Quantcast
Channel: Art History News
Viewing all 2933 articles
Browse latest View live
↧

18 April Christie’s Prints From The Collection Of The Late Larry Saphire

April 1, 2019, 11:43 am
$
0
0
Salvador Dalí (1904-1989)
Tête de jeune fille
etching, 1924
$30,000-50,000

Joan Miró (1893-1983)
Série noire et rouge: one plate
etching in red, 1938
$20,000-30,000

New York– On 18 April Christie’s will hold an intriguing auction entitled The Arrogant Eye: Prints from The Collection of The Late Larry Saphire as part of the Prints & Multiples auction. The collection includes over 150 works on paper by modern masters such as Picasso, Braque, Miro, Matisse, Dalí, Chagall, Léger, Ernst, Giacometti, Matta, and Masson. Larry Saphire is best known for being the author of the catalogue raisonnés of the prints of Fernand Leger and Andre Masson, compiled whilst running the Blue Moon Gallery in New York. Larry was a Renaissance man and the quintessential collector-dealer. His extensive knowledge of the print medium meant he could spot a diamond in the rough and acquire art that he loved. His wife Tricia Saphire observed that “[Larry’s] cordiality, his avuncular camaraderie, his intellect, mantled his acquisitive passion. If it was good, or rare he wanted to own it. The nominal properties that endow art with value, its signature, its provenance, the arcana that fascinate galleries…were a sideline to his appraisal.”

Prints from the Saphire collection will be on public view in Christie’s Rockefeller galleries from 13 - 17 April. In addition, works on paper from his collection will be sold in the Impressionist & Modern Works on Paper sale on 14 May and in the Picasso Ceramics online auction.

Richard Lloyd, International Head of Prints & Multiples: “It is highly likely that any enthusiast of twentieth century prints and drawings active over the last few decades will have encountered Larry Saphire - either in person or by benefiting from the expertise contained in his monographs on Léger and Masson. Larry’s knowledge and passion made him a formidable operator in the saleroom and a considerable resource of information. The depth and breadth of his interests was a rare thing indeed. His passing may mark the end of an era.”

Highlights from the collection include Tête de jeune fille, an etching from 1924 by Salvador Dalí that is thought to be the only surviving example ($30-50,000), a plate from Joan Miró’s Série noire et rouge, an etching in red from 1938 ($20-30,000) and a hand colored work by Roberto Matta Par la bait-naître ($2-3,000). Two highlights from the collection that will be offered in May are Fernand Léger’s Femme à la feuille ($18-25,000) and André Masson’s Le Philosophe ($15-20,000).

↧
Search

Christie’s New York Evening Sales May 13, May 15

April 1, 2019, 11:54 am
$
0
0

From The Collection Of S.I. Newhouse

Led By An Icon Of 20th Century Art: Rabbit (1986) By Jeff Koons

New York– This May, Christie’s will present 11 extraordinary works from the esteemed Collection of S.I. Newhouse. The selection will be sold across Christie’s New York Evening Sales of Impressionist and Modern Art on May 13, and Post-War and Contemporary Art on May 15.

Representing Newhouse’s globally renowned taste and unfailing instinct for quality and historical significance, these works together trace key developments in the evolution of modern art, from the exceptional compositional inventiveness of
 

Paul Cézanne, Bouilloire et fruits, 1888-1890, oil on canvas. In the region of $40 million
Cézanne’s Bouilloire et fruits, 1888-1890 (estimate in the region of $40 million)



to the quintessential image from Andy Warhol’s incomparable Death and Disaster Series, Little Electric Chair, 1964-1965 (estimate: $6-8 million).

Jeff Koons, Rabbit, 1986, Stainless Steel. Estimate: $50-70 million


However, no work is more emblematic of Newhouse’s intuition for the revolutionary and sublime than Jeff Koons’ earth-shattering 1986 sculpture, Rabbit (estimate: $50-70 million). The group of 11 works is expected to exceed $130 million throughout 20th Century Week.

Tobias Meyer, Advisor to the Newhouse Family: “Si Newhouse was one of the most important collectors of the 20th century and well into the 21st. He personified the rare combination of a great intuitive eye and equally great intellectual curiosity. He read voraciously about the artists he admired, and nothing could stop him once he decided to acquire a work of art that measured up to his exacting standards. Learning from Si was a privilege, and now helping his family is the highest honor of my career. It is a real pleasure to work with these amazing paintings and sculptures.”

Alex Rotter, Chairman, Post-War and Contemporary Art, remarked: “The Collection of S.I. Newhouse is one of the most sought-after groupings of art in private hands, due entirely to the passion that Mr. Newhouse had for unadulterated brilliance, whether that be found within the art that he collected or the magazines that he published. The selection that we are presenting here epitomizes each artist at a pivotal moment in their career, embodying the rebellion and sublimity that established them as pioneers within the canon of art history. This is particularly so of Jeff Koons’ Rabbit, a sculpture which, when it was released in 1986, would not only shake the art world to its core, but alter the course of popular culture as we now know it. For me, Rabbit is the “anti-David,” which signaled the death of traditional sculpture – disrupting the medium in the same way that Jackson Pollock’s Number 31 permanently redefined the notion of painting. From my first day in the auction world - this is the work that has represented the pinnacle of both contemporary art and art collecting to me, and it is an immense honor to be presenting it to the auction market in May.”

For many critics, the creation of Jeff Koons’ Rabbit (estimate: $50-70 million) was a breakthrough within the timeline of art history, signaling the end of all previously held notions of traditional sculpture, and the beginning of a new era for contemporary art. One of an edition of four, the present work is the sole example left in private hands, marking the last opportunity to acquire one of the most significant sculptures of the 20th century.

An object that simultaneously evokes intense feelings of lust, humor and devotion, Jeff Koons’ Rabbit was unveiled at the Sonnabend Gallery’s “New-Geo” exhibition in 1986, instantaneously designating a point of no return. Rabbit appeared as a simultaneously confounding and alluring embodiment of the time in which it was created, a moment that was defined by an explosion of vast personal wealth and an insatiable desire for manufactured popular culture. With its extraordinary mirror-like surface dissolving boundaries between itself and its surroundings, Rabbit reflects not only its immediate environment, but onlookers themselves. Standing before Rabbit, it becomes manifestly clear that this sculpture is a product of the same societal conditions that have shaped the viewer, a revelation that is as seductive as it is vexing.

In decades since Rabbit was introduced, it has become an undisputed icon, recognized around the globe through photos and via direct encounters at major museum exhibitions at landmark institutions, including the Guggenheim Museum Bilbao in Spain; Centre Pompidou, Paris; the Whitney Museum of American Art, New York; Tate Modern, London; the Château de Versailles; The Broad, Museum of Contemporary Art, Chicago; and The San Francisco Museum of Modern Art.

Max Carter, Head of Department, Impressionist and Modern Art, New York, commented: “There was no one like S.I. Newhouse and in his art collection are reflected the extraordinary style, refinement and vision that have had such profound effects on modern culture. To spend time in front of these masterpieces, from the magnificent Cézanne still life to van Gogh’s Arbres dans le jardin de l’asile, is to be inspired. What an honor.”

A still-life of consummate formal inventiveness, Paul Cézanne’s Bouilloire et fruits, 1888-1890 (estimate in the region of $40 million) likewise represents a milestone moment in modern art history. This work embodies the abstract, synthetic vision that made Cézanne’s art a revolutionary aesthetic force for the new avant-garde that coalesced in the early 20th century, an era of prolific invention. “I proceed very slowly,” Cézanne once explained, “for nature reveals herself to me in a very complex form, and constant progress must be made. One must see one’s model correctly and experience it in the right way, and furthermore, express oneself with distinction and strength”. The results of these intensive and prolonged deliberations are immediately apparent in Bouilloire et fruits, which depicts a sensual profusion of still-life objects positioned on a table according to nuanced relationships Cézanne detected among their shapes, colors, and textures. Filled to overflowing, his resulting composition is gloriously satisfying in its sheer abundance. The tablecloth provided the artist with a dynamic but essentially neutral ground against which to organize and reproduce his wealth of sensations before nature, rendering each piece of fruit as a singular object with its own palpable weight, subtly irregular shape, and exquisitely fine gradations of color that are reflected in the snowy white of the fabric.

Andy Warhol’s Little Electric Chair, 1964-1965 (estimate: $6-8 million), remains one of the most powerful and disturbing icons of twentieth century art. Warhol’s exquisite rendering here exudes a remarkable grace that belies the pragmatism of his original source photograph. The electric chair first appeared as a subject in Warhol’s painting in 1963; the image was taken from a black-and-white wire photograph of the notorious Sing Sing Correctional Facility in Ossining, New York. Warhol embraced the grainy, high-contrast look of the found press photo, which had been perfunctorily printed for easy legibility and wide dissemination. In Little Electric Chair, the artist intensifies the image’s contrast to spectacular effect, highlighting the unoccupied chair while allowing dark shadows to pool in the corners of the empty room like gathering storm clouds. A sense of foreboding is heightened by Warhol’s deft mastery of his medium and remarkable economy of gesture. Painted in 1964-1965, Warhol’s Little Electric Chair is a poignant and provocative work, the quintessential image from
the Death and Disaster series, and one of the most lasting, resonant images of the artist’s oeuvre.




 

Vincent van Gogh painted Arbres dans le jardin de l’asile in October 1889 (estimate in the region of $25 million). The work depicts a garden path on the extensive park grounds of the asylum of Saint-Paul-de-Mausole, at the foot of Les Alpilles in Saint-Rémy. Beginning in May of that year, Van Gogh was a voluntary patient in the old monastery converted to a maison de santé. He had already painted many notable canvases in Saint-Rémy, including, on 18 June, the iconic Starry Night (The Museum of Modern Art, New York). Less than a month later, however, Vincent suffered another “attack,” and for the subsequent six weeks remained confined to his room and the sanitorium’s indoor areas, and was forbidden to paint. In late August he resumed working in his studio. 

That fall, emboldened to move further afield, Van Gogh painted Arbres dans le jardin de l’asile, returning to the surrounding landscape he had left off painting in midsummer. Now fiery red and yellow in its autumnal foliage, the scene inspired a canvas that anticipates the brashly colored, vigorously brushed arabesques of Matisse’s Fauvism. The leading German dealer Paul Cassirer included this picture in his 1908 Van Gogh exhibition in Berlin, a show that later traveled to Zürich. Generating intense excitement among the painters of the nascent Expressionist movement, the show, Walter Feilchenfeldt declared, “produced the greatest impact an exhibition could have ever exerted on the development of modern art in Germany.”

↧
↧

MICHELANGELO: MIND OF THE MASTER

April 1, 2019, 1:05 pm
$
0
0

Cleveland Museum of Art
September 22, 2019 - January 5, 2020
J. Paul Getty Museum, Los Angeles
February 25 - June 7, 2020

Michelangelo (1475-1564) is widely acknowledged as one of the most creative and influential artists in the history of western art. He was an exceptional draftsman and the up-close study of Michelangelo drawings is an unparalleled experience. An extraordinary exhibition coming to the U.S. this fall will bring that experience to museumgoers in Cleveland and Los Angeles.



Michelangelo (1475-1564) Seated Male Nude, 1511, Red chalk heightened with white.
Teylers Museum
Organized by the Cleveland Museum of Art and the J. Paul Getty Museum in conjunction with the Teylers Museum, Haarlem, the Netherlands, Michelangelo: Mind of the Master will bring an important selection of nearly 30 exquisite Michelangelo drawings of the highest quality to the United States in 2019 and 2020.  The centerpiece of the exhibition is a group of drawings with an illustrious provenance from Queen Christina of Sweden (1626-1689), loaned from the Teylers Museum. Many of these rare drawings have never before been shown outside of Europe.

The Teylers Museum opened its doors in 1784 and is known as the oldest museum in the Netherlands, with a collection that is unique in the world. The collection of Michelangelo drawings has been in the museum since 1791 and this will be the first time the drawings will leave the Teylers Museum as a group.
 
Drawing was a key creative process for Michelangelo and arguably no artist has used it more effectively in the expression of human form. The exhibition will explore the range of Michelangelo’s work as a painter, sculptor, and architect through drawings, including designs for celebrated works such as the Sistine Chapel ceiling, the Last Judgement, the Medici Chapel tombs, and the cupola of Saint Peter’s basilica, Rome.
Given that Michelangelo burned large quantities of his drawings, the exhibition provides an extraordinary opportunity to witness firsthand a key group of sketches that survived from the artist’s Roman studio, coming down to us via the magnificent collection of Queen Christina of Sweden, a fascinating and unconventional art-loving monarch who abdicated the throne and moved to Rome. 
            The Cleveland Museum of Art will publish an accompanying catalog with contributions from leading art historians including Emily Peters, Julian Brooks, and Carel van Tuyll van Serooskerken. 
            Michelangelo: Mind of the Master is organized by the Teylers Museum in collaboration with the Cleveland Museum of Art and the J. Paul Getty Museum.
↧

Art History News -March 2019

April 3, 2019, 8:56 am
$
0
0

MICHELANGELO: MIND OF THE MASTER

Jonathan KantrowitzatArt History News - 1 day ago
*Cleveland Museum of Art* *September 22, 2019 - January 5, 2020* *J. Paul Getty Museum, Los Angeles* *February 25 - June 7, 2020* Michelangelo (1475-1564) is widely acknowledged as one of the most creative and influential artists in the history of western art. He was an exceptional draftsman and the up-close study of Michelangelo drawings is an unparalleled experience. An extraordinary exhibition coming to the U.S. this fall will bring that experience to museumgoers in Cleveland and Los Angeles. Michelangelo (1475-1564) *Seated Male Nude*, 1511, Red chalk heightened with white. T... more »

Christie’s New York Evening Sales May 13, May 15

Jonathan KantrowitzatArt History News - 1 day ago
From The Collection Of S.I. Newhouse Led By An Icon Of 20th Century Art: *Rabbit *(1986) By Jeff Koons *New York* – This May, Christie’s will present 11 extraordinary works from the esteemed Collection of S.I. Newhouse. The selection will be sold across Christie’s New York Evening Sales of Impressionist and Modern Art on May 13, and Post-War and Contemporary Art on May 15. Representing Newhouse’s globally renowned taste and unfailing instinct for quality and historical significance, these works together trace key developments in the evolution of modern art, from the exceptional c... more »

18 April Christie’s Prints From The Collection Of The Late Larry Saphire

Jonathan KantrowitzatArt History News - 1 day ago
Salvador Dalí (1904-1989) *Tête de jeune fille* etching, 1924 $30,000-50,000 Joan Miró (1893-1983) *Série noire et rouge: one plate* etching in red, 1938 $20,000-30,000 *New York* – On 18 April Christie’s will hold an intriguing auction entitled *The Arrogant Eye: Prints from The Collection of The Late Larry Saphire* as part of the Prints & Multiples auction. The collection includes over 150 works on paper by modern masters such as Picasso, Braque, Miro, Matisse, Dalí, Chagall, Léger, Ernst, Giacometti, Matta, and Masson. Larry Saphire is best known for being the author of the catalo... more »

J.M.W. Turner: Watercolors from Tate

Jonathan KantrowitzatArt History News - 1 day ago
*Mystic Seaport Museum* *October 5, 2019-February 23, 2020 * [image: J. M. W. Turner, "Venice Quay, Ducal Palace," exhibited 1844, Oil paint on canvas. Tate: Accepted by the nation as part of the Turner Bequest 1856 © Tate, London 2018] J. M. W. Turner, "*Venice Quay, Ducal Palace,"* exhibited 1844, Oil paint on canvas. Tate: Accepted by the nation as part of the Turner Bequest 1856 © Tate, London 2018 *Mystic Seaport Museum*, in partnership with Tate, London, will host a major monographic exhibition devoted to the watercolors of one Britain’s greatest painters: J.M.W. T... more »

Christie's Old Masters sale in New York on May 2, 2019

Jonathan KantrowitzatArt History News - 1 day ago
Christie’s has announced Property from the Collection of Richard L. Feigen, the renowned and influential American art dealer. Featuring early Italian and Baroque paintings, as well as 18th century British landscapes, several paintings from the Collection will be offered in the Old Masters sale in New York on May 2, 2019. Artists represented in the sale include Annibale Carracci, Guercino, Lorenzo Monaco, and John Constable, among others. A global tour of select highlights from the collection will tour to Los Angeles, New York, London, Dubai and Hong Kong. Francois de Poorte... more »

John Driscoll American Drawings Collection

Jonathan KantrowitzatArt History News - 6 days ago
The *Palmer Museum of Art* at Penn State announced a transformational gift of 140 American works on paper, recently donated by Penn State alumnus Dr. John P. Driscoll. The expansive gift, one of the most important in the forty-seven-year history of the University’s art museum, establishes a significant American drawings collection at the Palmer Museum of Art. The John Driscoll American Drawings Collection spans more than 150 years of American art history from 1795 to 1950, and in many ways, reflects the wide-ranging scholarly and collecting interests of its namesake. John Vanderl... more »

For America: Paintings from the National Academy of Design

Jonathan KantrowitzatArt History News - 6 days ago
*Dayton Art Institute, Dayton, OH (02/20/19–06/02/19)* *New Britain Museum of American Art, CT (11/07/19–02/02/20)* *Society of the Four Arts, Palm Beach, FL (02/22/20–04/26/20)* *The Dixon Gallery and Gardens, Memphis, TN (07/02/20–09/27/20)* *New Mexico Museum of Art, Santa Fe (10/22/20–01/17/21)* *Figge Art Museum, Davenport, IA (02/20/21–05/09/21)* *Crocker Art Museum, Sacramento, CA (06/06/21–09/12/21)* *For America: Paintings from the National Academy of Design* is the first exhibition to highlight a pivotal aspect of the collection of the National Academy of Design—... more »

Christie’s New York Impressionist and Modern May 2019

Jonathan KantrowitzatArt History News - 6 days ago
Christie’s is honored to present *The Collection of Drue Heinz*, which encompasses a remarkable selection of fine art that will be offered throughout Christie’s New York Impressionist and Modern Evening and Day Sales in May. The collection of Drue Heinz is a reflection of her keen observation and innate eye. Heinz was married to H.J. (Jack) Heinz II – CEO of the H. J. Heinz Company – from 1953 until his death in 1987, and she made most of her acquisitions over the course of their three decades of marriage. Throughout her life, Heinz enjoyed nothing more than taking on new endeavors... more »

Polyphenols, found in coffee, reduce cardiovascular disease risk

Jonathan KantrowitzatArt History News - 1 week ago
A new report from the Institute for Scientific Information on Coffee (ISIC) titled 'Coffee, polyphenols and cardiovascular disease' highlights the potential role of polyphenols - which are found in coffee, cocoa and wine, as well as other plant-based foods - in reducing the risk of CVD. The report, authored by Professor Kjeld Hermansen, Department of Endocrinology and Internal Medicine, Aarhus University Hospital, Denmark discusses the research that suggests that there is an association between the consumption of polyphenols and a reduction in CVD prevalence.1,2 Coffee is one of... more »

More on Sotheby’s Contemporary and Impressionist & Modern Art this May

Jonathan KantrowitzatArt History News - 2 weeks ago
Highlights include: Willem de Kooning *Untitled X* Oil on canvas 77 by 88 in. Executed in 1975 Estimate $8/12 million.Courtesy Sotheby's. Willem de Kooning’s Untitled X, a stunning example from the group of works created in 1975 that marked the artist’s transition from a period of radical experimentation to the lush abstracts which are among his most celebrated and sought after works today; Francis Bacon, *Study for Portrait* Signed, titled and dated 1981 on the reverse. Oil and dry transfer lettering on canvas, 78 by 58 in. Executed in 1981. Estimate $12/18 million. Cour... more »

Early Rubens

Jonathan KantrowitzatArt History News - 3 weeks ago
*Legion of Honor in San Francisco* *April 6 to Sept. 8, 2019* *Art Gallery of Ontario * *October 12, 2019 to January 5, 2020* In 1608, after a period of intense artistic study in Italy, Peter Paul Rubens (1577–1640) returned to his hometown of Antwerp. He found a city eager to renew its visual culture and ready to support him, a bold artist who worked at a rapid pace and dramatic scale that could satisfy the demand for religious images while also supplying private collectors with works of ancient history and mythology. [image: Peter Paul Rubens (Flemish, 1577–1640) Boar Hunt, ca. ... more »

Sotheby's Impressionist & Modern Art Evening Sale 14 May 2019 | New York

Jonathan KantrowitzatArt History News - 3 weeks ago
This spring, [image: File:William-Adolphe Bouguereau (1825-1905) - The Youth of Bacchus (1884).jpg] *La Jeunesse de Bacchus* (The Youth of Bacchus), the most important work of William-Adolphe Bouguereau’s celebrated career, will highlight our Impressionist & Modern Art Evening Sale in New York. Equally impressive in both scale and technical artistry, this monumental canvas is an astounding 20 feet long and 10 feet high. The work has hung in Bouguereau’s Paris studio since it was completed in 1884 — only leaving three times in its 135-year history. Offered now from the direct des... more »

The Impressionist’s Eye

Jonathan KantrowitzatArt History News - 3 weeks ago
*Philadelphia Museum of Art April 16 – August 18, 2019* Although they are regarded first and foremost as painters, the Impressionists were equally dedicated to making and exhibiting drawings, pastels, and sculptures. Over a quarter of the work exhibited in their group shows were on paper. The exhibition explores Impressionist paintings, watercolors, drawings, and sculptures together, demonstrating the versatility, experimentation, and innovation of these artists and the fluidity with which they moved from one medium to another. [image: File:Mary Stevenson Cassatt, American - A W... more »

'Hockney - Van Gogh: The Joy of Nature

Jonathan KantrowitzatArt History News - 3 weeks ago
*Van Gogh Museum*, Amsterdam *March 1- May 26, 2019* - From March 1, the colossal works of David Hockney will be on display in the Netherlands. For the first time, this spectacular exhibition offers an extensive and colourful exploration of the common ground between the work of Vincent van Gogh and David Hockney. The exhibition '*Hockney - Van Gogh: The Joy of Nature*' continues to *May 26, 2019, *at the *Van Gogh Museum* in Amsterdam. The world-famous Yorkshire landscapes by David Hockney (1937) are a vivid feast for the eyes. This is the first time that these works ... more »

Ernst Ludwig Kirchner Imaginary Travels

Jonathan KantrowitzatArt History News - 3 weeks ago
*Bundeskunsthalle* *16 November 2018 to 3 March 2019* INTRODUCTION Today, Ernst Ludwig Kirchner (1880–1938) is deemed to be one of the most important German artists. As a pioneer of German Expressionism and co-founder of the Brücke[Bridge] group of artists, he found new means to give expression to the societal changes taking place during the early 20th century. Imaginary Travels traces Kirchner’s artistic development and his life-long search for the primal and authentic. By absorbing the widest range of influences, the artist arrived at a synthesis of art, life and work. This ... more »

The Self-Portrait, from Schiele to Beckmann

Jonathan KantrowitzatArt History News - 4 weeks ago
*Neue Galerie New York * *- June 24, 2019 * “The Self-Portrait, from Schiele to Beckmann” is an unprecedented exhibition that examines works primarily from Austria and Germany made between 1900 and 1945. This groundbreaking show is unique in its examination and focus on works of this period. Approximately 70 self-portraits by more than 30 artists—both well-known figures and others who deserve greater recognition—will be united in the presentation, which is comprised of loans from public and private collections worldwide. Admired for their revelatory nature, self-portraits yield insi... more »

Travels with Turner: Watercolors from the Taft Collection

Jonathan KantrowitzatArt History News - 4 weeks ago
------------------------------ *Taft Museum of Art* *January 18–April 14, 2019 | Sinton Gallery* *Lake Nemi*, about 1835. Watercolor, pencil, and gouache on paper, 10 1/2 x 8 11/16 in. Bequest of Mr. and Mrs. Charles Phelps Taft, 1931.387Follow nineteenth-century British painter J. M. W. Turner on his travels throughout the United Kingdom and Europe—through his watercolors and an interactive digital map. On his journeys, Turner filled sketchbook after sketchbook, gathering reference material he would later turn into more detailed watercolors and oil paintings. A prolific artist and ... more »

Winslow Homer to Georgia O’Keeffe: American Paintings from The Phillips Collection

Jonathan KantrowitzatArt History News - 4 weeks ago
------------------------------ *Taft Museum of Art* *February 9–May 19, 2019 | Fifth Third Gallery* Childe Hassam, *Washington Arch, Spring,* about 1893, oil on canvas, 26 1/8 in x 21 5/8 in. The Phillips Collection, Washington, D.C. Acquired 1921*Winslow Homer to Georgia O’Keeffe* traces a century of the modern creative spirit in the United States, ranging from realistic landscapes to bold abstract forms. Fifty-five works by American masters—including Thomas Eakins, Winslow Homer, Edward Hopper, Georgia O’Keeffe, and Helen Frankenthaler—span the 1860s through the 1960s. Nineteent... more »
↧

Alice Neel: Freedom

April 8, 2019, 6:49 am
$
0
0













↧
↧

Feininger, Klee and the Bauhaus

April 8, 2019, 7:00 am
$
0
0

EXHIBITION DATES

New York, May 1 – Aug 16 2019, Shepherd W&K Galleries 58 East 79th Street New York, NYC 10075 USA www.shepherdgallery.com

Dortmund, Sept 17 – Oct 26 2019, Galerie Utermann Silberstraße 22 44137 Dortmund www.galerieutermann.de

Vienna, Nov 14 2019 – Jan 1 2020, Wienerroither & Kohlbacher Strauchgasse 2 1010 Vienna www.w-k.art 
Lyonel Feininger, Rosa Wolke II

Lyonel Feininger, Rosa Wolke II
(Shepherd W&K Galleries, New York; Galerie Utermann, Dortmund; and W&K - Wienerroither and Kohlbacher, Vienna)

1919-2019: 100 years ago the Bauhaus art school was founded by architect Walter Gropius. This anniversary provides the occasion for an artist "dialogue."

Shepherd W&K Galleries, New York; Galerie Utermann, Dortmund; and W&K - Wienerroither and Kohlbacher, Vienna, have collaborated on an international traveling exhibition, Feininger, Klee and the Bauhaus, opening in May in New York.

Lyonel Feininger was one of the first instructors Gropius brought to the Bauhaus in 1919. He headed the print department until 1925. In 1924 Feininger joined Alexej Jawlensky, Paul Klee and Wassily Kandinsky to form "The Blue Four" (Die Blaue Vier) in Weimar. In addition to exhibition projects around Weimar, the group also exhibited in the USA and their works found their way into international collections - an essential means of disseminating their art after the Second World War.

 Paul Klee, Das Haus in der Höhe

Paul Klee, Das Haus in der Höhe
Shepherd W&K Galleries, New York; Galerie Utermann, Dortmund; and W&K - Wienerroither and Kohlbacher, Vienna


Paul Klee and Lyonel Feininger were friends, colleagues and even neighbours when the Bauhaus was forced to move to Dessau in September of 1932. "[...] you asked me to write about Klee, what I thought about him. Absolutely splendid [...]", said Lyonel Feininger in a letter to Alfred Kubin. Various correspondences are among the few documents that shed light on the personal relationship between the two artists. The appreciation for each other's artistic work is also embodied in the exchange of pictures/images/paintings. In addition to visual arts, they shared a passion for music and played together.

Lyonel Feininger and Paul Klee began their artistic careers with graphic works. When they started to paint, they experimented with dimension and light and found their way to an independent pictorial language. In terms of stylistic development, the time at the Bauhaus was essential for Feininger and Klee - there was a constant refinement and immersion. However, their two artistic directions differ in thematic motifs. Both always remained true to their unmistakable artistic path and yet formed an inspiring dialogue evident in the present exhibition.

In addition to works by Klee and Feininger – a long time specialization of Galerie Utermann and W&K - Wienerroither & Kohlbacher – photographs by other Bauhaus artists such as Irene Hoffmann and Laszlo Moholy-Nagy, as well as selected works by Feininger and Klee outside the Bauhaus will also be shown.

The accompanying exhibition catalogue comprises 104 pages and is published in German and English. The exhibition will be shown at three locations: New York - Dortmund - Vienna.

 One of the main works Rosa Wolke II (Pink Could II), 1928 can only be seen later, as it is currently on loan in the Albertinum Dresden for the exhibition Zukunftsräume. Kandinsky, Mondrian, Lissitzky and the abstractconstructive avant-garde in Dresden from 1919 to 1932.








↧

Researchers prove Leonardo Da Vinci was ambidextrous

April 10, 2019, 7:39 am
$
0
0
Researchers at the Uffizi Gallery in Florence have proved what was suspected for a long time: that Renaissance genius Leonardo Da Vinci was able to write, draw and paint with both hands.

The study also uncovered a previously unknown landscape sketch on the back of the original work, titled Landscape Drawing for Santa Maria Della Nave and alternatively known as Landscape 8P.
An infrared view of the backside of Leonardo da Vinci's <em>Landscape Drawing for Santa Maria Della Nave</em>, also known as <em>Il Paesaggio</em> or <em>Landscape 8P</em> (1473) reveals another landscape drawing and handwriting by Leonardo that slants to the left and right, indicating the artist was ambidextrous. Photo courtesy of the Uffizi.
An infrared view of the backside of Leonardo da Vinci’s Landscape Drawing for Santa Maria Della Nave, also known as Il Paesaggio or Landscape 8P (1473) reveals another landscape drawing and handwriting by Leonardo that slants to the left and right, indicating the artist was ambidextrous. Photo courtesy of the Uffizi.
Dated August 5, 1473, the work was completed when the artist was just 21 years old. On the front of the drawing, infrared light analysis found traces of an underlying sketch.
On the back, there was once another landscape, featuring a bridge crossing a river, done in charcoal. It may have been erased by the artist, or it also could have faded away over the centuries.
An infrared view of Leonardo da Vinci's <em>Landscape Drawing for Santa Maria Della Nave</em>, also known as <em>Il Paesaggio</em> or <em>Landscape 8P</em> (1473). Photo courtesy of the Uffizi.
An infrared view of Leonardo da Vinci’s Landscape Drawing for Santa Maria Della Nave, also known as Il Paesaggio or Landscape 8P (1473). Photo courtesy of the Uffizi.
The discoveries are being announced as the world celebrates the 500th anniversary of Leonardo’s death, on May 2, 1519. As part of the festivities, which include exhibitions across Europeand beyond, Landscape 8P will go on loan to the Museo Leonardiano in Leonardo’s hometown of Vinci in Tuscany, Italy, for five weeks beginning in August.
↧

Scenes from the Heartland: Stories Based on Lithographs by Thomas Hart Benton

April 12, 2019, 1:10 pm
$
0
0
 

When a contemporary writer turns her imagination loose inside the images of an iconic artist of the past, the result is storytelling magic at its best. Here are nine tales that bring to vivid life the early decades of the 20th century as witnessed by one of America's most well-known painters. Thomas Hart Benton sketched fiddlers and farm wives, preachers and soldiers, folks gathering in dance halls and tent meetings. Though his lithographs depict the past, the real-life people he portrayed face issues that are front and center today: corruption, women's rights, racial inequality.





Flood 1937


In these stories we enter the imagined lives of Midwesterners in the late 1930s and early 1940s. A mysterious woman dancing to fiddle music makes one small gesture of kindness that helps heal the rift of racial tensions in her small town. A man leaves his childhood home after a tragic accident and becomes involved with the big-time gamblers who have made Hot Springs, Arkansas, their summer playground. After watching her mother being sent to an insane asylum simply for grieving over a miscarriage, a girl determines to never let any man have any say over her body.




I Got a Gal on Sourwood Mountain 1938


Then as now, Americans have struggled with poverty, illness, and betrayal. These fictions reveal our fellow countrymen and women living with grace and strong leanings toward virtue, despite the troubles that face them.


Morning Train 1943



↧
Search

Frida Kahlo and Arte Popular

April 13, 2019, 9:35 am
$
0
0
Museum of Fine Arts, Boston (MFA), 
February 27 through June 16, 2019


Throughout her entire career, Frida Kahlo (1907–1954) avidly collected traditional Mexican folk art—arte popular—as a celebration of Mexican national culture. She drew inspiration from these objects, seizing on their political significance after the Mexican Revolution and incorporating their visual and material qualities into her now-iconic paintings.

The first-ever Kahlo exhibition at the Museum of Fine Arts, Boston (MFA), Frida Kahlo and Arte Popular (through June 16, 2019) focuses on the artist’s lasting engagement with Mexican folk art, exploring how her passion for objects such as decorated ceramics, embroidered textiles, children’s toys, and devotional ex-voto paintings shaped her own artistic practice.

Eight Kahlo paintings—including important loans from the Museum of Modern Art (MoMA), the Los Angeles County Museum of Art (LACMA) and the Harry Ransom Center at the University of Texas at Austin—are brought together with approximately 40 representative examples of arte popular, many on loan from the San Antonio Museum of Art (SAMA), as well as photographs and important illustrated publications from the period. On view from February 27 through June 16, 2019 in the Saundra B. and William H. Lane Galleries, located in the MFA’s Art of the Americas Wing, the exhibition features interpretation in English and Spanish.

“We’re thrilled to bring our visitors the MFA’s first exhibition on Kahlo, which provides a distinctive view of the artist,” said Layla Bermeo, Kristin and Roger Servison Assistant Curator of American Paintings. “While many exhibitions focus on the artist’s biography and interpret her paintings as direct illustrations of life events, our exhibition brings fresh attention to Kahlo as an ever-evolving and ambitious painter, who actively responded to arte popular. It also opens broader discussions about the influences of anonymous folk artists on famed modern painters.”

Powerfully linking art and politics, the term arte popularwas used publicly for the first time in 1921—one year after the end of the Mexican Revolution (1910–1920). Following this devastating civil war, government officials and artists played overlapping roles, trying to construct patriotic histories and images that could unite Mexico’s divided peoples. Kahlo herself was not a folk artist, but drew inspiration from ceramics, carvings and other handmade objects made in rural communities. She and other urban intellectuals championed these works of arte popular as expressions of true mexicanidad, or Mexican national culture, and as celebrations of Mexico’s indigenous and working-class people.

By examining some of the social and political ideas of the post-Revolutionary period, this exhibition offers contexts for both Kahlo’s paintings and arte popular, as well as explores dialogues between the two.

Upon entering the exhibition, visitors are greeted by an eight-foot-tall “Judas” Figure (2018) commissioned by the MFA from contemporary artist Leonardo Linares, whose grandfather Pedro Linares made similar papier-mâché sculptures for Kahlo and her husband Diego Rivera. Comparable Judas figures, along with other objects in Kahlo’s collection of arte popular, can be seen in photographs taken around 1940 by Bernard Silberstein at the Casa Azul—Kahlo and Rivera’s shared home in Coyoacán, then a village outside Mexico City. The photographs are on loan from the Detroit Institute of Arts and displayed in the exhibition. The introductory section also provides historical context for the display of arte popular at the MFA, highlighting a selection of objects that were shown at the Museum around 1930 as part of Mexican Arts, an exhibition that traveled to 13 institutions across the U.S. Following the introduction, Frida Kahlo and Arte Popular is organized thematically into five sections.

Exhibition Overview Art of the People / Arte del Pueblo

Kahlo collected arte popular as an act of national pride, to show her knowledge and appreciation of Mexican artists working outside European-style institutions. Around the same time that muralists promised to liberate painting from easels and make art accessible to the public, arte popular was defined as a form of art for the people, by the people. This section brings together for the first time two paintings from different periods in Kahlo’s career: the MFA’s recently acquired



Dos Mujeres (Salvadora y Herminia) (1928), which in 1929 became the first painting sold by the artist,



Self‑Portrait with Hummingbird and Thorn. Frida Kahlo (Mexican, 1907–1954). 1940. Oil on masonite. *Nickolas Muray Collection of Modern Mexican Art, Harry Ransom Center, The University of Texas at Austin. © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York.
Courtesy, Museum of Fine Arts, Boston
and the iconic  Self-Portrait with Hummingbird and Thorn Necklace (1940, Harry Ransom Center at the University of Texas at Austin).

Painted more than a decade apart, these works demonstrate the progression of Kahlo’s painting practice while also showing her politics and dedication to Mexico’s diverse histories, peoples, plants and animals. Dos Mujeres is a dignified portrait of two mixed-race women who were muchachas, or domestic workers, in Kahlo’s mother’s household.

The dense foliage background of the painting evokes the organic patterns on many works of arte popular, such as a Burnished Jar (about 1930, San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection) decorated with explosively bright flowers and leaves.

A lush foliage background also appears in Self-Portrait with Hummingbird and Thorn Necklace, in which the artist poses herself alongside imagined creatures and her own pet monkey. The painting is shown near two ceramic arte popular monkeys (about 1930, San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection)—one is a whistle and the other is meant to hold the alcoholic beverage mescal. They exemplify everyday arte popular objects that unified beauty and function, representing longstanding artistic traditions and patterns of use within rural communities.

Aesthetics of Childhood / Estéticas de la Infancia

Kahlo was fascinated by the world of children, sharing this interest with many other Mexican modernists. Toys were one of the most prominent categories of arte popular—dolls, wooden marionettes and ceramic animals captivated collectors with their sculpted details and sophisticated color combinations, all rendered in miniature. The allure of such small objects perhaps helped Kahlo see the monumental visual power that could be developed in small dimensions.



Niña con máscara de la muerta (Girl with Death Mask). Frida Kahlo (Mexican, 1907–1954). 1938. Oil on tin. *Nagoya City Art Museum. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York.
Courtesy, Museum of Fine Arts, Boston
Measuring about six by five inches, Kahlo’s painting Girl with Death Mask (She Plays Alone) (1938, Nagoya City Art Museum) depicts a child—likely the artist herself—wearing a pink, lace-trimmed dress and hiding her face behind the rounded yellow eyes and clenched teeth of a skeleton mask. The jaguar mask next to her is connected to notions of physical and supernatural strength.


  • Máscara de tigre (Jaguar Mask). Mexican Artist (active Guerrero) late 19th century. Glass, painted wood, animal teeth, boar bristle. San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection.
    Máscara de tigre (Jaguar Mask). Mexican Artist (active Guerrero) late 19th century. Glass, painted wood, animal teeth, boar bristle. San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection.
    Photography by Peggy Tenison. Courtesy, Museum of Fine Arts, Boston


The painting is displayed alongside a wooden Jaguar Mask(late 19th century, San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection) that is representative of the type collected by Kahlo.



Additional works on view in this section include the drawing Untitled (Portrait of Girl with Orange Bow) (about 1937–38), Hood Museum of Art, Dartmouth College) by Diego Rivera



and Girl with Doll (1943, Andrés Blaisten Collection) by Rosa Rolanda, Kahlo’s close friend and fellow artist. Rolanda depicts Kahlo herself as a work of arte popular, in the form of a unibrowed doll tightly clasped in the hands of a wide-eyed little girl.

Painted Miracles / Milagros Pintados

Kahlo collected hundreds of devotional ex-votopaintings, which represent one of her most powerful artistic influences. Tiny images painted on tin, ex-votosexpress the original owner’s gratitude for miracles and answered prayers. Ex-voto, from the Latin term for devotional offering, is often used interchangeably with retablo, which refers to sacred images placed on altars.

Kahlo and her contemporaries redefined ex-votos as arte popular, admiring them for their visionary compositions rather than their religious purpose.



The shifting perspectives, combination of standing and floating figures, and metallic support of her painting My Grandparents, My Parents and I (Family Tree) (1936, Museum of Modern Art, New York) recall the ex-votoformat. In place of saints, however, Kahlo painted her own ancestors.



This section also features another Kahlo painting, The Suicide of Dorothy Hale (1939, Phoenix Art Museum),

 

and Girl (1925, Andrés Blaisten Collection) a painting by Kahlo’s contemporary Gabriel Fernández Ledesma, which renders the ex-voto as a picture within a picture.


Ex-votos from the 19th and 20th centuries are on view,



as well as a rare 18th-century example: Peres Maldonado Ex-voto (1777, Davis Museum at Wellesley College), a violent yet beautifully painted work that shows a woman undergoing breast cancer surgery. In 1939, Surrealist André Breton, who had acquired this ex-voto during a visit to Mexico, displayed it alongside paintings by Kahlo in an exhibition in Paris titled Mexique.

A letter written by Kahlo, in which she critiques Breton’s curatorial vision, is also on view in this section.

Living Still Lifes / Naturalezas Vivas

Kahlo engaged with the art historical genre of still life, especially in the later stages of her career, but innovated the tradition even as she worked within it. She aggressively filled small-scale compositions with round, vividly colored forms that look like they might tumble out of the picture. She painted fruits and rocks as though they had eyes, skin and feelings, giving them humanlike qualities that are also visible in many works of arte popular.

Like the springy Skeletons (about 1940, San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection) originally made for the Día de Muertos (Day of the Dead) holiday, Kahlo’s naturalezas vivas—“living” still lifes—disobey the categories of inanimate and animate, things and beings, dead and living.

Three lively and colorful Kahlo paintings are included in this section—

 

Still Life: Pitahayas (1938, Madison Museum of Contemporary Art),




Still Life with Parrot and Fruit (1951, Harry Ransom Center, The University of Texas at Austin)



and Weeping Coconuts (1951, LACMA)



—alongside Cupboard (1947, Andrés Blaisten Collection) by María Izquierdo, Kahlo’s contemporary and a fellow collector of arte popular.

Invented Traditions / Tradiciones Inventadas

Just as Kahlo used paint to create pictures, she used clothing to create her own image. Garments, headdresses and accessories from Mexico’s rural and indigenous communities became her most visible collection of arte popular, worn during international travels and immortalized in photographs. The huipil(rectangular blouse), rebozo (traditional shawl) and regional Tehuana dress were not only critical to Kahlo’s self-fashioning, but also represented broader notions of ideal, “authentic” Mexican femininity. Kahlo made the Tehuana style her signature look—wearing, painting and even gifting the distinctive dresses to people outside of Mexico.

The garments in this section include a two-piece Tehuana dress (top and skirt) (1930s–1940s), on view for the first time since it was acquired by the MFA in 2017. Although Kahlo did not wear the dress herself, it was purchased with her help by Jackson Cole Phillips, the original owner of her painting Dos Mujeres.
 
↧
↧

Abstract Expressionism: A Social Revolution Selections from the Haskell Collection

April 18, 2019, 11:22 am
$
0
0

Tampa Museum of Art
April 11 through August 11, 2019


Woman II, 1961

Willem de Kooning (American, b. the Netherlands 1904–1997). Oil on paper mounted on canvas. 29 x 22 1/2 inches. The Haskell Collection. © 2018 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York
Abstract Expressionism: A Social Revolution, Selections from the Haskell Collection, presents twenty-five works from the Haskell Collection indicative of Abstract Expressionism as a unifying direction in Post-World War II art.

Abstract Expressionism: A Social Revolution

Mark Rothko (American, b. Russia, 1903–1970), Untitled, 1968. Oil on paper mounted on canvas. 39 3/8 x 25 inches. The Haskell Collection. © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York

The exhibition highlights artists associated with the influential first and second generations of Abstract Expressionist painters including Willem de Kooning, Hans Hofmann,

 

 February's Turn, 1979

Helen Frankenthaler,

 


Franz Kline,

Morris Louis,
 

 Aires pour Marion, 1975-76
 Joan Mitchell,


Robert Motherwell, Kenneth Noland, Mark Rothko, and Theodoros Stamos.


Later works by

 
Gerhard Richter,

Jack Goldstein, Robert Rauschenberg, and Frank Stella respond or reflect on the lasting legacy of Abstract Expressionism in both the US and abroad.

Viewed together, the works in Abstract Expressionism: A Social Revolution address how individual artistic expression and independence from institutional values altered the course of painting. In this exhibition, visual vocabulary will be discussed in relationship to the artists’ collective objectives and individual intentions.

In addition to those mentioned above, artists represented in Abstract Expressionism: A Social Revolution include Josef Albers, Richard Anuszkiewicz, Karel Appel, Sam Francis, Michael Goldberg, Paul Jenkins, Jean Miotte, Judy Pfaff, Jean-Paul Riopelle, James Rosenquist,

 

 Bond, 1960
and Jack Tworkov. Unless noted otherwise, all works from the Haskell Collection.
↧

PAINTING THE CITY: A New York State of Mind

April 18, 2019, 11:28 am
$
0
0


Questroyal Fine Art,

903 Park Avenue (at 79th Street)
Third Floor
New York, NY 10075

May 9 – May 24, 2019

The city of the world rests on more than 300 square miles of rock and is flanked by two rivers and the Atlantic Ocean. With an influence that spans the earth and an appeal that inspires people of every age and gender, paintings of this great city are among the most coveted of any subject matter in American art.

This exhibition and salepresents paintings of the city in varying seasons and times, in an array of light and life, in frenzy and in solitude, any one of which may compel you to forever remain in a “New York state of mind.”

In This Exhibition :

↧

Important American Paintings, Volume XIX: Art Changes Everything

April 18, 2019, 11:35 am
$
0
0


Questroyal Fine Art,

903 Park Avenue (at 79th Street)
Third Floor
New York, NY 10075

October 2 – August 22, 2019

The nineteenth volume in Questroyal’s coveted Important American Paintings series explores the ways in which art attracts collectors and investigates what motivates people to acquire this unique asset. Gallery owner Louis M. Salerno proclaims “Art is an enigma! Without any quantifiable utility, its impact is profound. Over my lifetime, as both a dealer and a collector, I have witnessed the joy and satisfaction that art brings to so many clients.”

Featuring 37 color plates in 96 pages, this hardbound catalogue includes important examples by Milton Avery, George Bellows, Ralph Albert Blakelock, Charles Burchfield, Thomas Cole, Jasper Francis Cropsey, Sanford Robinson Gifford, Childe Hassam, Hayley Lever, Thomas Moran, William Trost Richards, Eric Sloane, and Worthington Whittredge. 

In This Exhibition :


↧

Toulouse-Lautrec and the Stars of Paris

April 20, 2019, 6:19 am
$
0
0

Museum of Fine Arts, Boston
April 7 through August 4, 2019

Henri de Toulouse-Lautrec, Aristide Bruant in His Cabaret (detail), 1893. Poster, color lithograph printed in black, red, green, and gray, proof before letters. Otis Norcross Fund. Museum of Fine Arts, Boston.
Henri de Toulouse-Lautrec, Aristide Bruant in His Cabaret (detail), 1893. Poster, color lithograph printed in black, red, green, and gray, proof before letters. Otis Norcross Fund. Museum of Fine Arts, Boston.
Paris was the center of nightlife and spectacle in the late 19th century, a moment immortalized in evocative posters, prints and paintings by Henri de Toulouse-Lautrec (1864–1901). The artist’s extraordinary attention to the performers, dancers and actors of Montmartre—the heart of the city’s bohemian nightlife—is the focus of Toulouse-Lautrec and the Stars of Paris, on view in the Museum of Fine Arts, Boston's Ann and Graham Gund Gallery from April 7 through August 4, 2019. 

The exhibition of approximately 200 works is a collaboration between the Museum of Fine Arts, Boston (MFA), and the Boston Public Library (BPL), drawing on both institutions’ extensive holdings of rarely displayed graphic works by Toulouse-Lautrec. It also includes a selection of loans from the Harvard Art Museums, the Houghton Library of Harvard University and the Metropolitan Museum of Art, as well as local private collectors.
 
Toulouse-Lautrec and the Stars of Paris explores the artist’s enthusiastic participation in the celebrity culture of his day and how, to a remarkable degree, he defined it for generations to follow. In addition to his famous lithographic prints and posters, which distilled the defining gestures, costumes and expressions of “les stars” of the day into instantly recognizable images, the exhibition features never-before-displayed early drawings and a selection of paintings by Toulouse-Lautrec.

Works by his contemporaries, including Pierre Bonnard, Mary Cassatt, Edgar Degas, John Singer Sargent and James Jacques Joseph Tissot, are also incorporated throughout the galleries, as well as recently restored period films, music, instruments and fashion accessories.



The exhibition is accompanied by an illustrated catalogue produced by MFA Publications and a range of public programming offered at the Museum and the BPL’s Central Library and 25 neighborhood branches.

“We are proud to partner with the Boston Public Library to bring together these two rich collections of work by Henri de Toulouse-Lautrec. It’s exciting to be able to bring to life the spectacles of modern Paris, and offer the public unprecedented access to works of art in new ways,” said Matthew Teitelbaum, Ann and Graham Gund Director of the MFA. “This has been a true collaboration, and we’re extremely grateful to all of our colleagues at the BPL.”

The MFA’s conservation team undertook the preparation and framing of pieces from the BPL’s collection for the exhibition. Nine oversized posters were also sent for extensive conservation treatment, framing and digitization at the Northeast Document Conservation Center (NEDCC) in Andover; this work was jointly funded by the MFA and the Associates of the Boston Public Library. Five of these posters are on view at the Museum in Toulouse-Lautrec and the Stars of Paris, while the remaining four are displayed at the BPL’s Central Library in Copley Square. Additionally, the BPL’s complete collection of more than 350 works by Toulouse-Lautrec has been digitized and is available on digitalcommonwealth.org.

“Boston Public Library is thrilled to take our partnership with the Museum of Fine Arts to a new level, collaborating on this joint exhibition featuring the works of Henri de Toulouse-Lautrec and making them widely accessible to the public,” said David Leonard, President of the Boston Public Library. “This is not just a superb example of Boston’s cultural institutions working together, but also helps us unlock our vast historical collections for the enjoyment of all. This exhibition and its programming allow us to explore themes at the intersection of art and celebrity across the centuries.”



Toulouse-Lautrec and the Stars of Paris opens with a selection of key works by Toulouse-Lautrec, including the artist’s first poster: the large and dramatic Moulin Rouge: La Goulue (1891, Metropolitan Museum of Art). Commissioned by the infamous dance hall Le Moulin Rouge, it marked Toulouse-Lautrec’s entry into the foray of advertising and celebrity culture and set a new standard for poster design, radically synthesizing artistic devices from a range of sources, including shadow theater and Japanese woodblock prints.



The introductory section also highlights Eldorado: Aristide Bruant in his Cabaret (1892, BPL), the first poster to include the self-designed monogram, HTL (for Henri de Toulouse-Lautrec), which the artist included on all of his subsequent posters. The monogram essentially functioned as a logo and linked Toulouse-Lautrec’s fame with the celebrities he depicted. Ultimately, such prints and posters, which could be seen all over Paris, established Toulouse-Lautrec’s reputation as one of the great printmakers of the late 19th century.

“The exhibition addresses the roots of a major aspect of public life today: celebrity culture and the power of images,” said Helen Burnham, Pamela and Peter Voss Curator of Prints and Drawings. “It also offers a remarkable opportunity to experience the depth and quality of Boston’s holdings of works by Toulouse-Lautrec. Few cities could mount a show of this nature without numerous outside loans. We have been able to put together a focused perspective on a critical aspect of an innovative artist’s career by combining two great collections and inviting the participation of a handful of important nearby supporters.”

Following the introduction, Toulouse-Lautrec and the Stars of Paris is organized into five thematic sections: A Creative Life, Paris by Day and Night, Behind the Scenes, The Show and The Stars.
A Creative Life acquaints visitors with Toulouse-Lautrec, his artistic journey and his keen ability to record an impression with a few quick strokes on paper. He began drawing as a boy, encouraged by his father and uncles, all of whom were talented amateur artists. His early studies—many of which are exhibited for the first time—focused on horses and people, subjects that would fascinate him throughout his life. After moving to Paris from the south of France in 1882, he studied with academically trained painters, but soon became interested in the avant-garde—especially the work of Edgar Degas,




whose Racehorses at Longchamp (1871, possibly reworked in 1874, MFA) is on view.

Three early mature paintings by Toulouse-Lautrec are also featured, two of which are shown together for the first time in many years:

 

the MFA’s At the Café La Mie (about 1891)



and The Hangover (Suzanne Valadon) (1887–89), on rare loan for three months from the Harvard Art Museums.

The works in this section illustrate the artist’s experimentation with a variety of media, including lithography, which became one of his main vehicles for expression. A lithographic stone used by Toulouse-Lautrec is shown alongside two of the prints (or “impressions”) that it produced, offering insight into the artist’s technique.

Paris by Day and Night explores the city’s changing landscape during Toulouse-Lautrec’s lifetime. In the second half of the 19th century, old neighborhoods were razed to make way for new buildings, department stores, grand boulevards, omnibus transportation and public parks. By day, Paris bustled with fashionable residents, while by night, it earned its title as the City of Lights, with new forms of electric lightning and entertainment.

Excerpts from recently restored films by the Lumière Brothers (courtesy of Institut Lumière) show views of Paris around 1900, which are also depicted in paintings of modern life by Pierre Bonnard, Mary Cassatt, Robert Henri and James Jacques Joseph Tissot, as well as prints by Edgar Degas, Maxime Lalanne, Auguste Lepère, Henri Rivière and Jacques Villon.

Additionally, this section includes Toulouse-Lautrec’s advertising posters, which promoted a variety of products, services and venues, from paper confetti and bicycle chains to photography studios and literary magazines.



Behind the Scenes highlights




 

 the Elles portfolio (1896, BPL), one of the great achievements of Toulouse-Lautrec’s career. Shown in its entirety and in incredible condition, the series chronicles with unusual sensitivity the daily habits of women living in a Parisian brothel. Toulouse-Lautrec himself lived in brothels for extended periods of time, befriending the women who lived there and sketching them as they engaged in mundane activities like bathing, grooming or eating breakfast.

Additional lithographs on view in this section also depict various moments—from intimate scenes to relatively public scenarios—taking place in what Parisians described as a “half world” (or demi-monde) of sex workers, mistresses and courtesans in their city.

The Show immerses visitors in the nightlife of fin-de-siècle Paris, with images of performers and song sheets for period music. Among the highlights in this section are Toulouse-Lautrec’s depictions of






Caudieux, the “human cannonball,”



and May Belfort, an Irish songstress known for her signature baby-doll costume and black cat.

Also on view are

 

John Singer Sargent’s Rehearsal of the Pasdeloup Orchestra at the Cirque d’Hiver(about 1879–80, MFA)



and Pablo Picasso’s Stuffed Shirts (Les Plastrons) (1900, MFA), painted during the artist’s brief Toulouse-Lautrec-influenced phase.

The soundtrack for this gallery features a soundtrack that includes the famous Can-Can, from Orpheus in the Underworld, composed by Bedrich Smetana, Jacques Offenbach, Modest Mussorgsky and Pyotr Ilyich Tchaikovsky.

The exhibition culminates with The Stars, an in-depth exploration of six Montmartre celebrities who were made famous by Toulouse-Lautrec: cabaret star Yvette Guilbert; actor, painter and sculptor Sarah Bernhardt; Moulin Rouge dancer Jane Avril; opera performer Marcelle Lender; nightclub owner and performer Aristide Bruant; and dancer Loïe Fuller.

This section features popular works by Toulouse-Lautrec,

 
including three rare impressions (two color separations and a final proof) of Le Divan Japonais (1893, MFA), which depicts Yvette Guilbert on stage and Jane Avril as a spectator;  

 

Marcelle Lender (1895, MFA), one of his most technically complex lithographs;





and two versions of Aristide Bruant in his Cabaret (1893, MFA and BPL), one of his most successful and iconic poster designs.

Six rare prints of Loïe Fuller (1893, MFA, BPL and Metropolitan Museum of Art) are reunited in this gallery, each impression featuring a unique combination of colors enhanced with gold or silver powder to mimic the ever-changing visual effects of the dancer’s performances.

A recently restored, hand-colored film by the Lumière Brothers (courtesy of Institut Lumière) demonstrates the Serpentine Dance, which was invented by Fuller and performed by manipulating lightweight wands sewn into the hem of a voluminous skirt to create a swirling mass of fabric.

The Stars also includes a shadow theater produced to re-create the experience of attending the 1900 World’s Fair; a kaleidoscopic card that creates illusions of movement and changing colors; two “hold-to-light postcards” that can be illuminated by visitors; and a case of chic accessories from fin-de-siècle Paris.


Toulouse-Lautrec and the Stars of Paris

The exhibition is accompanied by the catalogue Toulouse-Lautrec and the Stars of Paris (April 2019, MFA Publications), written by curator Helen Burnham with contributions by Mary Weaver Chapin, Curator of Prints and Drawings at the Portland Art Museum, and Joanna Wendel, Morse Curatorial Research Fellow in the Department of Prints and Drawings at the MFA. Lavishly illustrated with reproductions of iconic images and rarely seen sketches, the volume focuses on six performers depicted by Toulouse-Lautrec—Yvette Guilbert, Jane Avril, Aristide Bruant, Marcelle Lender, May Belfort and Loïe Fuller—and explores how they collaborated with the artist in exploiting new media to create stardom.



 Henri de Toulouse-Lautrec, Jane Avril, 1899. Poster, color lithograph. Albert H. Wiggin Collection. Boston Public Library.


Also:

Toulouse-Lautrec and the Stars of Paris opens at MFA Boston

Featured image is an 1895 lithograph from the catalog to MFA Boston's current exhibition, Toulouse-Lautrec and the Stars of Paris, organized around six of the artist's legendary muses of the bohemian cabaret world. Titled "Marcelle Lender," the stage name of Anne-Marie Marcelle Bastien, this print captures one of the most beloved stars of Paris's light opéra bouffe. According to Joanna Wendel, Lautrec's interest in Lender blossomed into an obsession when he saw her perform a Spanish-style bolero in the light opera Chilpéric that same year.  

"The production was a striking success, running for more than a hundred performances and drawing praise for its lavish set and costume designs." Wendel quotes a letter from Lautrec to French writer Romain Coolus: "I come strictly in order to see Lender's back… Look at it carefully; you seldom see anything so magnificent. Lender's back is sumptuous." She concludes by speculating that Lautrec may have drawn inspiration for the composition from Japanese color woodcut portraits of courtesans, noting the unusually prominent Japanese-style monogram in the upper left corner. continue to blog

  • Henri de Toulouse-Lautrec, Jane Avril, 1899. Poster, color lithograph. Albert H. Wiggin Collection. Boston Public Library.

  • Henri de Toulouse-Lautrec, Divan Japonais, 1893. Lithograph. Albert H. Wiggin Collection. Boston Public Library.

↧
↧

In a New Light: Alice Schille and the American Watercolor Movement

April 23, 2019, 8:56 am
$
0
0
Columbus Museum of Art 
 June 14-Sept. 29, 2019


More than 50 works, many of which have not been exhibited for decades, comprise In a New Light: Alice Schille and the American Watercolor Movement, on view June 14 to Sept. 29, 2019, at the Columbus Museum of Art (CMA). The exhibition honors the Columbus native’s 150th birthday and her contribution to the American watercolor movement, offering new critical insights on this remarkable artist. In addition, the illuminating exhibition explores Schille’s travels, teaching and her steadfast advocacy for women’s suffrage. In a New Light is organized by CMA with Guest Curators James Keny and Tara Keny with the assistance of CMA Roy Lichtenstein Curatorial Fellow Daniel Marcus. 



   “We’re thrilled to have this exhibition at Columbus Museum of Art,” said Nannette Maciejunes, CMA executive director. “Schille’s work is visually arresting, was recognized in its time and had profound influence on other artists. She’s an important figure in art history and we’re proud to be reintroducing her to the American public.”



   One of the most celebrated American watercolorists of the 20th century, Schille was largely forgotten after WWII until recent scholarship revealed her overlooked creative brilliance. She earned acclaim from critics and fellow artists across the United States and Europe at a time when becoming an acknowledged professional artist was a particularly challenging path for women. Her subjects were often beach and harbor scenes, landscapes and city marketplaces, painted in pure-wash watercolor with modern compositions and Fauve color she had observed firsthand in Paris. She was praised for her ability to infuse bold compositions with movement and light.

           

   “Ambition and remarkable skill were required for any artist to succeed on a national scale, but particularly for an unmarried woman from a small city in the Midwest,” said Tara Keny, guest curator of the exhibition and the Modern Women’s Fund curatorial assistant in the Department of Drawings and Prints at The Museum of Modern Art. “Alice Schille’s remarkable aptitude for watercolor, her intellect and her passion for the arts contributed to her lifelong success. She was really a wonderfully curious, talented and tenacious artist.”



   Born in Columbus in 1869, Schille completed her studies at the Columbus Art School (now Columbus College of Art & Design), the Art Students League in New York City and the Académie Colarossi in Paris. She exhibited her work across the U.S. while sailing in the summer to France, Egypt, Morocco, Holland, Italy, Dalmatia and England, alone or with fellow artists including Olive Rush and Martha Walter. She forged connections with notable figures of the time including Gertrude Stein, Alice B. Toklas and British painter Dame Laura Knight and was among the first to introduce European modernist styles, such as Cubism, to young artists in the Midwest when she returned to teach each autumn. She also regularly chaperoned art students to exhibitions outside of Columbus, introducing them to well-known artists and curators.



Exhibition Catalogue

The exhibition is accompanied by a 100-page catalogue authored by Tara Keny, James Keny and Kathleen A. Foster, a watercolor expert and senior curator of American art at the Philadelphia Museum of Art. The catalogue looks at Schille’s work in the context of the American Watercolor Movement and at the critical and creative context in which she practiced and exhibited. Twenty cameo essays describe important career moments and key relationships with artists Olive Rush, Gustave Baumann, William Merritt Chase and Columbus artist George Bellows.
  
Images

 Alice Schille, The Other Side of the Circus Wagon (Meal Time, Brittany), circa 1908-10, Watercolor. Collection of Ann and Tom Hoaglin.



Alice Schille, Mother and Child in a Garden, France, circa 1911-12, Watercolor. Collection of Ann and Tom Hoaglin.



Alice Schille, Sun Spots on the Road, circa 1911, Watercolor. Private Collection, Courtesy of Keny Galleries, Columbus, Ohio

Alice Schille, Gay Spots of Color on the East Side, New York, 1915, Watercolor. Collection of Mr. and Mrs. Charles Atwood.


Alice Schille, Midsummer Day, circa 1916, Watercolor. Columbus Museum of Art, Ohio: Gift of Ferdinand Howald.


Alice Schille, The Green Door, Morocco, circa 1922, Watercolor. Collection of Sally and Tom Kitch.  


↧

Van Gogh and the Sunflowers

April 25, 2019, 11:56 am
$
0
0

Van Gogh Museum,  Amsterdam,
 21 June - 1 September,  2019 

 


Sunflowers (1889), one of Vincent van Gogh’s best-known paintings, will be the centrepiece of the summer exhibition Van Gogh and the Sunflowers. The presentation will highlight the flower’s significance to the painter and what he hoped to achieve with his Sunflowers.Van Gogh himself thought that this work was among the best things he had done.

A great deal of study has been devoted to the masterpiece from the Van Gogh Museum’s collection in recent years. The exhibition will show what the latest technical research has contributed to our knowledge of Van Gogh’s working methods, the discolouration of certain pigments and the painting’s conservation history and current condition. The public will also have a first opportunity to see the back of the masterpiece, including the wooden strip that Van Gogh himself added to create more space for the sunflowers. 
 
From first flower still life to world-famous Sunflowers
 
Van Gogh and the Sunflowers presents the fascinating genesis of the painting and the sunflower’s significance to Van Gogh. The flower still lifes he painted during his time in Paris reflected the French floral still life tradition. It was in that city that he first chose the sunflower as a subject, in both landscapes and still lifes. Having moved to the southern French town of Arles, he then painted his celebrated large vases with sunflowers, which came to be associated with his friendship with Paul Gauguin. The painting now in the Van Gogh Museum’s collection was originally intended for Gauguin, who lived with Van Gogh in the Yellow House in Arles for two months and made a portrait of him as a painter of sunflowers. 

Van Gogh considered the Sunflowers paintings to be among his best works. He realized that he had achieved something extraordinary: ‘to be sufficiently heated up to melt those golds and those flower tones, not just anybody can do that, it takes an individual’s whole and entire energy and attention.’ It was not only Gauguin who was impressed by the works, Vincent’s brother Theo and other artists and critics also found the Sunflowers series magnificent. It did not take long after Van Gogh’s early death for them to assume the status of masterpieces.

Back of the painting with added wooden strip to be on view for the first time


Sunflowers, study (F377), Oil on canvas, 21 x 27 cm, Van Gogh Museum, Amsterdam
Van Gogh and the Sunflowers will include twenty-three works, virtually all from the Van Gogh Museum’s own collection: in addition to Van Gogh’s Sunflowers, there are masterpieces like  

 Vincent van Gogh - The yellow house ('The street').jpg


The Yellow House (1888)



 and Paul Gauguin’s Vincent van Gogh Painting Sunflowers (1888), as well as a number of drawings by Van Gogh that are rarely shown because of their fragility and sensitivity to light. 

 

Besides, there is a loan by Isaac Israëls on view, Woman in Profile before Van Gogh’s ‘Sunflowers’ (1916-1920) from Museum de Fundatie, Zwolle.

Exceptionally, the back of the world-famous Sunflowers is being shown for the first time so that visitors can see the wooden strip with the original nails that Van Gogh himself added at the top of the canvas. He probably realized while painting that the uppermost sunflowers were too close to the edge of the picture plane, so he attached the narrow wooden strip at the top to give the bouquet more space.

Study of working methods and condition
Van Gogh and the Sunflowers presents for the first time the results of the extensive technical research performed on this masterpiece. An international team of specialists headed by former senior conservator Ella Hendriks examined Sunflowers using the latest scientific techniques, in order to gather as much information as possible about the canvas, the ground and paint layers and the previous restorations carried out on the work. The aim was to discover which materials Van Gogh used, what condition the painting is in, whether restoration was needed and possible and what can be done to preserve the work – 130 years after it was painted – as effectively as possible for the future.

Travel ban and discolouration

One important conclusion is that the ground and paint layers are stable, but extremely sensitive to vibrations caused by movement and to changes in humidity and temperature. It is therefore important that the painting is moved about as little as possible and that it should hang in a stable climate. For this reason, the museum recently decided not to allow Sunflowers to travel in future.

The research also provided detailed knowledge of the colours and blends of colours that Van Gogh used and the natural ageing process of the paint. The original colour nuances have been partially lost due to the effects of discolouration. We now know that the changes in colour in Sunflowers have been caused by the fading of a particular type of red paint (geranium lake) and the darkening of a particular type of yellow paint (chrome yellow). We also know more about the various restorations carried out on the work, and the consequences of these restorations.

Conservation treatment: varnish and retouches
Sunflowers underwent minor conservation treatment at the beginning of the year based on the findings of the research. The latter revealed that the painting has several layers of varnish, all of which were applied later and hence not by Van Gogh himself. They are dirty and yellowed but cannot be removed as the paint and varnish layers have merged in certain places. A layer of wax was later added on top of the varnish at some places to secure the paint and make the surface more matt. The wax, which was applied in the late 1990s and had taken on a matt, whitish effect over time, was removed during the recent conservation treatment. The retouches added during an earlier restoration were also examined. These could not be removed as they were located beneath the varnish layer and so new retouches were made on top of the old ones. 

Catalogues

Van Gogh’s Sunflowers Illuminated: Art Meets Science is  a scholarly publication in which an international team of art historians, curators and conservation scientists will unveil the results of several years of research using the latest techniques into the sunflowers paintings in the Van Gogh Museum and the National Gallery in London. The book is published by Amsterdam University Press, price € 55.00.

The exhibition catalogue presents the research results to a wider public, and also situates the Van Gogh Museum’s Sunflowers in the context of the artist’s oeuvre and his series of sunflower still lifes. Van Gogh and the Sunflowers: A Masterpiece Examined has been written by Nienke Bakker and Ella Hendriks and appears in Dutch and English versions, price approx. € 17.50.
↧
Search

The Emil Bührle collection

April 25, 2019, 12:04 pm
$
0
0

20 march - 21 july 2019

Musée Maillol
In the spring of 2019, the Musée Maillol will exhibit masterpieces from the Emil Bührle Collection, one of the most prestigious private collections in the world. Exhibited for the first time in France, this ensemble, which was assembled between 1936 and 1956 in Zurich, provides a panorama of French art from the nineteenth century and the beginning of the twentieth century.

The Musée Maillol will present the exceptional collection of the manufacturer Emil Georg Bührle (1890–1956), who was born in Germany but settled in Switzerland in 1924 and collected—mainly between 1951 and 1956—more than 600 artworks.

Featuring around fifty works from the Emil Bührle Collection, the exhibition includes several modern art movements: works by the major Impressionists (Manet, Monet, Pissarro, Degas, Renoir, and Sisley) and post-Impressionist artists (Cézanne, Gauguin, Van Gogh, and Toulouse-Lautrec), works from the beginning of the twentieth century by the Nabis (Bonnard and Vuillard), the Fauves (Braque, Derain, and Vlaminck), and the École de Paris (Modigliani), and, lastly, the art of Picasso.

In anticipation of its permanent home in the new extension of the Kunsthaus in Zurich, the Emil Bührle Collection is currently on a national and international tour.

After the Fondation de l’Hermitage in Lausanne in 2017 and three major museums in Japan in 2018, the Musée Maillol will have the privilege of displaying masterpieces such as

Dancer sculpture by Degas at the Met.jpg
La petite danseuse de quatorze ans by Degas (Little Dancer Aged Fourteen, circa 1880),

 

Monet’s Les coquelicots près de Vétheuil (Poppies Near Vétheuil, circa 1879),

 


Paul Cézanne, Le Garçon au gilet rouge, 1888-1890. Huile sur toile, 79,5 x 64 cm. Collection Emil Bührle, Zurich © SIK-ISEA, Zurich (J.-P. Kuhn).


Cézanne’s Le garçon au gilet rouge (Boy in a Red Waistcoat, circa 1888),



and Le semeur au soleil couchant by Van Gogh (Sower at Sunset, 1888).


This comparative approach will highlight the links and filiations between the artistic movements that existed during various eras, while illustrating each painter’s personal contribution to the history of art. Emil Bührle, for whom past works had an influence on those of the present, remarked that ‘Ultimately, Daumier led to Rembrandt, and Manet to Frans Hals’.
↧

The Impressionist and Modern Art Evening Sale at Christie'sMay 13

April 26, 2019, 10:19 am
$
0
0


The Impressionist and Modern Art Evening Sale  opens 20th Century Week at Christie’s New York. The highlights of the New York auction on 13 May, include standout out pieces by Amedeo Modigliani, Pablo Picasso, René Magritte and other leading names of the 20th Century. The much anticipated sale presents works from the greatest moments of Impressionism to Modern art, with leading artists of the period.
Vincent van Gogh (1853-1890), Arbres dans le jardin de l’asile, October, 1889. Oil on canvas. 16 ¼ x 13 ¼ in. Estimate on request. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. Newhouse Masterpieces from the Collection of S.I. Newhouse
Vincent van Gogh (1853-1890), Arbres dans le jardin de l’asile, October, 1889. Oil on canvas. 16 ¼ x 13 ¼ in. Estimate on request. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. Newhouse: Masterpieces from the Collection of S.I. Newhouse
Paul Cézanne (1839-1906). Baigneuses devant une montagne (recto); étude de maison (verso), 1902-1906. pencil and watercolor on paper (recto); pencil on paper (verso). 5 x 8 ½ in. Estimate $2,000,000-3,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. Property from an Important European Collection
Paul Cézanne (1839-1906). Baigneuses devant une montagne (recto); étude de maison (verso), 1902-1906. pencil and watercolor on paper (recto); pencil on paper (verso). 5 x 8 ½ in. Estimate: $2,000,000-3,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. Property from an Important European Collection
Paul Cézanne (1839-1906), Bouilloire et fruits, 1888-1890. Oil on canvas. 18 ⅜ x 23 in. Estimate on request. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. Newhouse Masterpieces from the Collection of S.I. Newhouse
Paul Cézanne (1839-1906), Bouilloire et fruits, 1888-1890. Oil on canvas. 18 ⅜ x 23 in. Estimate on request. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. Newhouse: Masterpieces from the Collection of S.I. Newhouse
Claude Monet (1840-1926), Nature morte au melon d’Espagne, 1879. Oil on canvas. 35 ½ x 26 ¾ in. Estimate $2,000,000-4,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s New York. Property from the Collection of Frederick A. and Sharon L. Klingenstein
Claude Monet (1840-1926), Nature morte au melon d’Espagne, 1879. Oil on canvas. 35 ½ x 26 ¾ in. Estimate: $2,000,000-4,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s New York. Property from the Collection of Frederick A. and Sharon L. Klingenstein
Henri Matisse (1869-1954), Nu à la fenêtre, 1929. Oil on canvas. 25 ¾ x 21 ½ in. Estimate $7,000,000-10,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Henri Matisse (1869-1954), Nu à la fenêtre, 1929. Oil on canvas. 25 ¾ x 21 ½ in. Estimate: $7,000,000-10,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Camille Pissarro (1830-1903). Le Jardin dOctave Mirbeau, la terrasse, Les Damps, 1892. Oil on canvas. 28 ¾ x 36 ¼ in. Estimate $3,000,000-5,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. The Robert B. and Beatrice C. Mayer Family Collection
Camille Pissarro (1830-1903). Le Jardin d’Octave Mirbeau, la terrasse, Les Damps, 1892. Oil on canvas. 28 ¾ x 36 ¼ in. Estimate: $3,000,000-5,000,000. Offered in the Impressionist and Modern Art Evening Sale on 13 May at Christie’s in New York. The Robert B. and Beatrice C. Mayer Family Collection
René Magritte (1898-1967), Le Thérapeute , 1967. Bronze with dark brown and green patina. Height 58 ⅝ in. (149 cm.) Width 50 in. (127 cm.) Estimate$1,000,000-2,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
René Magritte (1898-1967), Le Thérapeute , 1967. Bronze with dark brown and green patina. Height: 58 ⅝ in. (149 cm.) Width: 50 in. (127 cm.) Estimate:$1,000,000-2,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Pierre Bonnard (1867-1947), La Terrasse ou Une terrasse à Grasse, 1912. Oil on canvas. 49 ¼ x 52 ⅞ in. (125.3 x 134.4 cm.). Estimate $5,000,000-8,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Pierre Bonnard (1867-1947), La Terrasse ou Une terrasse à Grasse, 1912. Oil on canvas. 49 ¼ x 52 ⅞ in. (125.3 x 134.4 cm.). Estimate: $5,000,000-8,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Marc Chagall (1887-1985), LAcrobate ou Le Trapèze, 1937-1938. Gouache and pastel and ink on paper laid down on card laid down on canvas. 25 ¾ x 18 ¾ in. (65.5 x 47.7 cm.) Estimate $700,000-1,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Marc Chagall (1887-1985), L’Acrobate ou Le Trapèze, 1937-1938. Gouache and pastel and ink on paper laid down on card laid down on canvas. 25 ¾ x 18 ¾ in. (65.5 x 47.7 cm.) Estimate: $700,000-1,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Pablo Picasso (1881-1973), Course de taureaux, 1900. Gouache and pastel on board. 18 ½ x 27 ½ in. (47.1 x 70 cm.). Estimate $3,500,000-5,500,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Pablo Picasso (1881-1973), Course de taureaux, 1900. Gouache and pastel on board. 18 ½ x 27 ½ in. (47.1 x 70 cm.). Estimate: $3,500,000-5,500,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Amedeo Modigliani (1884-1920) Lunia Czechowska (à la robe noire), 1919. Oil on canvas. 36 ⅜ x 23 ⅝ in (92.4 x 60 cm). Estimate $12,000,000-18,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Amedeo Modigliani (1884-1920) Lunia Czechowska (à la robe noire), 1919. Oil on canvas. 36 ⅜ x 23 ⅝ in (92.4 x 60 cm). Estimate: $12,000,000-18,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Claude Monet (1840–1926), Le Palais Dario, 1908. Oil on canvas. 22 ⅛ x 26 ⅛ in. (56.2 x 66.5 cm.) Estimate $4,000,000–6,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
Claude Monet (1840–1926), Le Palais Dario, 1908. Oil on canvas. 22 ⅛ x 26 ⅛ in. (56.2 x 66.5 cm.) Estimate: $4,000,000–6,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 13 May at Christie’s in New York. The Collection of Drue Heinz
↧
↧

Utrecht, Caravaggio and Europe

April 26, 2019, 12:19 pm
$
0
0
Alte Pinakothek, Munich
17 April to 21 July 2019
What a shock it must have been for Hendrick ter Brugghen, Gerard van Honthorst, and Dirck van Baburen, three young painters from Utrecht, when they encountered the breathtaking and unorthodox paintings of Caravaggio for the first time in Rome. Described as 'miraculous things' his works were marked by an innovative realism, striking drama, and mysterious lighting and were to influence the style of many artists from Italy, France, Spain and the Netherlands. 

The exhibition, developed in collaboration with the Centraal Museum in Utrecht, shows over 70 of the most beautiful and important works of the leading ‘Caravaggisti’, including paintings by Bartolomeo Manfredi, Jusepe de Ribera, and Valentin de Boulogne and Caravaggio himself.

Artists

In 1600, Rome was the cultural centre of the world. The growing metropolis attracted artists and architects from all over Europe. Among them were the painters from Utrecht, Hendrick ter Brugghen, Gerard van Honthorst, and Dirck van Baburen. They studied the art of antiquity in the city as well as masterpieces of the Renaissance.

However, their main interest was in the revolutionary innovations in the painting of their times, including, in particular, those of Michelangelo Merisi, known as Caravaggio. Caravaggio was regarded as an impassioned hothead who brought about radical change in painting with new pictorial themes, realism of a kind that had never been known before, and strong contrasts between light and dark.

The many artists that flocked to Rome from all points of the compass came from a variety of cultural backgrounds. They had trained under different masters, in disparate styles and had their own personal goals and expectations of their time abroad. A total of 17 artists who sought fortune and success in Rome, and went about doing so in quite different ways, are represented at the exhibition.


In the exhibition:



Michelangelo Merisi, called Caravaggio (1571 - 1610), Medusa, called Medusa Murtola, 1597. Canvas on panel, diameter 44.68 cm. Private collection.

Michelangelo Merisi, gen. Caravaggio, The Fortune Teller, c. 1595/96, © Musei Capitolini, Pinacoteca, Rome



Valentin de Boulogne, David with the Head of Goliath and Two Soldiers, 1620/22, © Museo Nacionial Thyssen-Bornemisza, Madrid



Orazio Gentileschi, David and Goliath, c. 1605/07, © National Gallery of Ireland, Dublin
David and Goliath



Valentin de Boulogne, Judith with the Head of Holofernes, c. 1625/28, © Musée des Augustins, Toulouse



Hendrick ter Brugghen, St Sebastian Tended by Irene, 1625, © Allen Memorial Art Museum, Oberlin College, R. T. Miller, Jr. Fund, Oberlin, Ohio

Michelangelo-merisi-da-caravaggio-1571-1610-S 1 1753.jpg

Michelangelo Merisi, gen. Caravaggio, St Jerome Meditating, 1605/06, © Museu de Montserrat, Montserrat

File:Gerard van Honthorst - The Liberation of St Peter - WGA11647.jpg

Gerard van Honthorst, The Liberation of St Peter, c. 1616/18, © Staatliche Museen zu Berlin, Gemäldegalerie, Berlin

The Mocking of Christ

Hendrick ter Brugghen, The Mocking of Christ, c. 1625, © Musée des Beaux-Arts de Rennes, Rennes, on loan from the Musée de l’Assistance Publique, Paris



Giovanni Antonio Galli, gen. Lo Spadarino, Christ Displaying his Wounds, c. 1625/35, © Perth Museum and Art Gallery, Perth and Kinross Council Scotland

File:Gerard van Honthorst - The procuress - Google Art Project.jpg

Gerard van Honthorst, The Procuress, 1625 © Centraal Museum, Utrecht



Hendrick ter Brugghen, The Gamblers, 1623, © MinneapolisInstitute of Art, The William Hood Dunwoody Fund, Minneapolis


Catalogue


A comprehensive catalogue in German and English editions will be published to accompany the exhibition. The contributions shed light on the world of Utrecht Caravaggists and show how individually the young painters deal with the model of Caravaggio and thereby develop their very own style.

Hirmer Verlag, 34,90 euros, 304 pages with 330 colour illustrations, edited by Bernd Ebert and Liesbeth M. Helmus

Also see:

Beyond Caravaggio


↧

The American Pre-Raphaelites: Radical Realists

May 1, 2019, 7:16 am
$
0
0


Coinciding with the 200th anniversary of the birth of John Ruskin (1819–1900), an important art critic of the Victorian era, the National Gallery has brought together over 90 works, including paintings, watercolors, and drawings, by American artists who were influenced by Ruskin’s writing. Specifically, the exhibition will explore Ruskin’s significant impact on artists associated with a movement called “American Pre-Raphaelitism,” which peaked between 1857 and 1867 and included American artists such as Thomas Charles Farrer (1839–1891), John William Hill (1812–1879), and Robert J. Pattison (1838–1903). The exhibition will showcase the group’s richly detailed figural compositions, landscapes, and still-life paintings.





Loewy et Puiseux, "Photographie Lunaire Rayonnement de Tycho - Phase Croissante", 1899; photogravure; National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons' Permanent Fund

Thomas Charles Farrer, Mount Tom, 1865, oil on canvas, National Gallery of Art, Washington, John Wilmerding Collection, Promised Gift
Washington, DC—In celebration of the 200th anniversary of the birth of John Ruskin (1819–1900), the most influential art critic of the Victorian era, the National Gallery of Art will present more than 80 paintings, watercolors, drawings, and photographs created by American artists who were profoundly influenced by the renowned critic. Ruskin's call for a revolutionary change in the practice of art found a sympathetic audience in America among a group of like-minded artists, architects, scientists, critics, and collectors who organized the Association for the Advancement of Truth in Art. New research reveals that the members of the Association sought reform not only in the practice of art, but also in the broader political arena during the Civil War era. The American Pre-Raphaelites: Radical Realists, including several recently discovered works never exhibited publicly, will be on view at the National Gallery of Art from April 14 through July 21, 2019.

About the Exhibition

John Ruskin's (1819–1900) influence was most profound through the 1860s, when his ideas and opinions inspired an organized reform of American art and architecture. Although he never traveled to the United States, Ruskin's ideas reached America through his many publications, most notably in Modern Painters, which had inspired the British Pre-Raphaelite artists.
The Association for the Advancement of Truth in Art was founded in January 1863 to promote Ruskin's teachings. Member artists not only recorded the natural world with strict fidelity, as Ruskin advocated, but also created a number of works that included rich political subtexts referencing the ongoing war.
The Association existed for less than a decade. Its members included artists who produced a remarkable number of stunningly beautiful works during the period when they were active members and paying strict attention to Ruskin's admonition that they leave tradition behind, exit the studio, work outdoors, and reproduce nature's "truth" with exacting detail.
Thomas Charles Farrer (1839–1891), a young British expatriate who had studied in London with Ruskin and the Pre-Raphaelite painter Dante Gabriel Rossetti (1828–1882), became the leader of this eclectic group. Among the several works in the exhibition by Farrer is his stunning landscape Mount Tom (1865).
Other "radical realists" hailed by the Association's journal, The New Path, as America's modern painters are included in the exhibition: John Henry Hill (1839–1922); John William Hill (1812–1879); Charles Herbert Moore (1840–1930); Henry Roderick Newman (1843–1917); Robert J. Pattison (1838–1903); and William Trost Richards (1833–1905). Nonmember artists who were attracted by Ruskin's ideas and felt the Association's influence are also represented in the exhibition including Fidelia Bridges (1834–1923), the best known among Ruskinian women artists; Robert B. Brandegee (1849–1922); Henry Farrer (1844–1903), Thomas's brother; William John Hennessy (1839–1917); Aaron Draper Shattuck (1832–1928); and William James Stillman (1828-1901). Several works by John Ruskin himself introduce the exhibition.
New research reveals that the members of the Association sought reform not only in the practice of art, but also in the broader political arena, particularly in the debate about slavery. They were united by a patriotic commitment to the preservation of the Union and the abolition of slavery. The founding meeting of the Association took place at the height of the Civil War—just days after Abraham Lincoln had issued the Emancipation Proclamation.
Coded references to the war are present in several detailed landscape paintings that do not appear—at first glance—to carry symbolic meaning, including



William Trost Richards's A Neglected Corner of the Wheatfield (1865)




and Charles Herbert Moore's Hudson River, Above Catskill (1865).

Both works resonate with a range of explicit and hidden messages related to the war.

During the heyday of the movement in the mid-1860s, the realists' hyper-detailed and vividly colored oil paintings and watercolors were interpreted by the partisan critical voices of The New Path as vibrant agents promoting reform when displayed among conventional works.
Exhibition Curators
The exhibition is curated by Linda S. Ferber, museum director emerita and senior art historian at the New-York Historical Society, with Nancy K. Anderson, curator and head of the department of American and British paintings at the National Gallery of Art.

↧

N. C. Wyeth: New Perspectives

May 13, 2019, 11:26 am
$
0
0



Brandywine River Museum of Art 
June 22 – September 15, 2019 

Portland Museum of Art in Maine 
October 4, 2019 – January 12, 2020

Taft Museum of Art in Cincinnati, Ohio 
February 8, 2020 – May 3, 2020


Th is summer the Brandywine River Museum of Art will present N. C. Wyeth: New Perspectives , the first exhibition in almost 50 years to examine in depth the entirety of Wyeth’s multifaceted oeuvre . A formidable yet often overlooked fig ure in the history of American art , N. C. Wyeth was the foremost illustrator of his generation, and the patriarch of an extraordinary famil y of artists . By re p ositioning Wyeth as a distinguished painter who worked across the perceived divisions of visual culture in painting, illustration, mural s and advertising, the exhibition offers new insights on Wyeth’s place within the b road spectrum of early 20th - century visual arts .

Co - organized by the Brandywine River Museum of Art and the Portland Museum of Art (PMA) , this landmark exhibition , which will include approximately 70 paintings and drawings selected from major museums and private collections , will be on view at the Brandywine River Museum of Art from June 22 through September 15, 2019. 

Well known during the 20th century for his bold, imaginative illustrations that brought new characterizations to classic stories such as Treasure Island , The Boy’s King Arthur and Th e Last of t he Mohicans , N. C. Wyeth was a prolific artist who vigorously pursued parallel interests in painting landscapes, seascapes, portraits, still lifes and murals throughout his career. A master of many styles and a brilliant colorist, Wyeth employed the skills honed in the work he produced for publishers to explore and address various thematic and stylistic currents running through the first five decades of the 20 t h century.

Wyeth’s nuanced grasp of how to create emotional power through composition and light effects was not only influential, but also established a certain visual standard for dramatic imagery. The exhibition will feature the iconic paintings Wyeth created to illustrate books and magazine stories , as well as the remarkable landscapes and figurative works of art that have , up until now , garnered less attention . They include examples of his experimentation with Impressionism during the 1910s and 20s , a s well as his shift towards American Regionalism and his adoption of elements of Modernism from the late 1920s through the mid - 1930s . 

N. C. Wyeth (1882 – 1945), Island Funeral , 1939 , egg tempera and oil on hardboard, 44 1/2 x 52 3/8 in. Brandywine River Museum of Art  gift of E. I. du Pont de Nemours and Company in honor of the 50 th anniversary of the Brandywine Conservancy & Museum of Art , 2017
Among the exhibition highlights on view, Island Funeral, 1939, one of Wyeth’s most seminal and complex narrative paintings , represent s the culmination of a protracted period of artistic experiment and invention.



N. C. Wyeth (1882-1945), Dark Harbor Fishermen, 1943, tempera on hardboard (Renaissance Panel), 35 x 38”. Portland Museum of Art, Portland, Maine.

N. C. Wyeth (1882-1945), Ridge Church, 1936, oil on canvas, 36 x 40 1/8 in. Collection of Linda L. Bean

N. C. Wyeth (1882-1945), Ridge Church, 1936, oil on canvas, 36 x 40 1/8 in. Collection of Linda L. Bean

N. C. Wyeth (1882-1945), Tapping up and down the road in a frenzy, and groping and calling for his comrades, 1911, oil on canvas, 47 x 38". The Andrew and Betsy Wyeth Collection

N. C. Wyeth (1882-1945), Saturday Evening Post, cover (Bucking Bronco), 1903, oil on canvas on hardboard, 27 1/2 x 19 1/2 in. Autry Museum of the American West, Los Angeles

N. C. Wyeth (1882-1945), The Harbor at Herring Gut, 1925, oil on canvas, 43 x 48 1/8 in. The Andrew and Betsy Wyeth Collection

N. C. Wyeth (1882-1945), The Harbor at Herring Gut, 1925, oil on canvas, 43 x 48 1/8 in. The Andrew and Betsy Wyeth Collectio
The Brandywine is the first of three national venues for this exhibition , and visitors coming to Chadds Ford have a unique opportunity to further immerse themselves in both Wyeth’s work and life. N. C. Wyeth’s own home and studio — a National Historic Landmark and the locus of r oots which have nourished a family of extraordinary creativity for more than a century — are owned by Brandywine and open for public tours daily. Wyeth’s majestic studio, with its spectacular Palladian - style north window , is much as the artist left it at his untimely death in 1945. 

Exhibition Catalogue


The catalogue accompanying N. C. Wyeth: New Perspectives — co - published by Yale University Press, the Brandywine River Museum of Art and the Portland Museum of Art — includes scholarly essays which examine multiple aspects of Wyeth’s life and work, providing a long overdue re assessment of the remarkable breadth of t his complex , and often misunderstood artist .

The authors include D. B. Dowd, Professor of Design and American Culture Studies at Washington University, St. Louis; David M. Lubin, Charlotte C. Weber Professor of Art at Wake Forest University; Kristine Ronan and Karen Zukowski, both independent scholars. T he exhibition ’s co - curators, Christine Podmaniczky , Curator of N. C. Wyeth Collections and Historic Properties at the Brandywine River Museum of Art, and Jessica May , Deputy Director and Robert and Elizabeth Nanovic Chief Curator at the Portland Museum of Art, are also contributors. 


↧
Viewing all 2933 articles
Browse latest View live
Search