘I don’t want to believe that I would ever be obliged to leave Giverny; I’d rather die here in the middle of what I have done.’
Monet would survive these words by a number of years, but they reflect his precarious state of mind in the summer when he was working on LeBassin aux nymphéas. He was approaching 80 — well beyond the life expectancy for men of his generation — and suffering increasingly with cataracts in both eyes. The First World War was also entering its final phase, the Germans recently having launched their Ludendorff Offensive on the Western Front: a last-ditch effort at victory before newly-arriving US troops could be fully deployed on the Allied side.
The Germans’ advance was swift and effective, with Paris now within reach of their long-range guns. As, just about, was the village of Giverny, located slightly to the west of the French capital and a place Monet had called home since 1883.
Monet was an avid gardener, and much of his time at Givernywas spent in his sizeable garden. Peonies and red geraniums jostled for attention with pansies and yellow roses. His most famous horticultural feat, though, was creating a water garden, complete with a lily-covered pond, which, over the decades, he’d paint around 250 times.
By the turn of the 20th century, the pond became the almost-exclusive subject of Monet’s art, inspiring an outpouring of creativity that, for many, marks the summit of his career. A 1909 exhibition of 48 of his water-lily paintings, at Galerie Durand-Ruel in Paris, left art critics purring at how close to abstraction they looked. ‘His vision is increasingly limiting itself to the minimum of tangible realities, in order… to magnify the impression of the imponderable,’ wrote Jean Morgan in daily newspaper, Le Gaulois.
Monet wasn’t an artist to rest on his laurels or repeat past successes, however, and in 1918 he ordered a set of 20 large canvases in elongated, horizontal format (roughly a metre high by more than two metres wide). He duly began work on a new, compositionally connected group of paintings, where lily pads are clustered towards the lateral edges and a burst of sunlight makes its way in a vertical band down the centre, before spillingout into a broad pool at the bottom.
He’d complete 14 works of this type, Le Bassin aux nymphéas among them. In that particular painting, he unified the scene’s elements by adopting a diaphanous veil of colour all over, laid down with a light, transparent touch.
‘Monet saw the canvases as forerunners... of his late, water-lily Grandes Décorations’ — Paul Hayes Tucker, curator
For Paul Hayes Tucker, the curator of a number of exhibitions on the French master, including Monet in the 20th Century at the Museum of Fine Arts, Boston, and Royal Academy of Arts, London, in the late 1990s, ‘this [suite of] canvases has a physical and emotional expansiveness’ that earlier water-lily paintings lacked.
Work on them proceeded rapidly, and in August 1918 Monet invited the dealer René Gimpel to Giverny for a private viewing. An enthused Gimpel remarked that ‘it was as though [he] were present at one of the first hours of the birth of the world.’ He saw neither horizon nor shore, being thrown into the midst of a seemingly limitless scene ‘without beginning or end.’
Twelve of the 14 paintings are extant today, the most recent example to appear on the market — another LeBassin aux nymphéas— fetching £40.9 million ($80.4 million) at auction in 2008, which at the time represented a new world auction record for the artist.
According to Tucker, there’s a final reason the 14 works are important: the likelihood that ‘Monet saw the canvases as forerunners... of his late, water-lily Grandes Décorations’. Monet completed this ensemble of 22 mural-sized paintings shortly before his death in 1926 and donated them to the French state. Totalling more than 90 metres in length, they boast the same elongated, horizontal format as Le Bassin aux nymphéas (albeit on a larger scale)and are displayed, as per the artist’s wishes, like a panoramic frieze, wrapped around a circular room.
‘Between the winter of 1886 and the summer of 1887 Van Gogh effectively crossed the divide into contemporary art.’ – Richard Kendall, art historianand curator at large at the Clark Art Institute
Vincent Van Gogh, Coin de jardin avec papillons, oil on canvas, 1887
New York – On 11 November Christie’s will offer the painting that marked the moment Vincent Van Gogh ‘crossed the divide into contemporary art,’ Coin de jardin avec papillons, 1887 (estimate on request).
Presented at auction for the first time, Coin de jardin avec papillons possesses a sweeping exhibition history. Most recently, it was exhibited as a focal point of ‘Van Gogh & Japan,’ a travelling exhibition that explored the artist’s fascination with Japonism, and the significant impact it had on his work. ‘Van Gogh and Japan’ toured to the Van Gogh Museum in Amsterdam, the Hokkaido Museum of Modern Art in Sapporo, the Tokyo Metropolitan Art Museum and The National Museum of Modern Art in Kyoto throughout 2017 and 2018. Van Gogh’s Coin de jardin avec papillons will return to Japan once again for a presale exhibition at Christie’s Tokyo from 10-11 October.
David Kleiweg de Zwaan, Senior Specialist, Impressionist and Modern Art at Christie’s, remarked: “The two years that Van Gogh spent in Paris, from March 1886 until February 1888, represent a pivotal period in his career, during which he assimilated a host of diverse artistic currents and forged a deeply personal style. With its range of creative influences, from pointillism to Japanese prints, the present painting exemplifies the experimental zeal of the era. Van Gogh’s Coin de jardin avec papillons is a key example of his innovative and radical style.”
‘What people demand in art nowadays is something very much alive, with strong colour and great intensity,’ wrote an exhilarated Van Gogh to his sister Wil in the summer of 1887. The cause of the Dutch painter’s excitement was the discovery of a groundbreaking new art movement that had exploded onto the Parisian art scene in the 1870s. ‘In Antwerp I did not even know what the Impressionists were,’ he wrote to a friend. ‘Now I have seen them and though not being one of their club yet I have admired certain Impressionist pictures.’
Out went the earthy tones and studied gravity and in came a series of richly-coloured landscapes and still lifes alive with the spontaneity of plein air painting, and the stylistic influence of Japanese wood block prints. As he studied the colour theories and gestures promoted by artists like Georges Seurat, his brushstrokes became looser and his palette became brighter.
Executed between May and June 1887, Coin de jardin avec papillons marks this crucial turning point in the artist’s career. Painted at a time when experiments in photography were pushing the boundaries of pictorial conventions, it is nature in close-up — a profound departure from the traditional landscape. At its centre, six butterflies dart between the foliage, their wings iridescent spots of white and red.
Interestingly, the park Van Gogh used for Coin de jardin avec papillons was in Asnières, a small Paris suburb on the banks of the Seine, which in the mid-1800s became a popular destination with day-trippers. Here, Van Gogh became acquainted with many of the younger Post-Impressionists, including Emile Bernard and Paul Signac. They inspired him to adopt some of their experimental techniques, particularly Pointillism, which Van Gogh had first encountered at the eighth Impressionist exhibition in 1886.
Yet Van Gogh was never one for structure or rules. Under his brush, Seurat’s neatly ordered dots were willfully slackened and applied with a furious intensity. What Seurat thought of Van Gogh’s very personal twist on his invention is not known, but it did not seem to bother Signac, who became a friend of Van Gogh’s and was intrigued by his feverish passions.
As the summer came to an end, Van Gogh’s attention turned south, toward Arles. Coin de jardin avec papillons anticipates the garden paintings he would make in the asylum at St Rémy in 1888 following a mental breakdown, and the butterflies are a fitting metaphor for the fragility of his own life.
In the Van Gogh & Japan exhibition catalogue, art historian Cornelia Homburg describes Coin de jardin avec papillons, stating: “There are no other fully fledged works from Paris that show a similarly concentrated focus and attention to detail as in this extraordinary canvas.”
Originally held in the collections of Theo van Gogh and his descendants, Coin de jardin avec papillons also belonged to Joseph Reinach, the 19th-century French journalist and politician best known as the public champion of artillery officer Alfred Dreyfus.
The Fralin Museum of Art at the University of Virginia
Oct. 19, 2018-Jan. 27, 2019
This rare exhibition explores Georgia O’Keeffe’s watercolor studies produced during her time at the University of Virginia (UVA) and will include several key sketches and paintings as well as other works demonstrating her developing style. While in Charlottesville in the summers from 1912 to 1916, O’Keeffe displayed an early attraction to modernism and abstraction, using her surroundings on the Grounds of UVA to investigate simplified and refined compositions. During her time at UVA, O’Keeffe’s work showed a dramatic shift to the ideas of modernism. In 1912 she took a summer course taught by Alon Bement who introduced her to the revolutionary ideas of Arthur Wesley Dow, his colleague. Dow encouraged imagination and self-expression versus literal interpretation.
Untitled (Rotunda -University of Virginia) Scrapbook U of V, 1912-1914 Georgia O’Keeffe Watercolor on paper 11 7/8 x 9 (30.16 x 22.86) Georgia O’Keeffe Museum Gift of The Georgia O’Keeffe Foundation (2006.05.608) Copyright Georgia O’Keeffe Museum
Significance: This is the first time these watercolors have been on view outside the Georgia O’Keeffe Museum in Santa Fe, New Mexico. Unexpected O'Keeffe: The Virginia Watercolors and Later Paintings emphasizes an understudied period of the artist’s development. The exhibition is a catalyst for new scholarship on this period in O’Keeffe’s life through a graduate seminar led by Elizabeth Hutton Turner, professor of modern art at the University of Virginia.
Curator: Unexpected O'Keeffe: The Virginia Watercolors and Later Paintings is organized by Elizabeth Hutton Turner, Professor of Modern Art at the University of Virginia and Matthew McLendon, J. Sanford Miller Family Director of The Fralin Museum of Art with contributions from Professor Turner’s students, and works on loan from the Georgia O’Keeffe Museum, The Phillips Collection, and the Museum of Fine Arts St. Petersburg.
Thomas Gainsborough, Thomas Linley the elder, c. 1770, oil on canvas, 76.5 x 63.5, DPG140. By Permission of Dulwich Picture Gallery, London.
By bringing together some of Thomas Gainsborough’s finest portraits of his friends in the theatre, this exhibition will create a conversation between the leading actors, managers, musicians, playwrights, designers, dancers and critics of the 1760s-80s. Gainsborough & the Theatre explores themes of celebrity, naturalism, performance and friendship through some of the most touching likenesses by ‘the most faithful disciple of Nature that ever painted’.
Bringing together some of Gainsborough’s finest portraits of leading actors, managers, musicians, playwrights, designers, dancers and critics of the 1760s-80s, this exhibition will explore themes of celebrity, naturalism, performance and friendship.
Gainsborough and the Theatre will include 37 objects, including 15 oil portraits by Gainsborough, works on paper (including satires, views of theatres and playbills) and ephemera from public and private collections across the UK.
Following the Restoration of the Monarchy in 1660, theatre became an increasingly popular pastime, with existing playhouses enlarged and others newly commissioned throughout London and the provinces – particularly in Bath, where the Holburne Museum is located. In 1759, 32-year old Gainsborough arrived in Bath, accompanied by his wife and two daughters. Having already garnered a reputation as a skilled portraitist, he soon found a keen clientele among Bath’s fashionable (and well-off) visitors.
Gainsborough’s arrival in the West Country coincided with the rising wealth and social status of leading actors, such as James Quin and David Garrick, both of whom he painted. His friendship with the pair opened more doors for him, both in Bath and then later in London. The two actors also enabled Gainsborough to explore naturalism in portraiture, just as they and their contemporaries were turning to less artificial forms of performance in theatre, music and dance.
Catalogue
Based on new research this fascinating book draws together a group of works from public and private collections to examine, for the first time, the relationship that Thomas Gainsborough (1727–88) had with the theatrical world and the most celebrated stage artists of his day, such as James Quinn, David Garrick and Sarah Siddons. Gainsborough painted notable portraits of these and twenty others, including dramatists, dancers and composers. This publication firmly establishes the artist's place within the theatrical worlds of Bath and London and will show why the art of ballet, and in particular Gainsborough's sitters, rose to prominence in 1780 and examines parallels between Gainsborough's much admired painterly naturalism and the theatrical naturalism of Garrick and Siddons with whom he had personal friendships.
Pinakothek der Moderne Staatliche Graphische Sammlung München ‐
It was in monumental painting that Italian art reached its apogee. Michelangelo’s Sistine Chapel ceiling and ‘Last Judgement’, the frescoes of Raphael, Pietro da Cortona and Tiepolo are among the most memorable creations of the human imagination.
One of the earliest exponents of Italian monumental art was Andrea Mantegna, among whose major works is the ‘Triumph of Caesar’, made up of ten, large-scale panels which were originally mounted on one wall.
Around 1500, Mantegna, ever the innovator, also produced a version of this work as a copper engraving (fig.).
Andrea Mantegna, Triumphzug Cäsars, Senators
From then on, wall and ceiling paintings of all sorts were reproduced as prints. Out of an old art form a new one was born, one whose aim was to translate large and complex works into a format which was easy to comprehend and to handle. The printed sheets could be admired anywhere and they conveyed the concept of the artworks they represented in a way which was easier to grasp than the originals themselves. The exhibition presents around 120 works which are astonishing for their size and for their extraordinarily striking appeal as fully developed works of art.
“Franz Marc and August Macke: 1909-1914” is an exhibition that explores the life and work of two German artists and the power of their friendship. In the four years prior to Macke’s death in 1914 (Marc himself died in 1916), they wrote each other scores of letters, visited each other’s homes, traveled together, and often discussed the development of their work. They shared ideas about art, and through their innovations helped create the movement known as Expressionism in early twentieth-century Germany. The exhibition will focus on Marc and Macke’s artistic relationship, how their lives intersected, and how their art was developed and received during their lifetimes.
Featuring approximately 70 paintings and works on paper, “Franz Marc and August Macke” is comprised of loans from public and private collections worldwide. While Marc has received acclaim in the United States, Macke has not become well known. This presentation at Neue Galerie New York is the first time that Macke’s work will be shown in an American museum exhibition, and the first exhibition in the United States on the relationship between these artists.
Hardcover 208 pages; 159 color illustrations, 23 b/w illustrations Prestel, 2018 9.5 x 1 x 11.5 inches ISBN 9783791358291
It includes contributions by leading scholars in the field, including Vivian Endicott Barnett, Erich Franz, Ursula Heiderich, Annegret Hobert, Isabelle Jansen, and Olaf Peters.
“Franz Marc and August Macke: 1909-1914” is organized by the Neue Galerie New York and the Musées d’Orsay et de l’Orangerie, Paris.
The curator for the Neue Galerie is independent scholar Vivian Endicott Barnett. After its presentation in New York, the exhibition will travel to Paris, where it will be on view at the Musée de l’Orangerie from March 6 to June 17, 2019. This exhibition is made possible in part by the Neue Galerie President’s Circle.
Image captions: Franz Marc (1880-1916) The First Animals/Die ersten Tiere (detail), 1913 Gouache and pencil on paper Private Collection
August Macke (1887-1914) Strollers at the Lake II/Spaziergänger am See II (detail), 1912 Oil on canvas Neue Galerie New York This work is part of the collection of Estée Lauder and was made available through the generosity of Estée Lauder
August Macke (1887–1914), Four Girls, 1913. Oil on canvas. Museum Kunstpalast, Düsseldorf. Photo: Museum Kunstpalast – Horst Kolberg – ARTOTHEK.
Franz Marc, The Dream [Der Traum], 1912, Museo Thyssen-Bornemisza, Madrid
Franz Marc (1880–1916), The Yellow Cow, 1911. Oil on canvas. Solomon R. Guggenheim Museum, New York. Solomon R. Guggenheim Founding Collection.
From October 2 to January 13, 2019, the Kunsthistorisches Museum in Vienna presents the first-ever major monograph show dedicated to the greatest Netherlandish painter of the sixteenth century: Pieter Bruegel the Elder (c. 1525/30‒1569). The exhibition commemorates the 450th anniversary of his death.
During his lifetime, Pieter Bruegel the Elder was already among the period’s most sought-after artists, with his works achieving exceptionally high prices. Only about forty paintings and sixty prints by him are all that has come down to the present day. The twelve panels in the Kunsthistorisches Museum are by far the largest collection of Bruegels in the world, a fact owed to 16th century Habsburg connoisseurs who already appreciated the exceptional quality of his works and strove to acquire these prestigious paintings.
Bruegel revolutionised landscape and genre painting, and his compositions continue to elicit varied and controversial interpretations. The depth and breadth of his pictorial world and the perceptive powers of observation he employs in his depictions of quotidian life continue to fascinate all who encounter his works.
Museums and private collectors count Bruegel’s works among their most precious and fragile possessions. Most of the panels have never been loaned for an exhibition. By bringing together over 90 works by the master, the exhibition in Vienna has assembled for the very first time a comprehensive overview of Bruegel’s oeuvre: comprising around 30 panel paintings (i.e. three quarters of extant paintings) and almost half of his preserved drawings and prints, the show offers visitors a once-in-a-lifetime opportunity to immerse themselves in the artist’s complex pictorial world, to study his stylistic development and his creative process, and to get to know his method of work, his pictorial humour and his unique narrative powers.
The highlights in the exhibition include, for example,
and The Painter and the Connoisseur from the Albertina in Vienna.
Bruegel’s works will be arranged both chronologically and by theme, allowing visitors to study and appreciate his stylistic development and the impressive variety of his oeuvre. The galleries will showcase both his masterpieces and series and groups reunited for the first time in centuries; in the smaller adjoining rooms we present the findings of recent comprehensive technological analyses, offering profound insights into the works’ evolution. We look at both Bruegel’s artistic beginnings as a draughtsman and graphic artist, and his innovations and vital contributions to the evolution of landscape painting.
One section of the show will focus on his religious works, bringing together numerous masterpieces including The Triumph of Death and Dulle Griet, (both above) both especially restored for this exhibition.
For the first time, Christ carrying the Cross, his largest panel and one that has also retained its original format, will be on show unframed and displayed so that both its back and front are visible – as though visitors were looking over the painter’s shoulder, seeing and appreciating the fragility of the wooden support and how it was constructed, and the outstanding quality of handling and paint layer, their perfection being one of the reasons Bruegel’s paintings have survived four and a half centuries.
A smaller room showcases works featuring a wealth of miniaturelike details and looks at Bruegel’s training as a miniaturist; its focal point will be the first-ever confrontation of both depictions of The Tower of Babel since they were in the collection of Emperor Rudolf II.
A selection of contemporary artefacts depicted in Battle between Carnival and Lent invites visitors to appreciate the wealth of details included in these compositions, to comprehend the meaning of the individual scenes, and to appreciate Bruegel’s unrivalled skill in capturing the material quality of depicted objects. We also question the painting’s traditional moralistic interpretation and showcase Bruegel’s perceptiveness as a social critic.
Using
Winter Landscape with a Bird Trap
and Massacre of the Innocents
as the starting point, the show looks at Bruegel and his workshop.
The final gallery presents Bruegel’s late works, offering a nuanced look at the artist long called 'Peasant Bruegel'.
Even after the exhibition ends, a free website www.insidebruegel.net will for the first time offer profound insights into the paintings of Pieter Bruegel the Elder based on the most recent technological analyses of his works. Here visitors can interact with the master’s pictures using state-of-the-art technology, navigate the collection and study Bruegel’s complex pictorial world in unrivalled detail.
Pieter Bruegel the Elder The Return of the Herd ( Detail ) 1565 // oak panel, 117 × 159.7 cm // Vienna, Kunsthistorisches Museum, Picture Gallery, inv. no. 1018
David Hockney’s large-scale painting Montcalm Interior with 2 Dogs from 1988, a highly regarded period within the artist’s career, will highlight their Contemporary Art Evening Auction in New York on 14 November 2018. The work comes to auction from the collection of legendary television producer and writer Steven Bochco, who acquired it in 1997, and appears at auction for the first time this fall with an estimate of $9/12 million.
Jacqueline Wachter, Sotheby's Vice President of Private Sales, Contemporary Art, said:
“We are thrilled to present this dynamic Los Angeles interior to collectors on the West Coast next week and to bring it to auction for the first time in November. Los Angeles has played a major role in Hockney’s life and work, and this painting is an excellent illustration of that relationship. This piece is also one of the greatest Hockney’s to be kept in a private California collection, out of public view for the last 20 years. It is a particular privilege to offer this painting from the collection of the late Steven Bochco – himself a legend of the entertainment industry and of the city of Los Angeles."
Lit with the bright glow of California sunshine, Montcalm Interior with 2 Dogs encapsulates Hockney’s evolution in the tradition of interior painting, while also displaying his unique interpretation of the genre. Painted in 1988 – the same year as his first, critically-acclaimed U.S. retrospective at the Los Angeles County Museum of Art – the canvas captures a room within Hockney’s Montcalm Avenue home in Los Angeles, which he purchased in the summer of 1979.
This home went on to inspire a number of the artist’s most iconic paintings of the late-1980s, including the sister painting to the present work,
Large Interior, Los Angeles, which has been held in the collection of The Metropolitan Museum of Art in New York since 1989. Montcalm Interior with 2 Dogs was featured prominently in the artist’s 1992-93 retrospective organized by Fundación Juan March, Madrid, which traveled to both the Palais des Beaux-Arts, Brussels and the Palau de la Virreina, Barcelona. The work has not been exhibited publicly since.
At once highly personalized and deeply rooted in art historical tradition, Montcalm Interior with 2 Dogs exemplifies Hockney’s ability to merge the painterly techniques of the past with his own distinctive, inventive, and remarkably intimate experience of reality. Painting with vivid brushstrokes and vibrant, raw colors that clearly evoke the post-Impressionist masters whom he greatly admired, Hockney flattens space to enhance the emotional and physical immediacy of the viewing experience. In this way, Montcalm Interior with 2 Dogs showcases the rich, saturated color application and deft handling of space that are characteristic of Hockney’s greatest paintings.
On 14 November, Sotheby’s will present works by O’Keeffe in a Contemporary Art Evening Auction for the first time: A Street from 1926, one of the most psychologically penetrating paintings from the artist’s rare and distinguished series of New York cityscapes (estimate $12–18 million), and Calla Lilies on Red from 1928, a vibrant depiction of the flower with which O’Keeffe would become synonymous (estimate $8–12 million).
Our American Art Auction on 16 November will feature Cottonwood Tree in Spring from 1943, which reveals the profound inspiration O’Keeffe gleaned from the American Southwest (estimate $1.5–2.5 million).
Robert A. Kret, Director of the Georgia O’Keeffe Museum, said:
“Museum leadership, with the endorsements of the donors and Board of Trustees, selected these works to de-accession after very careful and thoughtful consideration. Removing an artwork from the collection is never an easy thing for any museum to do, but it is an integral part of good collections management to continually build and refine our holdings.”
Georgia O'Keeffe, A Street, 1926. Estimate $12,000,000–18,000,000.
“A Street, Calla Lilies on Red, and Cottonwood Tree in Spring represent some of O’Keeffe’s most beloved subjects. They are bold, strong, wonderful paintings that epitomize everything that made Georgia O’Keeffe a master of American Modernism.”
Cody Hartley, Senior Director, Collections and Interpretation, Georgia O’Keeffe Museum
Grégoire Billault, Head of Sotheby’s Contemporary Art Department in New York, said:
“Georgia O’Keeffe remains one of the most singular artistic voices of the last century – nothing looks like an O’Keeffe – and the diversity of this particular group of paintings touches upon the breadth and depth of her iconic career. Her images are not only an essential part of American culture, but are now appreciated on an international stage among the great works of her time. We are thrilled to present these superb paintings in a new and wider context this November, sparking dialogues between O’Keeffe’s work and that of artists spanning the 20th and 21st centuries. It is a great privilege for Sotheby’s to work with the Georgia O’Keeffe Museum again this fall.”
In May 2014, Sotheby’s sold Georgia O’Keeffe’s iconic flower painting Jimson Weed/White Flower No. 1to benefit the Georgia O’Keeffe Museum’s Acquisitions Fund. The painting achieved a remarkable $44.4 million, setting a world auction record for any work by a female artist that still stands today. Jimson Weed/White Flower No. 1 now resides in the collection of Crystal Bridges Museum of American Art in Bentonville, Arkansas, and was the star of the blockbuster retrospective Georgia O’Keeffe at the Tate Modern and Art Gallery of Ontario in 2016–17.
Painted In 1926, A Streetis one of the most physically imposing and psychologically penetrating works from the distinguished series of New York cityscapes that Georgia O’Keeffe created between 1925 and 1929. Critics now regard this small but powerful series of some 20 works as standing among the most satisfying, painterly, and memorable of her career. The cityscapes stand as both a personal and universal expression of the ambivalence of urban existence – the simultaneous glorification and condemnation of the overwhelming human and mechanical energy of a city.
Georgia O'Keeffe, Calla Lilies on Red, 1928. Estimate $8,000,000–12,000,000.
O’Keeffe began her New York life in 1918. Following her marriage to the influential photographer and gallerist Alfred Stieglitz in 1924, the couple moved to an apartment building on East 58th Street. It was here that O’Keeffe began her fascination with the skyscraper, observing the construction of the Shelton Hotel at Lexington Avenue and 49th Street in Midtown Manhattan – a building the couple moved into in 1925. The identifiable buildings from her subsequent cityscapes were all found within walking distance of the Shelton, which the artist often presented as simplified masses – isolated icons of New York’s unique modernity.
When O’Keeffe began her cityscapes, Stieglitz cautioned her against what he considered a man’s topic. They stood in stark contrast to O’Keeffe’s sinuous abstractions and flowers, and represented a bold challenge to her male contemporaries and critics. The series served as inspiration for Joan Mitchell’s rebellious cityscapes from the early 1950s – among others – which similarly revolt against the stereotypical hyper-masculinity of Abstract Expressionism.
Between 1918 and 1932, Georgia O’Keeffe created more than 200 flower paintings. But it was arguably in the calla lily that the artist found her ideal motif, one that provided the perfect synthesis of subject and form that now defines her most celebrated work.
O’Keeffe painted Calla Lilies on Redin 1928. She would ultimately depict the calla lily eight times in this period, both in oil and pastel, revisiting the blossom on each occasion with a new viewpoint or altered perspective. In the present work, she emphasizes the verticality of the flower’s delicate form by presenting an elongated picture plane with its sensuous petals at center. She utilizes vibrant hues of red and green, which contrast dramatically the white flower, to imbue the canvas with energy and vitality, and emphasizes the simple elegance of the flower’s curves by reducing extraneous details.
Georgia O'Keeffe, Cottonwood Tree in Spring, 1943. Estimate $1,500,000–2,500,000.
O’Keeffe started to visit New Mexico regularly in 1929 when, in an effort to escape city life, she left New York to spend the summer there. While the stark simplicity and expansiveness of the desert landscape always strongly appealed to O’Keeffe’s artistic sensibilities, this particular trip proved transformative for her both personally and artistically.
Works such as Cottonwood Tree in Spring reveal the profound inspiration O’Keeffe gleaned from the American Southwest. The sublime beauty of the landscape provided a free range for her imagination, and she would continue to investigate its imagery for the remainder of her life, returning almost every summer until 1949 when she made Abiquiu her permanent home. While the artist had always utilized the natural world as the basis for her unique visual language, in New Mexico her art gained an even deeper intimacy and, in works such as Cottonwood Tree in Spring, it transcends a literal study of nature to evoke the spiritual connection she felt with her adopted home.
Working with prominent gallerists and auction house specialists, the Klappers steadily acquired important examples of Old Master paintings, Impressionist, and Modern art. The couple carefully curated their assemblage to focus on the very best by artists such as Pablo Picasso, Auguste Rodin, Jean Arp, Claude Monet, Pieter Brueghel the Younger, Paul Cézanne, Pierre-Auguste Renoir, and Edgar Degas.
Leading the collection is Claude Monet’s L’escalier à Vétheuil, 1881 ($12-18 million) – pictured left. With its extraordinary profusion of flowers and foliage, this sun-drenched canvas captures the splendor of high summer in Monet’s garden at Vétheuil, a rural hamlet that the artist called home from 1878 until 1881. The staircase at the center of the canvas acts as the compositional anchor for a series of four closely related views of the house and garden, which Monet created during the height of the summer sunshine.
The present L’escalier à Vétheuil was most likely the first in the series to be created, its close-up view of the unpopulated steps suggesting that the artist set his easel on the upper terrace to capture the view. The decorative quality of the Vétheuil garden scenes very clearly appealed to the contemporary market. Monet sold all three of the plein air canvases within a year or two of their execution, retaining only the National Gallery studio variant for himself. The first owner of the present version was the Pennsylvania Railroad tycoon Alexander Cassatt, the brother of Impressionist painter Mary Cassatt and a pioneering American collector of the New Painting; the canvas entered his collection around 1883, when Monet’s work was still little known across the Atlantic. In the spring of the same year, Monet and his extended family moved downriver to Giverny, where the artist’s garden as a subject for modern painting would eventually reach its apogee. L’escalier à Vétheuil is the last of the four from the series remaining in private hands: one version hangs in the National Gallery in Washington; D.C., another is in the Norton Simon Museum in Pasadena; and the third was bequeathed by the legendary California businessman, philanthropist and collector, A. Jerrold Perenchio, to the Los Angeles County Museum of Art in 2014.
Picasso’s inspiration in creating the pastel Femme accoudée, 1921 ($10-15 million) – pictured on right – was twofold, as he pursued parallel interests in matters of subject and style. The sitter is the artist’s wife Olga, née Khokhlova, whom he met in 1917 while she was a leading dancer in Serge Diaghilev’s Les Ballets Russes. They married the following year, and soon after took an apartment on the rue la Boétie, the new epicenter of the Parisian art trade. Sales were making Picasso a wealthy man. On 4 February 1921, Olga presented her husband, with a son as his first-born, the sole male heir on his side of the Ruiz-Picasso family. The grateful artist celebrated the event in a series of maternity drawings and paintings, while also honoring Olga as a timeless model of graceful, fruitful femininity in figure paintings and portraits.
Picasso typically relished the idea of working against the grain of convention, and contravened “the call to order” in the aberrant facial and body proportions he chose to employ in his classical figures. In Femme accoudée, Picasso subjected Olga’s finely boned Slavic features to subtle rococo distortions, widening the space between her eyes while miniaturizing her lips. Present here, too, as a hallmark of Picasso’s classical manner, is the apparent enlargement of the sitter’s arms and hands. Such anti-naturalistic elasticity in plastic forms stems from precedents in Picasso’s earlier figurative styles, as well as his cubist practice, and would prevail throughout his subsequent oeuvre.
Painted on 28 November 1924, Pablo Picasso’s Buste de femme au voile bleu ($8-12 million) – is among the last of a series of elegant and hauntingly enigmatic neoclassical portraits that the artist painted during the early years of the decade. The sitter’s dark hair, pensive, melancholy gaze, and fine, flawlessly chiseled features immediately bespeak the presence and character of Olga Khokhlova. This painting showcases the culminating, subtle power of expression that Picasso could summon forth while working in the urbane and coolly sensual style of portraiture Olga had inspired in his work. Within months, the artist’s decade-long fascination with classicism would give way to an utterly transformative immersion in the convulsive intensity of the surrealist revolution.
Painted in 1896, Danseuse ($6-8 million), is among Henri de Toulouse-Lautrec’s most notable works in the ballet theme. As Lautrec stepped into his studio, he gazed upon his model as she was adjusting the layers of tulle in the ballet tutu she had just put on, in preparation for their working session together. Leaning toward a large mirror, the young woman would have appeared to the artist as if she were bowing to an audience. Her off-center posture, the angled polygon of her shoulders and bent back arms created an impromptu and pictorially perfect contrapposto effect. Quickly appreciating the beauty of the moment, Lautrec would paint his model in precisely this way. The result is this quiet, mysterious painting, a fortuitous success of timing and observation, a sensitive evocation of a lone figure in an intimate, moody ambience. Lautrec’s Danseuse includes in its distinguished provenance the renowned German-born dealer Justin K. Thannhauser, whose collection was given its own wing in The Solomon R. Guggenheim Museum, New York. A subsequent owner was Arthur Murray, a specialist in ball-room dancing, who developed lessons and trained instructors in this activity. In 1938 Murray founded the dance studio franchise that bears his name.
Sotheby’s announced a few more works in its World War I-themed sale within a sale, The Beautiful and Damned. Today’s announcement includes an Oskar Kokoschka and Ernst Ludwig Kirchner work. Each work is being restituted and will be sold with an estimate of between $15 and $20m.
Sotheby’s is honored to announce that two Modern masterworks recently restituted to the heirs of art-world luminary Alfred Flechtheim will highlight theirImpressionist & Modern Art Evening Sale in New York on 12 November 2018.
Among the finest examples by their respective artists ever to appear at auction, Oskar Kokoschka’s portrait ofJoseph de Montesquiou-Fezensac from 1910 (estimate $15/20 million) and Ernst Ludwig Kirchner’s compelling Das Soldatenbad (Artillerymen) from 1915 (estimate $15/20 million) both encapsulate the seismic shifts occurring in visual arts during the period leading up to and including the onset of World War I. They also serve as testaments to Flechtheim’s passion for collecting exceptional Expressionist works.
In addition to their inherent art historical significance, both paintings are distinguished by their illustrious provenance and remarkable stories of restitution to Flechtheim’s heirs. Prior to its restitution earlier this year, Kirchner’s Das Soldatenbadhad resided in the distinguished collection of the Solomon R. Guggenheim Museum in New York for three decades, and in The Museum of Modern Art prior to that. Like the Kirchner,Kokoschka’s Joseph de Montesquiou-Fezensac was voluntarily returned to Flechtheim’s heirs in 2018 by the Moderna Museet in Stockholm. As in the past, the Flechtheim heirs are expecting to use some of the proceeds for charitable causes, and for Holocaust remembrance and education purposes.
Sotheby’sThe Triumph of Color: Important Works from aPrivateEuropeanCollection in theauctionsof Impressionist & Modern Art this November in New York.
Puttogether primarilyinthe1970sand‘80s,thecollectiontodayrepresentsoneofthefinestassemblagesofpost-ImpressionistandModernArtinprivatehands.Thecollection is defined by three superb masterworks by Wassily KandinskyandrareworksbythekeyprotagonistsofFauvismandGermanExpressionism.
Severalofthepaintingswere loanedtotheCourtauldInstituteofArtinLondonforoverfifteenyears,wheretheyprovideda unique display of works from the Fauve movement, the Expressionists and the route to Abstraction in the early-20th century.
Helena Newman, Head of Sotheby’s Worldwide Impressionist & Modern Art Department, commented: “Infusedwithanintensityofcolorandexpression,thiscollectionofworksprovidesarareand excitingopportunitytoacquireseveralexceptional examplesofearly-20thCenturyArt.ItisunprecedentedforthreemajorpaintingsbyKandinsky,eachfromakeymomentintheartist’screativity,toappearatauctiontogether,andcomplementedbystunningexamplesbytheFauvesand the German Expressionists, the collection encapsulates the triumph of color in art at the start of the 20th century.’’The three major paintings by Wassily Kandinsky chart the artist’s development across four decadesfrom the earliest successes to his greatest achievements.
Wassily Kandinsky, Zum Thema Jüngstes Gericht (detail). Painted in 1913. Estimate $22/35 million. Courtesy Sotheby's.
The group is led by one of the last 1913 oil paintings left in private hands, Zum Thema Jüngstes Gericht, a unique composition from this prime year of Kandinsky’s career, during which he reached the summit of his path to Abstraction (estimate $22/35 million).
Wassily Kandinsky, Le rond rogue. Painted in 1939. Estimate $18/25 million. Courtesy Sotheby's.
A stunning composition from the artist’s Paris period, painted in 1939, Le rond rouge is an exceptional large-format oil on canvas dating from the exhilarating years he spent in France (estimate $18/25 million).
The core of the collection has always been works by the Fauves, including three outstanding canvases by Maurice de Vlaminck. Paysage au bois mort (estimate $12/18 million), Pêcheur à Chatou (estimate $9/14 million) and Nu couché (estimate $2/3 million) represent the full spectrum of Vlaminck’s greatest achievements. Executed in 1905 and 1906 at the height of the Fauve movement, the three works boast remarkable, thickly-painted surfaces and vivid palettes.
Further highlights include exceptional works by some of the key artists of the German Expressionist movement, including Alexej von Jawlensky, Max Pechstein, August Macke and Heinrich Campendonk. Sotheby’s will offer 33 works in total from the collection across their Evening and Day Sales of Impressionist & Modern Art in New York on 12 & 13 November, together estimated to sell for in excess of $90 million. Highlights are now on view in their London galleries as part of Frieze week exhibitions, and will travel to Hong Kong this fall, before returning to New York for the full viewing of Sotheby’s Impressionist & Modern and Contemporary Art auctions beginning 2 November.
Anearlyabstractmasterpiece,ImprovisationaufMahagoni,waspaintedattheend of the artist’s Murnau period (estimate $15/20 million). A stunning composition from the artist’s
Egon Schiele, Dämmernde Stadt (Die Kleine Stadt II) (City in Twilight (The Small City II)) signed Egon Schiele and dated 1913 (centre left) oil on canvas 35 5/8 by 35 1/2in. Painted circa 1913. Estimate $12/18 million. Courtesy Sotheby's.
DämmerndeStadt(DieKleineStadtII)(CityinTwilight(TheSmallCityII)) will highlight the Impressionist & Modern Art Evening Sale in New York on 12 November 2018.Painted in 1913,Dämmernde Stadt is one of Schiele's finestlandscapesremaininginprivatehands,with comparableworksnowprincipallyfoundinmuseumcollections.Thedreamlikeviewabovethecityof Krumau -birthplaceoftheartist'smother- documentsthepivotalperiodduringwhichSchieleestablishedhissingularandnow-iconicvisuallanguage,afteryearsofshadowinghismentorGustav Klimt.Independent of its art historical importance, the work isdistinguishedbytheremarkablefamilyhistoryithasbroughttolife.DämmerndeStadt waspurchasedin1928byElsaKoditschek,ayoung Jewish widowlivinginVienna.DuringthecourseofherharrowingpersecutionbytheNazisfollowingtheannexationofAustriain1938,theworkwasforciblysoldinpaymentofallegeddebtstotheveryperson who helped Elsa survive. Sotheby's will present the work this November as the resolution of a joint and private restitution between the present owners and Elsa's heirs.Elsa's story is told today through an extensive and incredibly rare family archive of correspondence shewrotethroughoutthewarandforyearsafter.However,herheirshadremainedunawareofthelandscape until recent years, when Sotheby's research on an unrelated picture uncovered reference totheKoditschekname.LucianSimmons,Sotheby'sWorldwideHeadofRestitution,andAndreaJungmann,
ManagingDirectorofSotheby’sAustria,initiated a dialogue between the family and the present owners that has ultimately resulted in the present offering.Dämmernde Stadt is now on public view in Sotheby's London galleries for the first time in nearly 50 years,through9October.ThelandscapewillreturntoourNewYorkheadquartersforthefullexhibitionsofourImpressionist&ModernandContemporaryArtauctions,whichopenon2November. Dämmernde Stadt is estimated to sell for $12/18 million in the 12 November auction.
’DÄMMERNDE STADT (DIE KLEINE STADT II) Theseriesoflarge-scaletownscapespaintedbyEgonSchielebetween1913and1917showhimworkingattheapex of his artistic powers, experimenting with elements ofcomposition,colorandformthatwouldeventuallylead him to Abstraction.Dämmernde Stadtdepictsthesmall,medievaltownofKrumau,thebirthplaceofSchiele’smotherandoneofonly two locations that are the subjects of his celebrated landscapes.ReferredtobySchieleasthe‘‘ deadcity’’ , Krumau’scompactconfigurationwasintriguingtotheartist, who captured its winding streets and crumbling buildings from perched atop the high left bank oftheMoldauriver-knowntodayastheVltavaintheCzechRepublic.Theresultofthisradicalapproachtoperspectiveisaflatpictorialdreamscapethatreflectsbothhishighly-personalized interpretation, as well as his emotional and psychological response to the storied town.Thesestylisticelement smanifestinmyriadcharacteristicsthroughoutthecanvas:theboldly-delineated shapesofbuildings’rooftops;twilightcastinamutedpalette;andwindowsaglowwithbrilliant,jewel-likecolorsreminiscentofGothicstained-glass.InlookingtoaMedievalpast,Schielewas aligned with a contemporary strain of Gothic revivalism. However he was also attuned with the artisticmovementsdevelopingconcurrentlyacrossEuropeatthetime.HisadoptionofthehighviewpointandhisgrowingsensitivitytoformalrelationssuggestthathewaslookingattheworkofPost-Impressionistartists,suchasVincentvanGoghandPaulCézanne.TheinfluenceofKlimt’s experiments with form, and the square format in particular, are also apparent in the present work was aligned with a contemporary strain of Gothic revivalism. However he was also attuned with the artisticmovementsdevelopingconcurrentlyacrossEuropeatthetime.Hisadoptionofthehighviewpointandhisgrowingsensitivityto formalrelationssuggestthathewaslookingattheworkofPost-Impressionistartists,suchasVincentvanGoghandPaulCézanne.TheinfluenceofKlimt’s experiments with form, and the square format in particular, are also apparent in the present work.
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972x609.jpg "Currier & Ives (American, 1834–1907) after Artist Unknown (American, 19th Century), The Great Fire at Boston, Nov. 9 & 10, 1872, 1872. Hand-colored lithograph on paper, 7 15/16 x 12 11/16 in. Clark Art Institute, Gift of J. Thomas Wilson, 1981.23")
![[cliff with narrow triangular face in shadow at left, valley view]](http://news.artnet.com/app/news-upload/2016/08/The-Sentinel-Yosemite-Valley-ca.-1923-1024x768.jpg)
![[dark valley view without waterfall, Half Dome in center distance with pale lcloud above it, layer of pale mackerel clouds above] Do not crop, alter photograph. ALL RIGHTS RESERVED. All scans provided by the Center are solely and specifically for one-time, single use reproduction as noted on CCP Invoice and related documents. NOTE: The Center RETAINS COPYRIGHT on ALL digital reproduction FILES with embedded metadata provided from the Center's Collections (and ANY related derivatives which may be generated by client.) Scans of photographs provided by the Center for the above-detailed one-time reproduction purpose may not be digitally archived by the client, publisher, any subcontractor and/or agent who may be working on this project. All original and derivative digital copies of image files provided must be deleted from all digital storage media once the publication layout itself has been designed and archived.](http://news.artnet.com/app/news-upload/2016/08/CCP_84091086_m-1024x806.jpg)
![Niagara Falls (1818) by Louisa Davis Minot. Oil on linen, 76.2 × 103.2 cm; Gift of Mrs. Waldron Phoenix Belknap, Sr., to the Waldron Phoenix Belknap, Jr., Collection. Collection of the New-York Historical Society, Object 156.4. In the early 19th century, Niagara Falls was considered the epitome of the overwhelming sublime, but the tourists walking the rocks clad in fine suits or dresses indicates this landscape was already tamed and accessible [21]. Image © The New-York Historical Society. Reproduction of any kind is prohibited without express written permission in advance from The New-York Historical Society.](http://www.researchgate.net/publication/307840044/figure/fig4/AS:404090648580101@1473354126982/Niagara-Falls-1818-by-Louisa-Davis-Minot-Oil-on-linen-762-1032-cm-Gift-of-Mrs.png)
Untitled (Rotunda -University of Virginia) Scrapbook U of V, 1912-1914 Georgia O’Keeffe Watercolor on paper 11 7/8 x 9 (30.16 x 22.86) Georgia O’Keeffe Museum Gift of The Georgia O’Keeffe Foundation (2006.05.608) Copyright Georgia O’Keeffe Museum
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