'The Body Says, I Am a Fiesta: The Figure in Latin American Art'

August 26, 2019, 7:21 am

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Norton Museum of Art, West Palm Beach/ October 4, 2019 - March 3, 2020

https://www.norton.org/

Largely drawn from the Norton’s permanent collection, this exhibition addresses ideas about the body and its symbolic and societal implications in modern Latin American cultures. The Body Says, I Am a Fiesta presents paintings, photography, sculpture, and works on paper by artists active in Latin America and the United States between the 1930s and 2010s such as Diego Rivera

(shown: El Amigo de Frida, 1931),

Ana Mendieta, Rufino Tamayo, and María Magdalena Campos-Pons. Collectively, the artworks explore differing approaches to figural representation to exemplify the universal elements of the body as well as the external forces acting upon it.

The exhibition’s title also recognizes these external factors and originates from a book of short stories and folklore by Uruguayan journalist, writer, and novelist Eduardo Galeano (1940-2015). The book, Walking Words, includes a recurrent sequence of maxims Galeano called “Windows” and his “Window on the Body” illustrates the conflicting ways institutions regard, study, exploit, and extol the human body:
“The church says: The body is a sin.
Science says: The body is a machine.
Advertising says: The body is a business.
The body says: I am a fiesta.”

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From Manet to Picasso : The Thannhauser collection - Updated

August 26, 2019, 9:34 am

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Hôtel de Caumont Art Centre -Until 29 September 2019 A Culturespaces production in collaboration with The Solomon R. Guggenheim Foundation, New York After holding an exhibition devoted to Marc Chagall, the Hôtel de Caumont Art Centre will be presenting (as of 1 May 2019) masterpieces from the Justin K. Thannhauser Collection, bequeathed in 1963 to the Solomon R. Guggenheim Foundation in New York. For the first time, around fifty major works from this prestigious collection will be presented in Europe in an itinerant exhibition that began in the Guggenheim Bilbao Museum: paintings and sculptures by the masters of Impressionism and post- Impressionism, as well as the major figures of modern art, from Manet to Picasso, and Degas, Gauguin, Cézanne, Van Gogh, Braque, and Matisse. Justin K. Thannhauser (1892–1976), a leading figure in the dissemination of European modern art, was the sponsor, friend, and promoter of innovative artists who transformed Western art at the end of the nineteenth century and the first half of the twentieth century. In his youth, he helped his father, Heinrich Thannhauser, to run the famous Moderne Galerie, which was founded in Munich in 1909. Father and son developed a remarkable programme of exhibitions that featured the work of French Impressionists and post-Impressionists, as well as contemporary German artists. The gallery also held one of the first major retrospectives of Picasso’s oeuvre in 1913, and this helped to forge a long and close friendship between Justin Thannhauser and the artist. In 1941, Justin Thannhauser moved to New York and soon established himself as an art dealer in the United States. As he had no successor, he bequeathed the major works in his collection to the Solomon R. Guggenheim Foundation in New York. They have since become some of the most important works in this major museum, where they are displayed in a gallery that bears the name of their legatee. This bequest considerably enriched the body of works by Cézanne in the New York museum, which until that point only had a single work by the artist: l'Homme aux bras croisés (Man with Crossed Arms, circa 1889). The collection of works by Cézanne owned by Thannhauser will be displayed at the Hôtel de Caumont, and includes the work Bibémus (Bibémus Quarries), which will return for the first time to Aix-in-Provence, where it was painted circa 1894–1895. The exhibition brings together other emblematic works: major paintings by Picasso such as Le Moulin de la Galette (1900), an exceptional loan from the Guggenheim Museum, as well as masterpieces by Van Gogh and Manet, which have been restored to their former splendour, thanks to a recent restoration campaign that was conducted specifically for this exhibition. Details: Bibémus (Bibémus Quarries), Cézanne Cézanne executed many landscapes that represented the abandoned stone quarries of Bibémus, near Mont Sainte-Victoire. The artist rented a cabin in this spot between 1895 and 1899 and he enjoyed working in the isolation and solitude of the quarries. The region’s bright colours, above all the red sandstone and the rocky terrain of the quarries with their wild shrubs, influenced the artist’s increasing ly geometric style. For the first time, this highly emblematic work representing the region, painted in the environs of Aix-en-Provence, will return to its native town after more than a century and a half. Édouard Manet (1832-1883), Devant la glace, 1876, oil on canva, 93 x 71,6 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.27 2 1 Devant la glace (Before the Mirror), Manet Édouard Manet painted this view of a woman seen from the back in 1876. The sitter was a famous courtesan, the mistress of the successor to the Dutch throne. This highly intimate painting represents her wearing a corset and the viewer’s eye is drawn to this item of clothing. Like his contemporaries, the Impressionists, Manet wished to depict very aspect of modern life, including the private world of sensual pleasures. The painter said: ‘The satin corset may be the nude of our era’. The picture was painted in a very modern style and the brushstrokes are free and expressive and lacking in details, creating the impression of a fleeting image. Édouard Manet, Femme en robe à rayures, vers 1877-1880, oil on canva, 175,5 x 84,3 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.28 Femme en robe à rayures (Woman in Striped Dress), Manet A young woman posed for Édouard Manet. Dressed fashionably, wearing a striped dress and holding a Japanese fan, she is looking beyond the con fines of the picture. Upon Manet’s death in 1883, this picture was unfinished in his studio. Based on photographs and scientific analyses, the work reveals that finishing touches were subsequently applied and that the painting was trimmed down its sides and along the top. The picture is also covered in a thick layer of varnish, which was probably applied to the surface to facilitate its sale at the time. The gradual removal of this layer of varnish revealed the original rapid brushstrokes that were so characteristic of Manet’s work. In addition, the inventories made at the time described the dress as violet, but before the restoration the dress’s stripes appeared to be almost green. The restored picture now has deep blue violet hues. The work will be exhibited for the first time in France since its restoration, which was completed in 2018. 3. FROM FATHER TO SON: THE THANNHAUSERS’ CENTRES OF INTEREST Capital of the liberal Weimar Republic, Berlin was a cultural centre in the 1920s and embraced unconventional art movements and lifestyles. The Thannhausers found it an ideal place in which to develop their business. Justin Thannhauser began in 1927 by organising a ‘special exhibition’ (Sonderausstellung), which the public and the critics greeted with enthusiasm. Amongst the two hundred and sixty-three works, the exhibition presented Mountains at Saint-Rémy by Vincent van Gogh. Painted during the artist’s convalescence, in 1889, it represents his subjective vision of the Provençal landscape through the use of thick and vibrant brushstrokes. In 1928, the Thannhauser gallery held a major retrospective of Gauguin’s oeuvre, with no less than 230 works by the artist, borrowed from major public and private collections. Justin’s presentations in the Berlin gallery in many ways reflected his father’s early interests in Munich. It was Heinrich who had organised a survey of Van Gogh’s oeuvre in 1908, in collaboration with the artist’s heirs. In 1910, the gallery in Munich had also held a major exhibition devoted to Gauguin, with twenty-six works by the artist, including Haere Mai. Painted on the distant island of Tahiti in 1891, this work represents an idealised and romantic vision of an unsullied paradise, which appealed to many Europeans at the turn of the century. Vincent van Gogh (1853-1890), Le Viaduc, Asnières, 1887, oil on canvas, 32,7 x 41 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.17 Van Gogh’s Le Viaduc (Roadway With Underpass) represents a tunnel next to the Quai d’Asnières (now called Asnières-sur-Seine), a Parisian faubourg, where he often visited his friend, the artist Émile Bernard. A woman can be seen walking in the shade beneath the viaduct, drawn to the other side by a barely visible glimmer of light. Chimneys are visible above the railway bridge, surrounded by lush vegetation. During this time, van Gogh’s technique was greatly influenced by exhibitions of French artists linked to Impressionism and post-Impressionism. In 2018, the R. Guggenheim Foundation began to restore the work, whose original colours have been revealed. The work was exhibited in France in Thannhauser’s Parisian gallery at the end of the 1930s. In addition to the expansion to Berlin, in 1920 Justin Thannhauser had founded a gallery in Lucerne, with his cousin Siegfried Rosengart. 4. ON THE LOOKOUT FOR MODERN ART: JUSTIN THANNHAUSER AND HIS FRIENDS In 1913, when the Thannhausers lent works to the major exhibition of modern art in New York, better known as the Armory Show, the gallery in Munich held one of the first retrospectives of Picasso’s oeuvre in Germany. This exhibition, which presented works dating from 1901 to 1912, marked the beginning of a lasting friendship between the artist and Justin Thannhauser, who wrote the catalogue’s preface. Hence, while Heinrich Thannhauser consolidated his reputation in Munich, Justin developed his taste for modern art and demonstrated his support for a new generation of vanguard artists. Having assisted his father in the Moderne Galerie from around the age of seventeen, Justin continued his academic studies in Berlin, Florence, and Paris in the early 1910s. His philosophy and art history teachers and colleagues were prominent figures such as Henri Bergson, Adolph Goldschmidt, and Heinrich Wölfflin. Another acquaintance in Paris, the German painter Rudolf Levy, was a friend of Henri Matisse and the expatriates who frequented the Café du Dôme, in Montparnasse. It was probably through the so-called ‘Dômiers’ that Justin came to know the key Parisian art dealers, which strengthened his position within the network of American and European modern art galleries. The Matisse exhibition that Justin held in Berlin in 1930 was organised through his contacts in the Parisian art world. The show, prepared in collaboration with the artist and comprising two hundred and sixty-five paintings, sculptures, drawings, and engravings, was the most comprehensive retrospective of Matisse’s oeuvre in Germany up to that point. Le Moulin de la Galette, Paris, vers novembre 1900, oil on canva, 89,7 x 116,8 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.34 © Succession Picasso 2019 Le Moulin de la Galette, Picasso Picasso was nineteen when he painted Le Moulin de la Galette (1900). This was his most important work executed during his first stay in Paris—the artistic epicentre at that time—, where he had come to visit the Universal Exhibition . The work reflects the young Picasso’s fascination with the Bohemian atmosphere of Parisian nightlife. The strong influence of Henri Toulouse-Lautrec is evident in th e choice of subject matter and the composition. The figures on the left and right a re outside the frame, which reinforces the impression of instantaneity, giving it a p hotographic quality. Picasso’s style subsequently evolved from a more naturalistic p eriod to his melancholic Blue Period, followed by his Pink Period, and finally, working in conjunction with Georges Braque, he developed geometric lines and the deconstruc tion of forms, with the flat areas that characterised cubism. 5. CHAMPION OF THE AVANT-GARDE: THE MUNICH-BASED ARTISTS AND DER BLAUE REITER In the years preceding the Great War, the support that the Thannhausers gave to emerging artists—those based in Munich as well as abroad—played an important role in the proliferation of avant-garde styles. In 1909 and 1910, two exhibitions established the Neue Kunstlervereinigung Munchen (NKVM, or New Artists’ Association of Munich), which was openly opposed to conservatism in society and the contemporary German art market. The Thannhausers thus demonstrated their open-mindedness in providing a venue for such artists to exhibit their work, whereas the most conventional critics reacted to the paintings by Kandinsky, Münter, and Jawlensky by calling them ‘absurdities of incurable madmen’. In 1911–12, the first exhibition of Der Blaue Reiter (The Blue Rider) group confirmed the gallery’s foresight. Led by Wassily Kandinsky and Franz Marc, the group drew inspiration from sources as diverse as French Fauvism, Art Nouveau, Bavarian popular culture, and Russian folklore, and promoted the development of an art that was free of any figurative constraints, and which experimented with lyrical, symbolic, and spiritual expression. In addition to presenting paintings by the movement’s founding members, and in the cosmopolitan spirit that characterised the movement, the Blaue Reiter exhibition enabled the German public to discover works by French artists such as Robert Delaunay and Henri Rousseau (works by the latter presented posthumously). In 1914, the Thannhausers also mounted the first major exhibition in Germany devoted to Paul Klee, a Swiss artist who was also associated with the artists’ group Der Blaue Reiter. Kandinsky’s works are central to the Guggenheim, which has more than 150 of the artist’s works. Kandinsky left Russia, his native country, at the age of thirty, to study painting in Munich, one of Europe’s major cultural centres at the time. Solomon Guggenheim was determined to collect a wide range of the artist’s works in order to illustrate every period in his career. Vassily Kandinsky (1866-1944), La Montagne bleue (Der blaue Berg), 1908-1909, oil on cardboard, 106 x 96,6 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, don, 41.505 The work, entitled Blue Mountain (Der blaue Berg, 1908–1909), in the Guggenheim Collection was exhibited in the Thannhauser Moderne Galerie in Munich during the first Der Blaue Reiter (The Blue Rider) exhibition. The motif of the rider in this picture symbolises the artist’s crusade against conventional aesthetic values and his desire to create a better utopian future via art’s capacity for transformation. In 1911, Thannhauser’s Moderne Galerie in Munich held the first German exhibition of Klee’s work. Paul Klee (1879-1940), Parterre de fleurs (Blumenbeet), 1913, huile sur carton, 28,2 x 33,7 cm Solomon R. Guggenheim Museum, New York, succession de Karl Nierendorf, acquisition, 48.1172.109 In Flower Bed (Blumenbeet, 1913), formerly on loan to the Thannhauser galleries, Klee concealed the naturalistic subject matter by using fragmented forms and the juxtaposition of dissonant colours, which was an approach used by the avant-garde movements that emerged in Europe during the years leading up to the First World War. Nevertheless, Klee managed to create a work that was impossible to categorise, and renewed his style, technique, and subject matter throughout his career. 6. FROM PARIS TO NEW YORK: THE THANNHAUSERS’ ART SALONS In the 1930s, the international economic crisis and the rise of Nazism affected Thannhauser’s business. The gallery in Berlin closed in 1937, shortly after Justin moved with his family to Paris; they lived in a charming residence on rue Miromesnil, embellished with works by Monet, Degas, Picasso, and others. After the outbreak of the Second World War, the Thannhausers ultimately settled in New York in early 1941. Although some artworks that had remained in Germany were destroyed during an air raid, and the Parisian residence was pillaged during the German Occupation, a considerable number of other pieces in the Thannhauser collection survived. For instance, ninety works had been temporarily placed with the Stedelijk Museum in Amsterdam in 1938, and nine paintings had been part of a traveling exhibition in Latin America and North America since this same year, before all were returned to the Thannhausers in New York at the war’s end. Although he did not open a new gallery in New York, Justin Thannhauser continued to deal art privately, advise museums and galleries about art acquisitions, and help to organise major exhibitions. The house in which the Thannhausers lived from 1946, on East 67th Street, became a key gathering place for the city’s cultural circles. Those who visited the Thannhauser residence included prominent figures in the worlds of art, music, theatre, film, and photography such as Leonard Bernstein, Louise Bourgeois, Henri Cartier-Bresson, Marcel Duchamp, Jean Renoir, and Arturo Toscanini. The director of the Solomon R. Guggenheim Foundation, Thomas Messer, was, of course, also a guest, as was Peggy Guggenheim, Solomon Guggenheim’s niece who operated a museum-gallery in New York in the 1940s. Justin often travelled from the United States to Europe. He remained in contact with Picasso, who he invited to stay in what Thannhauser called his ‘little house’. 1. Pablo Picasso (1881-1973), Jardin à Vallauris, Vallauris, 10 juin 1953, oil and lacquer paint (?) sur toile, 19,1 x 26,9 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.64 © Succession Picasso 2019 2. Pablo Picasso (1881-1973), Nature morte : Fruits et pot, 22 janvier 1939, oil and lacquer paint (?) sur toile, 27,2 x 41 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Hilde Thannhauser, 84.3231 © Succession Picasso 2019 2 1 Press kit - Hôtel de Caumont - Centre d’Art 19 Pablo Picasso (1881-1973), Le Homard et le chat, Mougins, 11 janvier 1965, oil and lacquer on canva 73 x 92,1 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3916 © Succession Picasso 2019 Le Homard et le chat (Lobster and Cat), Picasso After the death of his first wife, Käthe, in 1960, Justin Thannhauser married Hilde Breitwisch. On this occasion, Pablo Picasso gave the couple Le Homard et le chat (Lobster and Cat), which was executed in 1965. A dedication written in red and in French can be seen on the canvas: ‘Pour Justin Thannhauser, votre ami, Picasso’ (‘For Justin Thannhauser, your friend, Picasso’). The work, which has a slightly comic aspect, was a reference to eighteenth-century still lifes, while focusing on the picture’s theme, which represents a real confrontation. A cat with a dark brown coat on the right is in direct conflict with a bright blue lobster on the left of the picture. The palette, composition, and the expressively applied paint create an animated picture: the cat’s back is arched, his tail is straight, and his fur is standing up on end with his eyes wide open, while the lobster, seen from above, appears to be carefully balancing on his many spindly legs. 7. THANNHAUSER AND PICASSO: THE STORY OF A FRIENDSHIP With the Thannhauser bequest, more than thirty works by Picasso entered the Guggenheim collection. Covering a period of some sixty-five years, they attest to the friendship between the two men, Justin Thannhauser’s admiration for the artist’s work, and also his enterprising approach as a dealer and collector who was continually able to embrace new styles over the decades. In this room, three portraits of women correspond with very different periods in Picasso’s oeuvre. Inspired by muses and companions who accompanied the development of his painting (Fernande Olivier, Olga Khokhlova, and Marie-Thérèse Walter), they show the evolution of Picasso’s pictorial style as he liberally drew inspiration from sources as varied as ancient and modern art. Hence, while classical statuary from antiquity inspired the sculptural aspects of Woman in an Armchair (1922), Pablo Picasso (1881-1973), Fernande à la mantille noire, Paris, vers 1905, oil on canva, 100 x 81 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3914 © Succession Picasso 2019 Fernande with a Black Mantilla (circa 1905), painted more than fifteen years earlier, attests to the influence of Fauvism: despite the almost monochrome palette, the colour is unconstrained by drawing. Woman With Yellow Hair, executed in 1931, reveals a renewed interest in surface treatment and colour. In this portrait of Picasso’s then-muse, Walter, the curvilinear contours and flat areas of bright colour signal a radical change in Picasso’s practice.
Hôtel de Caumont Art Centre displays more masterpieces from the Thannhauser Collection: Edgar Degas (1834-1917), Danse espagnole, vers 1896-1911 (fondu vers 1919-1926), Bronze, 40,3 x 16,5 x 17,8 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.9 © David Heald Vincent van Gogh (1853-1890), Montagnes à Saint-Rémy, Saint-Rémy-de-Provence, juillet 1889, oil on canva, 72,8 x 92 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.24 2 Paul Gauguin (1848-1903), Haere Mai, 1891, oil an hessian, 72,5 x 92 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.16 Francis Picabia (1879-1953), Portrait de Mistinguett, vers 1908-1911, oil on canva, 60 x 49,2 cm Solomon R. Guggenheim Museum, New York, 66.1801 © Adagp, Paris,
Franz Marc (1880-1916), Vache jaune (Gelbe Kuh), 1911, oil on canva, 140,7 x 189,2 cm Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, 49.1210 Exposé à la Moderne Galerie Heinrich Thannhauser, Munich, lors de la première exposition du Blaue Reiter, 1911-1912 2. Georges Braque (1882-1963), Paysage près d’Anvers, 1906, oil on canva 60,3 x 81,3 cm Solomon R. Guggenheim Museum, New York, Thannhauser Collection, don Justin K. Thannhauser, 78.2514.1 © Adagp, Paris, 2019 1rt


Claude Monet, Le Palais ducal vu de Saint-Georges-Majeur, 1908. Huile sur toile 65,4 x 100,6 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, legs Hilde Thannhauser, 91.3910.

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TITIAN: LOVE DESIRE DEATH

August 28, 2019, 6:50 am

≫ Next: Art History News July-August

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National Gallery, London
16 March – 14 June 2020

National Galleries of Scotland, Edinburgh
11 July – 27 September 2020

Museo Nacional del Prado, Madrid
20 October 2020 – 10 January 2021

Isabella Stewart Gardner Museum, Boston
11 February – 9 May 2021

Five of Titian’s greatest works, his epic series of large-scale mythological paintings, the 'poesie', will be brought together for the first time since 1704 at the National Gallery next March.

Painted between about 1551 and 1562 the 'poesie' are among the most original visual interpretations of Classical myth of the early modern era and are touchstone works in the history of European painting for their rich, expressive rendering.

The series was commissioned by Philip II of Spain, who highly unusually gave Titian an open brief to select his subjects. The paintings depict stories from Classical mythology, primarily drawn from the Roman poet Ovid’s Metamorphoses. Because he considered them visual equivalents to poetry, Titian called them his ‘poesie’. He distilled in them the knowledge of painting and visual storytelling that he had acquired over five decades as an artist to create some of his most profound statements on human passion and irrationality, on love and death.

From the original cycle of six paintings, the exhibition will reunite

Image result for 'Danaë' (1551–3, The Wellington Collection, Apsley House)

Image result for 'Danaë' (1551–3, The Wellington Collection, Apsley House)

'Danaë' (1551–3, The Wellington Collection, Apsley House); '
Image result for Venus and Adonis' (1554, Prado, Madrid);

Venus and Adonis'(1554, Prado, Madrid);

Diana and Actaeon (1556–9)

andDiana and Callisto, (1556–9) jointly owned by the National Gallery and the National Galleries of Scotland; and

Titian, 'Rape of Europa', 1562 © Isabella Stewart Gardner Museum, Boston

'Rape of Europa' (1562) from the Isabella Stewart Gardner Museum, Boston.

Image result for The National Gallery’s own Death of Actaeon

The National Gallery’s own Death of Actaeon (1559–75), originally conceived as part of the series, but only executed much later and never delivered, will also be included in London.

Following the London exhibition, the 'poesie' will travel to the Scottish National Gallery, Edinburgh, the Prado, Madrid, and the Isabella Stewart Gardner Museum, Boston.

Exhibition organised by the National Gallery, the National Galleries of Scotland, the Museo Nacional del Prado, and the Isabella Stewart Gardner Museum, Boston

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Art History News July-August

August 30, 2019, 8:03 am

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Click on titles for full reports with illustrations galore.

TITIAN: LOVE DESIRE DEATH

Jonathan KantrowitzatArt History News - 2 days ago

* National Gallery, **London* *16 March – 14 June 2020* *National Galleries of Scotland, Edinburgh * *11 July – 27 September 2020* *Museo Nacional del Prado, Madrid * *20 October 2020 – 10 January 2021* *Isabella Stewart Gardner Museum, Boston* *11 February – 9 May 2021* Five of Titian’s greatest works, his epic series of large-scale mythological paintings, the 'poesie', will be brought together for the first time since 1704 at the National Gallery next March. Painted between about 1551 and 1562 the 'poesie' are among the most original visual interpretations of Classical myth of th... more »

From Manet to Picasso : The Thannhauser collection - Updated

Jonathan KantrowitzatArt History News - 3 days ago

*Hôtel de Caumont Art Centre -Until 29 September 2019* *A Culturespaces production in collaboration with The Solomon R. Guggenheim Foundation, New York* After holding an exhibition devoted to Marc Chagall, the Hôtel de Caumont Art Centre will be presenting (as of 1 May 2019) masterpieces from the Justin K. Thannhauser Collection, bequeathed in 1963 to the Solomon R. Guggenheim Foundation in New York. For the first time, around fifty major works from this prestigious collection will be presented in Europe in an itinerant exhibition that began in the Guggenheim Bilbao Museum: pain... more »

'The Body Says, I Am a Fiesta: The Figure in Latin American Art'

Jonathan KantrowitzatArt History News - 4 days ago

*Norton Museum of Art, West Palm Beach/ October 4, 2019 - March 3, 2020* *https://www.norton.org/* Largely drawn from the Norton’s permanent collection, this exhibition addresses ideas about the body and its symbolic and societal implications in modern Latin American cultures. *The Body Says, I Am a Fiesta* presents paintings, photography, sculpture, and works on paper by artists active in Latin America and the United States between the 1930s and 2010s such as Diego Rivera [image: Diego Rivera] (shown: *El Amigo de Frida*, 1931), Ana Mendieta, Rufino Tamayo, and María Magdalena C... more »

The Touch of Color: Pastels at the National Gallery of Art

Jonathan KantrowitzatArt History News - 5 days ago

*National Gallery of Art, Washington, DC* *September 29, 2019 through January 26, 2020 * In a major new exhibition opening this fall, the National Gallery of Art will examine the beauty and depth of pastel, tracing its rich history from the Renaissance to the present day. *The Touch of Color: Pastels at the National Gallery of Art *will feature some 70 exquisite examples drawn entirely from the Gallery’s permanent collection, including many works never before exhibited. *The Touch of Color* opens on September 29, 2019, and continues through January 26, 2020. “*The Touch of Color* i... more »

WILLIAM BLAKE - Tate Britain

Jonathan KantrowitzatArt History News - 6 days ago

*Tate Britain * *11 S e p t e m b e r 2 0 19 – 2 F e b r u a r y 2 0 2 0 * This autumn, Tate Britain will present the largest survey of work by William Blake (1757-1827) in the UK for a generation. A visionary painter, printmaker and poet, Blake created some of the most iconic images in the history of British art and has remained an inspiration to artists, musicians, writers and performers worldwide for over two centuries. This ambitious exhibition will bring together over 300 remarkable and rarely seen works and rediscover Blake as a visual artist for the 21st century. Tate ... more »

Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence

Jonathan KantrowitzatArt History News - 6 days ago

* The Frick Collection* * September 18, 2019, through January 12, 2020 * Bertoldo di Giovanni, Hercules on Horseback (detail), ca. 1470–75, bronze, Galleria Estense, Modena, Su concessione del Ministero per i Beni e le Attività Culturali - Archivio fotografico delle Galleria Estense; photo: Valeria Beltrami This fall, The Frick Collection presents the first exhibition devoted to the Renaissance sculptor Bertoldo di Giovanni (ca. 1440–1491). It shines a long-overdue light on the ingenuity and prominence of the Florentine artist, who was a student of Donatello, a teacher of Michel... more »

Charles E. Burchfield: Transitions

Jonathan KantrowitzatArt History News - 1 week ago

*Burchfield Penney Art Center, *Buffalo, New York *August 9–December 1, 2019 * [image: Charles E. Burchfield (1893-1967), Spring Rain in the Woods, 1950; Watercolor on paper, 30 x 40 inches; Private Collection] Charles E. Burchfield (1893-1967), *Spring Rain in the Woods*, 1950; Watercolor on paper, 30 x 40 inches; Private Collection Charles E. Burchfield’s landscapes reflect his cinematic vision. During the early twentieth century, when much of American landscape painting reflected pleasant silent scenes, he envisioned artwork that captured nature’s constantly shifting activity... more »

Edward Hopper and the American Hotel

Jonathan KantrowitzatArt History News - 1 week ago

*Virginia Museum of Fine Arts* *Oct. 26, 2019–Feb. 23, 2020* *Indianapolis Museum of Art * *Oct. 26, 2019–Feb. 23, 2020* The Virginia Museum of Fine Arts has announced that *Edward Hopper and the American Hotel* will premiere at the museum on Oct. 26—the only east coast venue for this major loan exhibition. Showcasing more than 60 of Hopper’s paintings, drawings, watercolors and illustrations, this groundbreaking exhibition offers a rare opportunity to see several of the acclaimed American artist’s most beloved works in person and in a new context. *Edward Hopper and the American H... more »

John Singer Sargent: Portraits in Charcoal

Jonathan KantrowitzatArt History News - 1 week ago

*Morgan Library & Museum, New York * *October 4, 2019 through January 12, 2020* *National Portrait Gallery * *February 28, 2020 - May 31, 2020* [image: bearded man in a coat]*Sir William Blake Richmond* / John Singer Sargent / c. 1910, Charcoal on paper / Lent by the National Portrait Gallery, London John Singer Sargent (1856–1925) was one of the greatest portrait artists of his time. While he is best known for his powerful paintings, he largely ceased painting portraits in 1907 and turned instead to charcoal drawings to satisfy portrait commissions. These drawn portraits repr... more »

Ernst Ludwig Kirchner -Neue Galerie New York

Jonathan KantrowitzatArt History News - 1 week ago

*Neue Galerie New York* *October 3, 2019- January 13, 2020 * In October 2019, Neue Galerie New York will debut “Ernst Ludwig Kirchner,” a major overview of the great German artist’s *oeuvre*. The presentation will span from 1907 to 1937, presenting several distinct phases associated with the primary cities where he lived and worked: Dresden, Berlin, and Davos. This exhibition is unprecedented in its focus on Kirchner’s revolutionary style, which evolved in relation to his subjects and changing circumstances. Arguably the most outstanding German artist of the early twentieth century... more »

Monet and Impressionism

Jonathan KantrowitzatArt History News - 1 week ago

*Dayton Art Institute, * *May 11 2019 - August 25 2019* Claude Monet (French, 1840–1926), *Waterloo Bridge, Sunlight Effect (effect de soleil)*, 1903, oil on canvas. Denver Art Museum collection: funds from Helen Dill bequest, 1935.15. This exhibition, organized by the Dayton Art Institute, provides a spotlight on Impressionism in France and Claude Monet’s remarkable influence on art. *Monet and Impressionism *features 13 paintings, with the focal point of the exhibition being a special loan from the Denver Art Museum of Monet’s spectacular painting, *Waterloo Bridge (Effect d... more »

From Manet to Picasso : The Thannhauser collection

Jonathan KantrowitzatArt History News - 1 week ago

*Hôtel de Caumont Art Centre - 29 September 2019**A Culturespaces production in collaboration with The Solomon R. Guggenheim Foundation, New York* After holding an exhibition devoted to Marc Chagall, the Hôtel de Caumont Art Centre will be presenting (as of 1 May 2019) masterpieces from the Justin K. Thannhauser Collection, bequeathed in 1963 to the Solomon R. Guggenheim Foundation in New York. For the first time, around fifty major works from this prestigious collection will be presented in Europe in an itinerant exhibition that began in the Guggenheim Bilbao Museum: paintings and ... more »

Rembrandt to Picasso: Five Centuries of European Works on Paper

Jonathan KantrowitzatArt History News - 1 week ago

*Brooklyn Museum* *June 21 – October 13, 2019 * Showcasing the breadth of the Brooklyn Museum’s exceptional works on paper collection, *Rembrandt to Picasso: Five Centuries of European Works on Paper* highlights more than one hundred European prints and drawings, pairing masterworks by renowned artists such as William Blake, Albrecht Dürer, Francisco Goya, and Vincent van Gogh with lesser known, rarely seen drawings, prints, and watercolors. Works on view feature intimate portraits, biting social satire, fantastical visions, vivid landscapes, and more, and are organized into four ... more »

Hieronymuss Bosch's music written on the butt of one of the characters

Jonathan KantrowitzatArt History News - 1 week ago

[image: Image may contain: 1 person] In the Hieronymuss Bosch's "The Garden of Earthly Delights" painting (1480-1490 circa) there is some music written on the butt of one of the characters in hell. But how sounds this 15th Century melody? Here is how is the 600-years-old butt music from hell sounds:

Augusta Savage: Renaissance Woman,

Jonathan KantrowitzatArt History News - 1 week ago

The Palmer Museum of Art at Penn State will open its major special exhibition of the fall season, *Augusta Savage: Renaissance Woman*, on August 24. Featuring nearly eighty objects, including sculptures, paintings, works on paper, and archival materials, this exhibition is the first to reassess Harlem Renaissance artist Augusta Savage’s contributions to art and cultural history in light of her role as an artist-activist. “We are honored to present this major exhibition of the American sculptor Augusta Savage at the Palmer this fall,” said the museum’s director, Erin M. Coe. “We are ... more »

Guercino: Virtuoso Draftsman

Jonathan KantrowitzatArt History News - 2 weeks ago

*Morgan Library & Museum, New York * *October 4, 2019 through February 2, 2020* Giovanni Francesco Barbieri (1591–1666), known as Guercino, was arguably the most interesting and diverse draftsman of the Italian Baroque era, a natural virtuoso who created brilliant drawings in a broad range of media. Supreme examples of virtually every genre of drawing produced in seventeenth-century Italy survive from his hand: academic nudes, genre scenes and caricatures, energetic and fluid pen sketches for figures and compositions, highly refined chalk drawings, designs for engravings, and ... more »

William McGregor Paxton and Elizabeth Okie Paxton: An Artistic Partnership

Jonathan KantrowitzatArt History News - 2 weeks ago

*The Butler Institute of American Art, * *Youngstown, OH * August 18 – November 10, 2019 [image: Woman seated] William McGregor Paxton, *Sylvia,* Oil on canvas, 49 x 39 1/2 inches. Opening August 18, an exhibition examines the relationship between these two talented individuals, William McGregor Paxton and Elizabeth Okie Paxton, who were an important part of the Boston School of painters at the turn of the twentieth century. Together their careers spanned almost five decades, and they were married for over forty years. During that time, the Paxtons experienced many changes, b... more »

Verrocchio: Sculptor and Painter of Renaissance Florence

Jonathan KantrowitzatArt History News - 2 weeks ago

* National Gallery of Art, Washington, DC* *September 15, 2019, through January 12, 2020* The National Gallery of Art is pleased to present *Verrocchio: Sculptor and Painter of Renaissance Florence*, the first-ever monographic exhibition in the United States on Andrea del Verrocchio (c. 1435–1488), the innovative artist, painter, sculptor, and teacher whose pupils included Leonardo da Vinci, Pietro Perugino, and likely Sandro Botticelli as well. The exhibition examines the wealth and breadth of Verrocchio's extraordinary artistry by bringing together some 50 of his masterpieces in pa... more »

Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection

Jonathan KantrowitzatArt History News - 3 weeks ago

*Hillstrom Museum of Art, St. Peter, Minnesota* *September 9 through November 10. * *Tweed Museum of Art - University of Minnesota Duluth * *January, 2021* *The Hillstrom Museum of Art* presents* Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection, *on view from *September 9 *through* November 10*. *Industry, Work, Society, and Travails in the Depression Era *will feature 95 works of art, mostly dating from the 1930s. Among the photographers represented in the Shogren-Meyer collection and the exhibit based... more »

Highlights of the Gemäldegalerie Alte Meister

Jonathan KantrowitzatArt History News - 3 weeks ago

Though the Semper Building will close during the summer and autumn time most of its exposition space, it will still be possible to see important works of art from the Gemäldegalerie Alte Meister (Old Masters Picture Gallery). These include Raphael's "Sistine Madonna" as well as Giorgione's "Sleeping Venus", [image: Johannes Vermeer - The Procuress - Google Art Project.jpg] Vermeer's "The Procuress" or Bellotto's famous panoramic view of Dresden. - Exhibition Site Zwinger - DATES * 02/08/2019—03/11/2019* The exhibition offers a selection of 100 masterpieces of the co... more »

Lotte Laserstein Face to Face

Jonathan KantrowitzatArt History News - 3 weeks ago

*[image: Berlinische Galerie - Museum of modern art, photography and architecture]* *05.04.–12.08.2019* Berlin’s Lotte Laserstein (1898-1993) was one of the most sensitive portrait painters of the early Modernist period when tradition vied with innovation. By the time she was 30, she was a well-known and successful artist. Her career was brutally ended in 1933. Lotte Laserstein. Face to Face, Berlinische Galerie, exhibition view, Photo: Harry Schnitger © VG Bild-Kunst, Bonn 2019. Berlin’s public museum of modern art, photography and architecture will show 58 works – 48 pain... more »

Gustave Caillebotte Painter and Patron of Impressionism

Jonathan KantrowitzatArt History News - 3 weeks ago

* Alte Nationalgalerie** 17.05.2019 to 15.09.2019* Gustave Caillebotte (1848–1894) was one of the central figures of French Impressionism, yet he is among those artists who remain to be discovered today. His fame was initially founded on his role as a patron, and only later did he gain full recognition as a painter. Gustave Caillebotte, *Paris Street, Rainy Day [Rue de Paris, temps de pluie]*, 1877. Oil on canvas, 212.2 × 276.2 cm. Art Institute of Chicago © bpk / The Art Institute of Chicago / Art Resource, NY. Caillebotte’s painting “Paris Street; Rainy Day” (“Rue de Paris, t... more »

Judges affirm decision to return Nazi-looted drawings by Egon Schiele to heirs of Holocaust victim

Jonathan KantrowitzatArt History News - 3 weeks ago

On Tuesday, the appeals court in New York upheld a 2018 ruling that returned two Nazi-looted drawings to the heirs of a Holocaust victim. This decision ends a years-long dispute between London art dealer, Richard Nagy, and the descendants of Fritz Grünbaum. Raymond Dowd, a lawyer for the heirs, said “they are thrilled that the memory of Fritz Grünbaum is being properly honoured.” The two prized drawings by the major figurative painter Egon Schiele (1890-1918) are worth an estimated $7 million (£5.6 million). Barring further appeals, they will be sold by Christie’s at auction in Novem... more »

Ruskin, Turner & the Storm Cloud

Jonathan KantrowitzatArt History News - 3 weeks ago

The main summer show at *Abbot Hall Art Gallery is Ruskin, Turner & the Storm Cloud (12 Jul - 5 Oct 2019). * The exhibition will include more than 100 works and stretch across six rooms. It is one of the biggest exhibitions in the UK during the 200th anniversary of John Ruskin’s birth (8 February 1819). Ruskin, Turner & the Storm Cloud will be the first in-depth examination of the relationship between both men, their work, and the impact Ruskin had in highlighting climate change. *Image: John Ruskin, Dawn, Coniston, 1873, Watercolour over pencil, Acquired with the support of a V&A... more »

Jacob Lawrence: The American Struggle

Jonathan KantrowitzatArt History News - 3 weeks ago

* Peabody-Essex Museum* *On view January 18, 2020 to April 26, 2020* *Jacob Lawrence: The American Struggle* is the first museum exhibition of the series of paintings *Struggle: From the History of the American People* (1954–56) by the best known black American artist of the 20th century, Jacob Lawrence (1917–2000). Created during the modern civil rights era, Lawrence’s thirty intimate panels interpret pivotal moments in the American Revolution and the early decades of the republic between 1775 and 1817 and, as he wrote, “depict the struggles of a people to create a nation and their ... more »

FROM GOYA TO MANET - THE 19TH CENTURY IN THE ALTE PINAKOTHEK

Jonathan KantrowitzatArt History News - 4 weeks ago

* Alte Pinakothek * * 25.07.2019 ‐ 24.07.2020* After four decades of unbroken use as a museum and exhibition space, the Neue Pinakothek (rebuilt in its current form in the 1970s) has had to shut its doors for extensive renovation and modernization work due to last several years. During this period, selected major works of 19th century painting and sculpture from its collection will be on display in the Alte Pinakothek and at the Sammlung Schack. Selected highlights range from key works of Neoclassicism and Romanticism to the dawn of Modernism. *Masterpieces from the Neue Pinakothek... more »

Jan van Eyck "Als Ich Can"

Jonathan KantrowitzatArt History News - 4 weeks ago

[image: Jan van Eyck] *Kunsthistorisches Museum Vienna* *10 July 2019 to 20 October 2019* The exhibition presents three of the circa twenty extant works by Jan van Eyck, offering a glimpse of the art produced during the reign of Duke Philipp the Good, when the Burgundian Low Countries witnessed a unique flowering of courtly and urban civilisation. Jan van Eyck (c.1390-1441), the favourite court painter of Philipp the Good, duke of Burgundy (1396-1467), is celebrated for his virtuosity in the use of oil paint and his skill in combining naturalism and realism with brilliant colour... more »

Baroque Pathways: The National Galleries Barberini Corsini in Rome

Jonathan KantrowitzatArt History News - 1 month ago

*From July 13 to October 6, 2019, Germany's Museum Barberini* is presenting its first old master exhibition: *Baroque Pathways: The National Galleries Barberini Corsini in Rome* showcases 54 masterpieces from the collections of the Palazzo Barberini and the Galleria Corsini in Rome, among them an early work by Caravaggio, his painting Narcissus of 1597–1599. Tracing the birth of Roman Baroque painting in the wake of Caravaggio, its spread through Europe and development north of the Alps and in Naples, the exhibition explores the role of the Barberini as patrons of the arts and t... more »

Something Over Something Else: Romare Bearden’s Profile Series

Jonathan KantrowitzatArt History News - 1 month ago

* High Museum of Art * *Sept. 14, 2019 through Feb. 2, 2020* *Cincinnati Art Museum * *Feb. 28–May 24, 2020* In fall 2019, the High Museum of Art will premiere “Something Over Something Else: Romare Bearden’s Profile Series,” the first exhibition to bring dozens of works from the eminent series together since its debut nearly 40 years ago. Following its presentation at the High, in Atlanta, from Sept. 14, 2019 through Feb. 2, 2020, the exhibition will travel to the Cincinnati Art Museum (Feb. 28–May 24, 2020). In November 1977, The New Yorker magazine published a feature-length ... more »

Bartolomé Bermejo

Jonathan KantrowitzatArt History News - 1 month ago

*National Gallery, London* *12 June – 29 September 2019* This summer, the National Gallery, as part of its Spanish season, will show a select number of works by Bartolomé Bermejo (about 1440–about 1501), one of Spain’s most innovative and accomplished painters active in the second half of the 15th century. Bartolomé de Cárdenas was more commonly known as ‘Bermejo’ – meaning ‘reddish’ in Spanish – probably referring to a distinctive physical feature such as red hair or a ruddy complexion. He was born in Cordoba but was principally active in the Crown of Aragon, working in Tous, ... more »

Turner. The Sea and the Alps

Jonathan KantrowitzatArt History News - 1 month ago

*Kunstmuseum Luzern * *06.07. 13.10.2019* J.M.W. Turner, the world famous English painter, travelled around Switzerland several times in search of spectacular motifs. While doing so, he visited Lucerne repeatedly to study the unique interplay of light and weather, lake and mountains there. He captured his impressions in sketches and vibrant watercolours. These observations and depictions both of the sea, during the crossing to the continent, and of the Alps were of major importance for Turner: in them the beauty and dangers of nature combine directly with the theme of the subli... more »

Velázquez, Rembrandt, Vermeer. Parallel visions

Jonathan KantrowitzatArt History News - 1 month ago

* Museo Nacional del Prado. Madrid * *6/25/2019 - 9/29/2019* Within the context of the Prado’s celebration of its Bicentenary, the Museum is presenting *Velázquez, Rembrandt, Vermeer: Parallel visions*, an ambitious exhibition devoted to Dutch and Spanish painting of the late 16th and early 17th centuries which benefits from the sponsorship of Fundación AXA and the special collaboration of the Rijksmuseum, Amsterdam. Comprising 72 works from the Prado, the Rijksmuseum and a further 15 lenders (including the Mauritshuis in The Hague, the National Gallery in London and the Metr... more »

Humble and Human: Impressionist Era Treasures from the Albright-Knox Art Gallery and the Detroit Institute of Arts

Jonathan KantrowitzatArt History News - 1 month ago

*Detroit Institute of Arts* *June 26-October 13, 2019* - The exhibition, featuring 44 works by Berthe Morisot, Paul Cézanne, Edgar Degas, Vincent van Gogh, Claude Monet and others, is comprised of Impressionist and Post-Impressionist works from the collections of the DIA and the Albright-Knox - Wilson, a Detroit native and founder and owner of the Buffalo Bills, endowed the Ralph C. Wilson, Jr. Foundation at his death in 2014. Some of the paintings in the exhibition have never been shown in Detroit before. Images[image: https://www.dia.org/sites/default/files/... more »

Goya — Visions & Inventions

Jonathan KantrowitzatArt History News - 1 month ago

*The Dalí Museum, St. Petersburg, Florida* *June 15-September 15* *Los Caprichos* ------------------------------ *September 16-20, the exhibit is on hiatus.* ------------------------------ *September 21-December 1**La Tauromaquia* *Goya — Visions & Inventions* showcases the work of Francisco José de Goya y Lucientes (1746-1828), one of Spain’s greatest artists and an integral influence on Salvador Dalí. His paintings and etchings from the late-18th and early-19th centuries are celebrated for their revolutionary qualities. Many scholars regard Goya’s life and works as the basis for ... more »

The conservation of the Botticelli and Ghirlandaio ‘Coronation of the Virgin’ altarpiece

Jonathan KantrowitzatArt History News - 1 month ago

*The Bass Museum of Art * *through October 24, 2019* The Bass, Miami Beach’s contemporary art museum, is the recipient of a Bank of America 2018 Art Conservation Project grant in the amount of $100,000. The grant funding will allow the museum to conserve a treasured work in the museum’s founding collection, the *Coronation of the Virgin* (c. 1492) altarpiece by Renaissance painters Sandro Botticelli (b. 1445, d. 1510) and Domenico Ghirlandaio (b.1449, d. 1494) . The work is one of over 500 artworks and artifacts gifted to the City of Miami Beach in 1964 by collectors John and Johan... more »

Dallas Museum of Art - Caravaggio.

Jonathan KantrowitzatArt History News - 1 month ago

This summer, visitors to the Dallas Museum of Art have the rare opportunity to see an extraordinary work by the Old Master painter Caravaggio. One of the most influential figures in the history of European art, he is renowned as one of the greatest Baroque painters of the 17th century along with Rubens, Velázquez, Rembrandt, and Poussin. Fewer than 10 paintings by Caravaggio are housed in the US, on view in the collections of only six museums. Michelangelo Merisi da Caravggio, *Martha and Mary Magdalene, *c. 1598, oil and tempera on canvas, Detroit Institute of Arts, Gift of the K... more »

Winslow Homer: Eyewitness

Jonathan KantrowitzatArt History News - 1 month ago

Discover how celebrated American artist Winslow Homer’s work for the illustrated periodical *Harper’s Weekly* helped shape his later career as a painter and watercolorist. *Winslow Homer: Eyewitness* is on view at *Harvard Art Museums*, Cambridge, Mass., August 31, 2019–January 5, 2020. During the Civil War (1861–1865), American artist Winslow Homer (1836–1910) served as a correspondent for *Harper’s*. His sketches of soldiers, both in battle on the front lines and in quieter moments back at camp, were reproduced to accompany the journal’s accounts of the conflict. Homer worked for... more »

Homer at the Beach: A Marine Painter's Journey, 1869-1880

Jonathan KantrowitzatArt History News - 1 month ago

*Cape Ann Museum* *Aug. 3 to Dec. 1, 2019* Winslow Homer (1836–1910), Children on the Beach, 1873. Oil on canvas, 12 3/4 in. x 16 3/4 in. Private collection.This summer, the *Cape Ann Museum* will exhibit some 50 original works by renowned American artist Winslow Homer. The exhibition will be the first close examination of the formation of this great artist as a marine painter. The Cape Ann Museum will be the sole venue for this exhibition (on view Aug. 3 to Dec. 1, 2019), which will include loans from some 40 public and private collections. In 1869, Winslow Homer (1836–1910) exh... more »

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Glass, Darkly Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt

September 3, 2019, 8:51 am

≫ Next: Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection - Updated

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Michael C. Carlos Museum of Emory University

August 31 - December 1, 2019

Jan Sadeler (Flemish, 1550-1600), after Dirck Barendsz. (Netherlandish, 1534-1592). The Last Judgment, late 16th century. Engraving. Gift of Walter Melion and John Clum.

Dirk Vellert (Flemish, 1480-1547). The Calling of Saints Andrew and Peter, 1523. Engraving. John Howett Fund and museum purchase in honor of Margaret Shufeldt. © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2011.

Jan Sadeler (Flemish, 1550-1600), after Dirck Barendsz (Netherlandish, 1534-1592). Hell, late 16th century. Engraving. Gift of Walter Melion and John Clum.

Dirck Voklertsz Coornhert (Netherlandish, 1522 - 1590), after Martin van Heemskerck (Netherlandish, 1498 - 1574). Man Protected by the Shield of Faith , 1559. Engraving. Gift of Walter Melion and John Clum

The Michael C. Carlos Museum presents Through a Glass, Darkly: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt , on view from August 31 through De cember 1, an exhibition of 90   prints from artists such as Lucas van Leyden, Hendri ck Goltzius, Jan Sadeler, and Rembrandt .

From 1500 -1700, printmakers in the Low Countries were, as a group, the most skilled and prolific in all of Europe , and prints, often combined with text, played an important role in Netherlandish religious culture during this period. Printmakers utilized allegory , the metaphorical substitution of one set of images, objects, and ideas for another , to    address the most f undamental issues binding the human and the divine —love, virtue, vice, sin, death, and salvation —as well as the post -Reformation religious turmoil that consumed the Low Countries.

Through a Glass, Darkly will be the first major exhibition to systematically consider the form, function, and meaning of allegorical prints produced in the Low Countries during the 16th and 1 7th centuries . Contemporary viewers will find themselves face to face with highly affecti ve allegorical images, on the same journey towards understanding that the images’ intended audience would have undertaken. Though specific to the Low Countries during the 16th and 17th centuries, a period when understanding allegory was crucial to knowing God’s truth, Through a Glass, Darkly speaks more broadly to the communicative power of allegory and the way meaning is generated, conveyed, and interpreted .
A fully illustrated catalogue with essays by exhibition curators Walter S. Melion, Asa Griggs Candler Professor of Art History and director of the Bill and Carol Fox Center for Humanistic Inquiry at Emory University, and James Clifton, director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and Baroque painting at the Museum of Fine Arts, Houston, will be avai lable for purchase at the museum bookshop.

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Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection - Updated

September 8, 2019, 1:12 pm

≫ Next: Major Collection of Impressionist to Modernist Paintings Given to the High Museum

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The Hillstrom Museum of Art

September 9 through November 10

Tweed Museum of Art - University of Minnesota Duluth

January, 2021

The Hillstrom Museum of Art presentsIndustry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection, on view beginning this Monday, September 9 through November 10. The exhibition will travel to the Tweed Museum of Art - University of Minnesota Duluth in January, 2021.

Margaret Bourke-White (1904-1971), Louisville Flood, 1937, gelatin silver print (printed no later than 1971), 7 x 9 3/8 inches, Shogren-Meyer Collection

Among the painters included are Marvin Cone, John Steuart Curry, Ernest Fiene, Thomas Nagai, and Zoltan Sepeshy.

The Depression Era: American Paintings and Photographs — Paul Meltsner (1905–1966), “Earth and Sky,” c. 1930s, oil on canvas, 24 x 30 in., Shogren-Meyer Collection

“Industry, Work, Society, and Travails in the Depression Era” will feature 95 works of art, mostly dating from the 1930s. Among the photographers represented in the Shogren-Meyer collection and the exhibit based on it are Berenice Abbott, Margaret Bourke-White, Walker Evans, Dorothea Lange, and Gordon Parks. Among the painters included are Marvin Cone, John Steuart Curry, Ernest Fiene, Thomas Nagai, and Zoltan Sepeshy.

Collector Daniel Shogren and his wife Susan Meyer have always been fascinated by the 1930s and its art, possibly related to both of them having been interested in history since childhood. Of particular interest to the passionate collectors are American Scene and Regionalist artworks. Shogren states, "In my career, I have traveled the Midwest and worked in factories where I witnessed today's working men and women. I compare today, where we have full employment and a booming stock market, to the America of the 1920s and 1930s. Are we seeing warning signals, such as climate change and income disparity, that portend a future depression? Susan and I are deeply moved by art from the 30s and how it reflects those times, which remain relevant in 2019. This exhibition is a dream come true for us. We are delighted to share these amazing works of art with the public."

Industry, Work, Society, and Travails in the Depression Era will be accompanied by a fully-illustrated catalogue with object texts written by collectors Susan Meyer and Daniel Shogren, Donald Myers (director and chief curator, Hillstrom Museum of Art), and Christian Peterson (independent scholar and former long-time photography curator at the Minneapolis Institute of Art).

The Hillstrom Museum of Art is located in the Jackson Campus Center of Gustavus Adolphus College, 800 West College Avenue, St. Peter, Minnesota.

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Major Collection of Impressionist to Modernist Paintings Given to the High Museum

September 8, 2019, 1:34 pm

≫ Next: “The Dean,” a fall exhibition of paintings by Frank Nelson Wilcox

≪ Previous: Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection - Updated

The High Museum of Art has announced that Atlanta-based philanthropists Doris and Shouky Shaheen have donated their entire impressionist, post-impressionist and modernist painting collection, totaling 24 artworks, to the Museum. The Shaheen gift is one of the most significant groups of European paintings ever to enter the Museum’s collection, rivaled only by the Samuel H. Kress Foundation donation in 1958, which established the core of the High’s European art holdings. This marks the High’s first acquisition of paintings by renowned artists such as Henri Fantin-Latour, Henri Matisse, Amedeo Modigliani and Alfred Sisley.

“We are exceptionally grateful for the generosity of this landmark gift,” said Rand Suffolk, Nancy and Holcombe T. Green, Jr., director of the High. “The Shaheens’ contribution single-handedly elevates the quality of our European collection and will greatly enhance the visitor experience.”
Atlanta residents since 1965, the Shaheens began to amass their remarkable collection in the early 1970s when they acquired Maurice de Vlaminck’s “Banlieue de Paris” (ca. 1922) from a local gallery.

Claude Monet (French, 1840–1926), Maisons au bord de la route, 1885, oil on canvas, 25 x 32 inches. High Museum of Art, Atlanta, Doris and Shouky Shaheen Collection.

Camille Pissarro, Paysanne assise,1882. High Museum of Art, Atlanta, Doris and Shouky Shaheen Collection.

Over the past 50 years, the collection has grown to include paintings by some of the most recognized artists of the late 19th and early 20th centuries. In addition to the first works by Fantin-Latour, Matisse, Modigliani, Sisley, Maurice Utrillo and Vlaminck to enter the High’s collection, the gift includes paintings by Eugène Boudin, Jean-Baptiste-Camille Corot, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir and Édouard Vuillard. The paintings’ subjects range from sweeping landscapes and village scenes to intimate portraits and figure studies.

In recognition of the gift, the High will establish the Doris and Shouky Shaheen Gallery in its Stent Family Wing, where the paintings will be on view starting later this year.

“It’s been a great blessing of our life together to build this collection and live with these incredible works,” said the Shaheens. “Given our love for this collection, and our love for this city, we knew the High was the best home for these paintings. We’re thrilled that Atlantans will enjoy them for generations to come.”

The Shaheens have a long history of philanthropic support for organizations across the Southeast and beyond that reflects their love for the arts and commitment to healthcare access and education. Their financial donations led to the creation of Piedmont Hospital’s Doris Shaheen Breast Health Center in 2004 and helped the hospital significantly expand its emergency room. As a birthday gift to her husband in 2007, Doris established the Shouky Shaheen Lecture series, which brings nationally and internationally recognized artists and scholars to present lectures at the University of Georgia’s Lamar Dodd School of Art. The Shaheens have contributed to other institutions of higher learning, including the University of Memphis and Birzeit University. In addition to this major gift of artworks, the couple have contributed generously to the High as members since 1983 and as Friends of the Collection. The Shaheens are the founders of Shaheen & Co., which develops warehouse space throughout the metro area.

Jean-Baptiste-Camille Corot, “La bohemiènne à mandoline assise” (ca. 1860s–1870s). High Museum of Art, Atlanta, Doris and Shouky Shaheen Collection.

“The Shaheens’ generous gift strengthens the High’s already significant holdings of impressionist and post-impressionist works to an extraordinary new level,” said Claudia Einecke, the High’s Frances B. Bunzl Family curator of European art. “In addition to making the Museum a must-see destination for visitors and scholars alike, the Shaheen collection now gives the High much greater depth of works by artists such as Monet, Pissarro and Sisley, providing deeper context for our overall collection and allowing our audiences to gain a fuller understanding and greater appreciation for these artists’ individual achievements.”

Camille Pissarro (French, 1830–1903) Pièce d'eau à Kew, Londres, 1892, oil on canvas, 18 1/8 x 21 5/8 inches. High Museum of Art, Atlanta, Doris and Shouky Shaheen Collection.

Highlights of the Doris and Shouky Shaheen Collection include:

Beatrice Hastings, 1914 - Amedeo Modigliani

• Amedeo Modigliani (Italian, 1884–1920), “Portrait de Beatrice Hastings” (1914) — This early portrait by Modigliani is the High’s first acquisition of the artist’s work.

• Alfred Sisley (French, 1839–1899), “Une rue à Marly” (1876) — Of the four Sisley paintings entering the High’s collection, this is an early landscape from the height of the impressionist movement.

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“The Dean,” a fall exhibition of paintings by Frank Nelson Wilcox

September 8, 2019, 1:35 pm

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≪ Previous: Major Collection of Impressionist to Modernist Paintings Given to the High Museum

WOLFS in Cleveland will present “The Dean,” a fall exhibition of paintings by Frank Nelson Wilcox (1887-1964) that provides an opportunity to view fresh, perfectly preserved examples of exquisite work by one of the most highly regarded watercolorists of his generation.

This comprehensive exhibition will encompass over 200 works depicting American scene, Europe, the Northeast Coast and the American West, spanning much of Wilcox’s remarkable career.
“The Dean,” will be on view at WOLFS from September 19, 2019 through November 30, 2019. An opening reception will be held on September 19th, 6-8pm.

Known as “the Dean of Artists,” Frank Wilcox, was a graduate of the Cleveland School of Art in 1910 and began his legendary teaching career at the Institute in 1913. As a student of Henry Keller, and a teacher to Charles Burchfield, Clarence Carter, Carl Gaertner, and Paul Travis, among others, Wilcox grew to become one of the foremost leaders in the development of the Cleveland School.

This exhibition includes the debut of his masterful modern watercolors from the 1920’s and 1930’s. Fortunately, these works were discovered while working with the Wilcox estate and the grandson of the artist. He provided Wolfs with uninhibited access to dusty boxes and cupboards filled with paintings and ephemera, until now, unseen for decades.

The deep cobalt and shimmering emeralds Wilcox used in this group of seascapes and landscapes remain as vibrant as the day they were painted. In addition, the estate has shared a cache of dramatic early oils and stunning watercolors executed throughout Europe and North America.

The majority of the works in this exhibition were completed at a time when Wilcox was solely and intensely painting. Into the 1930’s, Wilcox began focusing on research for his first book, Ohio Indian Trails, a New York Times best seller, which led him towards a more historical and archaeological mindset. Prior to this shift in his attention, he was at a pinnacle in his artistic career. In a document in which he details great satisfaction with his methods in watercolor, he describes how he was painting, “light, weather and the sense of space…seen through the lightness and airiness of the watercolor technique.”

Wilcox recalls in his writings upon return from his first trip to Paris in 1911 that Keller, the Cleveland School’s most revered teacher and mentor, pushed Wilcox to express himself more Impressionistically. Although initially resistant, Wilcox began to find great value in Keller’s urgings - to be more intentional and deliberate in using pure color. In addition to the use of bold, pure colors, Wilcox began abandoning sketching and underdrawing. Instead, directly applying paint to paper, enhancing his personal artistic style of fluid line, striking composition, and vivid color.

In his autobiography, Wilcox further acknowledges that his first trips to Boothbay, Maine, greatly benefited his artistic style. He notes that these works were “full in tone and not dependent upon a linear support” and that he “took great pleasure in directly molding the rock formations and contrasting them with fluid skies."

In his numerous trips to Gaspé, Canada, Wilcox specified that he needed a “special palette” for the “extra blues and the contrasting keys of sky and earth.” Indeed, the dramatic and intense cool blues continue to triumph in these watercolors, which Wilcox never revealed to the public.

Frank Nelson Wilcox (1887-1964) The Hay Field, c. 1916. Oil on paper, mounted on wood. Signed lower right 24 x 35 inches. "... I learned respect for farming to a degree and also got over any sense of urban-class superiority toward farming people. My very first lesson came from being told I could take the shady side of the load because they wished to break me in easy. With the sun constantly in my eye, I pitched hay all afternoon until about ready to drop."

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Collection Rudolf Staechelin

September 8, 2019, 1:43 pm

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Fondation Beyeler

August 31 - October 29, 2019

The paintings from the celebrated collection of Rudolf Staechelin (1881–1946) are returning to Basel,
after a four-year interval in which the pictures were shown (with works from the Im Obersteg Collection) in widely acclaimed exhibitions at the Museo Nacional Reina Sofia in Madrid and the Phillips Collection in Washington. Now, from the end of August 2019, nineteen outstanding examples of Impressionism, Post- Impressionism and Classic Modernism are to be seen at the Fondation Beyeler in Riehen.

The paintings, by Paul Cézanne, Edgar Degas, Paul Gauguin, Vincent van Gogh, Ferdinand Hodler, Édouard Manet, Claude Monet, Pablo Picasso, Camille Pissarro, and Auguste Renoir, are currently displayed together in a dedicated presentation. Subsequently, individual pictures will be included in the periodically rehung exhibition of the Fondation Beyeler’s permanent collection. Thus the works from the Rudolf Staechelin Collection will be publicly accessible again in Basel, where a new chapter begins in the collection’s eventful history.

Paul Gauguin, Paysage au toit rouge, 1885

Landscape with Red Roof
Oil on canvas
81.5 x 66 cm
Rudolf Staechelin Collection
Photo: Robert Bayer

Ferdinand Hodler, Le Grammont après la pluie, 1917

The Grammont after the Rain
Oil on canvas
60.5 x 80 cm
Rudolf Staechelin Collection
Photo: Robert Bayer

Ferdinand Hodler, La morte, 1915

The Dead Valentine Godé-Darel
Oil on canvas
65 x 81 cm
Rudolf Staechelin Collection
Photo: Robert Bayer

Ferdinand Hodler, Le Mont-Blanc aux nuages roses, 1918

Mont-Blanc with pink Clouds
Oil on canvas
60 x 85 cm
Rudolf Staechelin Collection
Photo: Robert Bayer

Vincent van Gogh, Le Jardin de Daubigny, 1890

Daubigny’s Garden
Oil on canvas
56 x 101.5 cm
Rudolf Staechelin Collection
Photo: Robert Bayer

Édouard Manet, Tête de femme, 1870

Head of a Woman
Oil on canvas
56.5 x 46.5 cm
Rudolf Staechelin Collection
Photo: Robert Bayer

Pablo Picasso, Arlequin au loup, 1918

Harlequin with Black Mask
Oil on canvas
116 x 89 cm
Rudolf Staechelin Collection
© Succession Picasso / 2019, ProLitteris, Zürich
Photo: Robert Bayer

Also in the collection:

Claude Monet:
Temps calme, Pouurville
Camille Pissarro:
Le Sentier du Village
Paul Gauguin:
When Will You Marry?
Paul Cézanne:
Portrait of Victor Chocquet
Vincent van Gogh:
La Berceuse

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Leyendecker and the Golden Age of American Illustration

September 8, 2019, 1:46 pm

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Reynolda House Museum of American Art , Winston-Salem, N.C.
Aug. 31 through Dec. 31, 2019

Reynolda House Museum of American Art is presenting the work of Joseph Christian (J.C.) Leyendecker, one of the most prolific and sought-after artists of the Golden Age of American Illustration, from Aug. 31 through Dec. 31, 2019. Leyendecker (1894–1951) captivated the public with his striking images and fashionable depictions of handsome men and glamorous women. This will be the museum’s first exhibition focused on illustration and its first to explore the work of an openly gay artist. Reynolda is the opening venue for a national planned tour of “Leyendecker and the Golden Age of American Illustration.”

J.C. Leyendecker, Couple in Boat —Arrow Collar Advertisement, oil on canvas, 1922, © 2019 National Museum of American Illustration, Newport, RI. Photo courtesy American Illustrators Gallery, New York, NY.

Leyendecker and the Golden Age of American Illustration includes 42 original paintings and 101 Post covers from the National Museum of American Illustration in Newport, Rhode Island and the American Illustrators Gallery in New York, as well as other materials related to Leyendecker’s work in advertising throughout his five-decade career.

J.C. Leyendecker, Man in Coat and Scarf, oil on canvas, 1919, © 2019 National Museum of American Illustration, Newport, RI. Photo courtesy American Illustrators Gallery, New York, NY.

Between 1896 and 1950, Leyendecker illustrated more than 400 magazine covers for the nation’s trade and general interest publications, including The Saturday Evening Post, for which he created 322 cover paintings. With his instantly identifiable style—“The Leyendecker Look”—he helped shape the image of a nation, producing dozens of enduring icons and creating some of the earliest national advertising brands.

]

J.C. Leyendecker, *Record Time, Cool Summer Comfort, — House of Kuppenheimer Advertisement (detail)*, oil on canvas, (1920), (c) 2019 National Museum of American Illustration, Newport, RI. Photo courtesy American Illustrators Gallery, New York, NY.

Leyendecker was talented at self-promotion and quickly established an easily recognizable style. His approach to his own career influenced an entire generation of younger artists, most notably Norman Rockwell, who observed, “There wasn’t an illustrator in the country who could draw better.” In his commercial work, Leyendecker created the famed Arrow Collar Man, who came to define the fashionable American male of the Roaring Twenties. Leyendecker based the Arrow Collar Man on his favorite model and lifelong partner, Charles Beach.

Born in 1874 in Montabaur, Germany, Leyendecker immigrated to Chicago in 1882 with his parents and three siblings. Showing an early artistic talent, Leyendecker and his youngest brother, F. X., studied at the Art Institute of Chicago before moving to Paris where they developed their distinctive styles. Upon returning to the United States, the brothers entered a publishing renaissance and soon found themselves at its center, New York City. In 1914, they moved into a 14-room house in New Rochelle, New York, along with Charles Beach, for 48 years.

At the turn of the century, illustrators could disseminate original artworks on a national scale for the first time. As publishing technologies advanced to include images, and later colors, the methods of transportation and communication accelerated, allowing publications to be circulated to millions of Americans on a weekly basis. This change revolutionized the way Americans consumed media, from printed text to vibrant representations of the modern world in mastheads, highly illustrated novels and store windows. It was America’s Golden Age of Illustration.

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From the Douanier Rousseau to Séraphine - The Great Naïve Masters

September 9, 2019, 8:04 am

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Musée Maillol, Paris

11 Sep 2019 - 19 Jan 2020

The Musée Maillol is holding an exhibition of more than a hundred works from the fascinating, dreamy, unique, and rich world of the ‘Naïve’ artists. Called ‘modern primitives’ by one of their ardent supporters, the collector and art critic Wilhelm Uhde (1874–1947), these artists renewed painting in their own way, independently from the avantgarde artists and without academicism. Brought together for the first time in Paris, their brightly coloured works shed light on an inter-war period in the history of art that is often overlooked.

Based on Henri Rousseau and Séraphine Louis, the exhibition aims to highlight a constellation of overlooked artists such as André Bauchant, Camille Bombois, Ferdinand Desnos, Jean Ève, René Rimbert, Dominique Peyronnet, and Louis Vivin. Self-taught artists, like the Douanier Rousseau who preceded them, they took up art privately or later in life, driven by a thwarted vocation, a divine calling, or historical events. Out of necessity, they combined their artistic activities with an occupation that was often modest: they were road menders, domestic workers, fairground wrestlers, printers, or Post Office workers. It is thanks to several figures, including the founder of the Musée Maillol, Dina Vierny, that their works were discovered.

Dina Vierny, who came from a Bessarabian Jewish family that emigrated to France in the 1920s, who was a model for Maillol and Matisse, and who worked for the French Resistance from the outset of the war, discovered André Bauchant’s paintings at Jeanne Bucher’s gallery during the Occupation. Encouraged by the galley owner, the muse opened her own gallery in 1947, and then founded the Fondation Dina Vierny – Musée Maillol much later, in 1995. She exhibited works by her favourite artists, including Wassily Kandinsky, Serge Poliakoff, and Bauchant.

After the war, a new encounter played a major role in her career: she met Anne-Marie Uhde, who gave her the collection that belonged to her dead brother Wilhelm. By organising two legendary exhibitions, ‘Les Peintres du Coeur-Sacré’ in 1928 and ‘Les Primitifs modernes’ in 1932, Wilhelm Uhde brought together for the first time works by artists who did not know one another. After the war, Dina Vierny was one of the few collectors, together with Anatole Jakovsky, who continued the work of this lifelong art lover, as attested by the exhibition ‘Le Monde merveilleux des naïfs’, presented in the gallery in 1974. Almost fifty years later, the Musée Maillol is paying tribute to these artists and those who supported them.

Rousseau, Bauchant, Bombois, Desnos, Eve, Louis, Rimbert, Peyronnet, and Vivin all produced works that were captivating and full of a unique lyricism. Although they could be described as realistic, the works depict disjointed spaces, unsettling scenes, and imaginary images in which the obsessive attention to detail is often excessive and even surrealistic. Although they followed a certain pictorial tradition, in both the iconography and the surprising use of the rules of perspective, they renewed, sometimes in a humorous way, the portrait, still life, and landscape genres.

The exhibition will highlight—via a thematic itinerary—the pictorial qualities of these artists, beyond biographical accounts, which have for a long time been the only source of information about them. A selection of amazing revolutionary works, from major public collections (Musée d’Orsay, Musée de l’Orangerie, Musée Picasso, Centre Pompidou, LAM, Kunsthaus Zurich, Kunsthalle Hamburg) and private collections, will highlight each artist’s great formal inventiveness, without overlooking the links they maintained with pictorial tradition and contemporary art.

By combining a historical, analytical, and perceptive approach to the works and their presentation in the exhibition, the Musée Maillol will unveil the subversive dimension of Naïve art and will present these Naïve, primitive, modern, or anti-modern artists as great artists who ran counter to the avant-garde artists.

Curatorship: Jeanne-Bathilde Lacourt, Curator of Modern Art at the Musée d’Art Moderne, d’Art Contemporain et d’Art Brut, Lille Métropole (LaM). Àlex Susanna, a writer, art critic, and exhibition curator.

Two Lions on the Look-out in the Jungle (1909–10), Henri Rousseau

This broad survey of ‘naive’ artists includes celebrated painters such as Henri ‘Le Douanier’ Rousseau and Séraphine Louis, whom the critic Wilhelm Uhde dubbed ‘modern primitives’ for their untutored and idiosyncratic paintings, as well as work by less well-known artists such as Camille Bombois and Dominique Peyronnet. Find out more from the Musée Maillol’s website.
Preview the exhibition below | View Apollo’s Art Diary here

Mimosas (n.d.), Séraphine Louis. Coll. Musée d’Art naïf et d’Arts singuliers, Laval Cliché, Ville de Laval

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The Alana Collection Masterpieces of Italian Painting

September 9, 2019, 8:09 am

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Musée Jacquemart-André

13 September 2019 to 20 January 2020

In autumn 2019, the Musée Jacquemart-André will be focusing on the Alana Collection, one of the most precious and little-known private collections of Renaissance art in the world, which is currently located in the United States. Echoing its exceptional collection of Italian art, the Musée Jacquemart-André will hold an exhibition of more than seventy-five masterpieces by the greatest Italian masters, such as Lorenzo Monaco, Fra Angelico, Uccello, Lippi, Bellini, Carpaccio, Tintoretto, Veronese, Bronzino, and Gentileschi. This exhibition will give visitors a unique chance to admire for the first time pictures, sculptures, and objets d’art that have never been exhibited to the general public.
In the tradition of all the greatest American collections, the Alana Collection is the fruit of a passion for art and an intensive selection process, adopted over several decades by Alvaro Saieh and Ana Guzmán; the combination of the couple’s forenames make up the name of the Alana Collection. Over the years, their passion has been transformed into a veritable fascination with Gothic art and the Italian Renaissance and has gradually led them to focus on sixteenth- and seventeenth-century paintings.
These masterpieces have been exceptionally loaned to the Musée Jacquemart-André due to the two collectors’ passion for this period of art. The exhibited works attest to the enduring taste for the Italian Renaissance, considered as a founding stone of Western civilisation. They provide a comprehensive overview of one of the greatest collections of private art, from thirteenth-century painting to Caravaggesque works.
Curatorship
> Carlo Falciani, an art historian, exhibition curator, and professor of the History of Modern Art at the Accademia di Belle Arte in Florence.
> Pierre Curie, curator at the Musée Jacquemart-André and a specialist in seventeenth-century Italian and Spanish painting.

Eight Scenes from the Life of Christ (13th century), Roman painter. Alana Collection, Newark

Annunciation (n.d.), Lorenzo Monaco. Alana Collection, Newark

Saint John the Evangelist (c. 1432–34), Fra Filippo Lippi. Alana Collection, Newark

The Martyrdom of Saint Apollonia (c. 1614), Guido Reni. Alana Collection, Newark

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Panoramas: The Big Picture

September 10, 2019, 9:14 am

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New-York Historical Society
August 16 – December 8, 2019

Panoramas: The Big Picture explores the history and continued impact of panoramas from the 17th to the 21st century, as they were used to create spatial illusions, map places, and tell stories. Highlights include John Trumbull’s sweeping double vistas of Niagara Falls (1808), sections of Richard Haas’ nearly 200-foot long trompe l’oeil panorama of Manhattan (1982), and Eadweard Muybridge’s 17-foot photographic panorama of San Francisco before the city’s devastating 1906 earthquake (1878). The exhibition examines and reveals the impact that these and other panoramas had on everything from mass entertainment to nationalism to imperial expansion. (Curated by Wendy Ikemoto, associate curator of American Art).

John Trumbull (1756–1843), Niagara Falls, from Two Miles Below Chippawa, 1808 [detail]
Oil on canvas
New-York Historical Society, Gift of Alexander Eddy Hosack, 1868.6.

John Frederick Kensett (1816–1872), View from Cozzens’ Hotel, near West Point, N.Y., 1863 [detail]
Oil on canvas
Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-189.

Leigh Behnke (b. 1946), Chrysler Building, 1996
Watercolor on two pieces of heavy watercolor paper with deckled edges
New-York Historical Society, Gift of Lawrence L. Di Carlo, 2006.29.

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Beyond Midnight: Paul Revere

September 10, 2019, 9:23 am

≫ Next: Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection

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New-York Historical Society

September 6, 2019 – January 12, 2020

The patriot, silversmith, and entrepreneur Paul Revere was forever immortalized in Henry Wadsworth Longfellow’s 1861 poem, “Paul Revere’s Ride,” but his genuine accomplishments are often eclipsed by the legend of the midnight journey. This groundbreaking exhibition featuring more than 150 objects re-examines Revere’s life, transforming visitors’ understanding of the innovative businessman through an in-depth exploration of his accomplishments as a silversmith, printmaker, and pioneering copper manufacturer. Organized by the American Antiquarian Society, it draws from their unparalleled collection of Revere engravings, and also includes glimmering silver tea services; commonplace objects such as shoe buckles, thimbles, and medical tools; and important public commissions such as a bronze courthouse bell, all of which reveal facets of this versatile artisan’s career.

Paul Revere Jr. (1735−1818), engraver; attributed to Christian Remick (1726−73). The Bloody Massacre Perpetrated on King-Street, Boston on March 5^th 1770 by a Party of ye 29^thReg[imen]t, ca. 1770−74 Hand-colored engraving. Gilder-Lehrman Institute of American History, GLC01868

An in-depth book accompanies the exhibition and is available for purchase in the NYHistory Store. (Coordinated at New-York Historical by Debra Schmidt Bach, curator of decorative arts.)

Grant Wood (1892−1942), Midnight Ride of Paul Revere, 1931. Oil on Masonite. Metropolitan Museum of Art, New York; Arthur Hoppock Hearn Fund, 1950, 50.117

Paul Revere’s Ride

Henry Wadsworth Longfellow - 1807-1882

Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five:
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry-arch
Of the North-Church-tower, as a signal-light,—
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm.”
Then he said “Good night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war:
A phantom ship, with each mast and spar
Across the moon, like a prison-bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.
Meanwhile, his friend, through alley and street
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers
Marching down to their boats on the shore.
Then he climbed to the tower of the church,
Up the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,—
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.
Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black, that bends and floats
On the rising tide, like a bridge of boats.
Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now gazed on the landscape far and near,
Then impetuous stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height,
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!
A hurry of hoofs in a village-street,
A shape in the moonlight, a bulk in the dark,
And beneath from the pebbles, in passing, a spark
Struck out by a steed that flies fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river-fog,
That rises when the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When be came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.
You know the rest. In the books you have read,
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard-wall,
Chasing the red-coats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

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Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection

September 12, 2019, 7:34 am

≫ Next: Monet, Renoir, Degas,and Their Circle: French Impressionism and the Northwest

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Frida Kahlo, The Bride Who Becomes Frightened When She Sees Life Opened, 1943, oil on canvas, 24 7/8 x 32 in., The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art, The Vergel Foundation, Conaculta/INBA, © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

Diego Rivera, Landscape with Cacti, 1931, oil on canvas, 49 3/8 x 59 in., The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art, The Vergel Foundation, Conaculta/INBA, © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

The North Carolina Museum of Art this fall opens Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection (October 26, 2019–January 19, 2020). Few artists have captured the public’s imagination with the force of Mexican painter Frida Kahlo (1907–54) and her husband, the Mexican painter and muralist Diego Rivera (1886–1957). The myths that surrounded these two icons of the 20th century in their lifetime arose not only from their significant bodies of work, but also from their friendships (and conflicts) with leading political figures and their passionate, tempestuous personal relationships.

“Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection will emphasize a remarkable chapter in art history that is at once Mexican and global,” says Museum Director Valerie Hillings. “Diego Rivera’s personality, politics, and monumental, social realist murals made him a celebrity during his lifetime. While he once overshadowed his equally talented wife, Frida Kahlo’s fame has far outstripped her husband’s in the years since her death. The NCMA is honored to present this exhibition and Luces y Sombras: Images of Mexico | Photographs from the Bank of America Collection, which will celebrate these artists’ culture of origin as well as the diverse sources of influence they drew upon in creating their distinctive oeuvres.”

Kahlo and Rivera’s works are varied in scope and inspiration. She is best known for her self-portraits, while he worked as a large-scale muralist in Mexico and the United States. Kahlo’s work is deeply personal, often depicting her own dreams, painful personal experiences, and affinity with Mexican culture, while Rivera’s pursues larger looks at history and cultural revolution. Both artists forged the way for Mexican art as a significant element of the 20th century and beyond.

Similarly important is the legacy of two of Kahlo and Rivera’s patrons, Jacques and Natasha Gelman. The Gelmans became Mexican citizens in 1942 and began amassing Mexican art, sustaining a growing collection of Mexican modernists, like Kahlo and Rivera (with whom they became close friends), as well as their compatriots Rufino Tamayo, David Alfaro Siqueiros, and others. Their unparalleled collection shows the richness of Mexican art through painting, drawing, photography, and film.

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Monet, Renoir, Degas,and Their Circle: French Impressionism and the Northwest

September 23, 2019, 6:55 am

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C. C. McKim (American, 1862 – 1939) Patton Creek , 1924. Oil on canvas, 20 x 26 inches. Tacoma Art Museum, Gift of Esther and Jeff Clark, 2018.5 Photo © Tacoma Art Museum , photo by Mark Humpal

Pierre - Auguste Renoir (French, 1841 - 1919) Heads of Two Young Girls , 1890. Oil on canvas, 12 ¾ x 16 ¼ inches. Tacoma Art Museum, Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.35 Photo © Tacoma Art Museum , photo by Terry Rishel

Opening on September 28, Tacoma Art Museum will present Monet, Renoir, Degas,and Their Circle: French Impressionism and the Northwest, a new exhibition that examines how the work of French Impressionists and their immediate precursors made their way into Northwest public and private collections. It also will include selected paintings by American and Northwest artists to illustrate the spread of Impressionism across the country.

“The purpose of this exhibition is deeply connected to the same passion that drove the French Impressionists, to transform the way we see,” said David F. Setford, TAM’s Executive Director and curator of this exhibition. “It does this in two ways. First, it puts rarely seen works from TAM’s European art collection into context and allows for an expanded visitor learning opportunity. In addition, it is also the first time that these Impressionist works from museums and private collections in the Northwest have been seen together. It will provide a lasting resource about French Impressionism and its historical impact for curators and collectors in our region and beyond."

The exhibition is accompanied by a small publication including essays by Setford and TAM curator Margaret Bullock, as well as an online listing of French Impressionist works currently in Northwest public collections. On view will be approximately fifty (50) works of art from the following institutions: Frye Art Museum, Henry Art Gallery, Portland Art Museum, Tacoma Art Museum, and Seattle Art Museum. These works are complemented by selected loans from some of the major private collections in the Northwest.

The exhibition will provide visitors the unique opportunity to enjoy signature works by Gustave Caillebotte, Mary Cassatt, Edgar Degas, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley among others. Filling out the story, paintings from some of the most important precursors of Impressionism such as Eugène Boudin, Jean-Baptiste-Camille Corot, Gustave Courbet, and Johan Barthold Jongkind are included.

“To round off the exhibition, there will be a section of artworks which demonstrate the influence of French Impressionism on Northwestern and American painters–in other words, how East Coast and Northwest artists adapted and interpreted the brushwork and use of light and color in their own work,” notes Margaret Bullock, co-curator of the exhibition.

This section will feature artists from the Northwest such as Edward Espey, C.C. McKim, Clara Jane Stephens, and Fokko Tadama, and American artists from further afield such as Cecilia Beaux, Childe Hassam,and Theodore Robinson. “We are extremely grateful for the immense generosity of our regional sister museums incollaborating to create this exhibition,” notes Setford. “The treasures of French Impressionism that will be brought together for this exhibition demonstrate the depth and strength of the collections located in the Pacific Northwest."

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Van Gogh’s Inner Circle Friends, Family, Models

September 23, 2019, 7:17 am

≫ Next: Michelangelo: Mind of the Master

≪ Previous: Monet, Renoir, Degas,and Their Circle: French Impressionism and the Northwest

Het Noordbrabants Museum

21 September 2019 to 12 January 2020

The exhibition Van Gogh’s Inner Circle. Friends, Family, Models will give a broad view of the people who played an important role in Van Gogh’s life and work. His complex relationships with family, friends and fellow artists, students and models from Brabant to the south of France were often strong and long-lasting, but sometimes ended in estrangement. The exhibition includes prominent pieces from the Netherlands and abroad. Drawings, letters, pictures and poetry give more insight into his relationships. A surprising new perspective on one of the world’s greatest artists.

Vincent van Gogh, L’Arlésienne (Madame Ginoux), feb.1890

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Michelangelo: Mind of the Master

September 23, 2019, 7:22 am

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The Cleveland Museum of Art

Sun, 09/22/2019 to Sun, 01/05/2020

Seated male nude, separate study of his right arm (recto), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem.

The name of the Italian Renaissance painter, sculptor, and architect Michelangelo Buonarroti (1475–1564) is synonymous with creative genius and virtuosity. The exhibition Michelangelo: Mind of the Master presents an unprecedented opportunity for museum visitors to experience the brilliance of Michelangelo’s achievements on an intimate scale through more than two dozen original drawings. Michelangelo’s genius is especially evident through his breathtaking draftsmanship on sheets filled with multiple figures and close studies of human anatomy.

Seated male nude, separate study of his right arm (recto) (detail), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Seated male nude, separate study of his right arm (recto), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a male nude; separate study of his head (recto), c. 1537–38. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk; 24.2 x 18.2 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a leg (recto), 1524. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk, stylus; 20.7 x 24.7 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Three draped figures, with hands joined, one kneeling, the others standing (recto), 1496–1503. Michelangelo Buonarroti (Italian, 1475–1564). Pen and two shades of brown ink over traces of black chalk; 26.9 x 19.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a striding male nude, to the left; studies of anatomical details (recto), 1504 or 1506. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk, touches of white heightening; 40.4 x 25.8 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study for the nude youth over the Prophet Daniel (recto), 1510–11. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk with black chalk or charcoal; 34.3 x 24.3 cm. The Cleveland Museum of Art, Gift in memory of Henry G. Dalton by his nephews George S. Kendrick and Harry D. Kendrick, 1940.465

These working sketches invite us to look over the shoulder of one of Western art history’s most influential masters and to experience firsthand his boundless creativity and extraordinary mastery of the human form. These drawings demonstrate Michelangelo’s inventive preparations for his most important and groundbreaking commissions, including the Sistine Chapel ceiling fresco, sculptures for the tomb of Giuliano de’ Medici, and the dome of Saint Peter’s Basilica.

Seated male nude, separate study of his right arm (recto) (detail), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Seated male nude, separate study of his right arm (recto), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a male nude; separate study of his head (recto), c. 1537–38. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk; 24.2 x 18.2 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a leg (recto), 1524. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk, stylus; 20.7 x 24.7 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Three draped figures, with hands joined, one kneeling, the others standing (recto), 1496–1503. Michelangelo Buonarroti (Italian, 1475–1564). Pen and two shades of brown ink over traces of black chalk; 26.9 x 19.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem

Michelangelo: Mind of the Master brings to the United States for the first time a group of drawings by Michelangelo from the remarkable collection of the Teylers Museum (Haarlem, The Netherlands), which was formed in the 18th century in part from the collection of Queen Christina of Sweden (1626–1689).

Seated male nude, separate study of his right arm (recto) (detail), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Seated male nude, separate study of his right arm (recto), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a male nude; separate study of his head (recto), c. 1537–38. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk; 24.2 x 18.2 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a leg (recto), 1524. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk, stylus; 20.7 x 24.7 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Three draped figures, with hands joined, one kneeling, the others standing (recto), 1496–1503. Michelangelo Buonarroti (Italian, 1475–1564). Pen and two shades of brown ink over traces of black chalk; 26.9 x 19.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem
Study of a striding male nude, to the left; studies of anatomical details (recto), 1504 or 1506. Michelangelo Buonarroti (Italian, 1475–1564). Black chalk, touches of white heightening; 40.4 x 25.8 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem

Additional drawings from the collections of the Cleveland Museum of Art and the J. Paul Getty Museum round out the display.

A fully illustrated catalogue accompanies the exhibition and includes essays by Emily J. Peters (Cleveland Museum of Art), Julian Brooks (J. Paul Getty Museum), and Carel van Tuyll van Serooskerken (Teylers Museum) that explore Michelangelo’s working methods and major projects, as well as the fascinating history of the ownership of his drawings after his death.

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Drama and Devotion in Baroque Rome

September 23, 2019, 8:08 am

≫ Next: Afrocosmologies: American Reflections

≪ Previous: Michelangelo: Mind of the Master

The Georgia Museum of Artat the University of Georgia

Saturday, Jul 27, 2019 — Sunday, May 31, 2020

Rome has long been a key destination for artists. At the beginning of the 17th century, painters from across Europe flocked to the Eternal City to see the revolution caused by painter Michelangelo Merisi da Caravaggio (1571 – 1610). Everyone copied his stark contrast of light and dark, powerful realism and dramatic sense of staging. The works presented in this exhibition, all from the Museum and Gallery at Bob Jones University, celebrate how Caravaggio shaped the Italian Baroque and galvanized numerous followers.

Georgia Museum of Art

Peter Paul Rubens (b. Siegen, 1577; d. Antwerp, 1640), “Christ on the Cross,“ ca. 1610. Oil on panel, 45 x 30 3/4 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

One of the main highlights is a Crucifixion by Peter Paul Rubens, who spent more than eight years in Italy.

Georgia Museum of Art

Trophime Bigot (b. Arles, 1579; d. Avignon, 1650), “St. Sebastian Tended to by St. Irene,” n.d. Oil on canvas, 50 1/8 x 64 inches. Museum & Gallery at Bob Jones University Greenville, SC.

Georgia Museum of Art

Simon Vouet (Paris, 1590 – 1649), “Salome with the Head of Saint John the Baptist,” 1614–27. Oil on canvas, 39 x 29 1/8 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

Georgia Museum of Art

Orazio Gentileschi (or studio) (b. Pisa, 1563; d. London, 1639), “The Martyrs Saint Valeriano, Saint Tiburzio, and Saint Cecilia,” ca. 1620–21. Oil on canvas, 89 3/4 x 68 1/2 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

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Giovanni Lanfranco (b. Parma, 1581; d. Rome, 1647), “Saint Cecilia,” ca. 1620–21. Oil on canvas, 30 5/8 x 42 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

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Afrocosmologies: American Reflections

September 24, 2019, 12:47 pm

≫ Next: Manet: Three Paintings from the Norton Simon Museum

≪ Previous: Drama and Devotion in Baroque Rome

Wadswoth Atheneum Museum of Art, Hartford, Conn.
Oct. 19, 2019 to Jan. 20, 2020.

Afrocosmologies: American Reflections presents a window into a dynamic cosmos of influences that shape contemporary American art. This exhibition is a collaboration of the Wadsworth Atheneum Museum of Art, The Amistad Center for Art & Culture, and the Petrucci Family Foundation Collection of African-American Art. Drawing from over one hundred art objects, with the Petrucci Family Foundation contributing sixty-eight, these works of art span various media, present potent voices, and pose multiple questions. Afrocosmologies is an exhibition about presence, faith, authentic experiences, and representations of gender within a family of people born to many cosmological influences. With a predominant arc between the twentieth and twentyfirst century, the exhibition brings together the work of an incredible assortment of artists including Romare Bearden, Dawoud Bey, Elizabeth Catlett, Willie Cole, Melvin Edwards, Titus Kaphar, Lois Mailou Jones, Kerry James Marshall, Alison Saar, Hale Woodruff, Shinique Smith, and Kehinde Wiley along with many additional artists of note.

Romare Bearden, The Lamp, 1984. Lithograph. The Amistad Center for Art & Culture. © 2019 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.

Afrocosmologies examines successive generations of African American artists expressing their unique and evolving worldviews. Those cosmologies illustrate particular aspects of American history but are informed by African philosophical, ritual, and cultural systems that migrated here in memory. It's human to look for order in the universe--to develop a cosmology or system of belief. Art reflects this search for understanding. From the late nineteenth century to now African American artists have explored spirituality and culture by telling stories and when finally allowed, creating imagery that validated their connections to cosmology. Religion (faith), myth, inherent humanity, non-traditional colors and patterns are all themes emerging from the rich aesthetic traditions of West African and other cultures. Afrocosmologies examines these works of art through four themes: Nature, Gods and Humanity, Ritual, and Origins.

"With such remarkable works of art to work with--seminal pieces collected over the past century by the Wadsworth, a dynamic and emerging spectrum of artists in the Petrucci collection, and The Amistad's significant connection to history and New England--we wanted to attract the widest possible audience," says Frank Mitchell, Executive Director of The Amistad Center for Art & Culture and curator of the exhibition. "The cosmology concept and its varying dynamism over time, provided a natural framework for exploring issues of faith and community that continue to define the field."

To more accurately and effectively present the contributions of African American artists is to pave the way for corrective legitimacy and complete the canvas of American history.

"When we took measure of history at the Wadsworth Atheneum and The Amistad Center by looking at the collections' growth and the exhibitions organized over the past fifty years, we were reassured by our consistent commitment. Our evolving vision has led to necessary conversations and the emergence of consequential artists, right here at 600 Main Street," says Thomas J. Loughman, Director and CEO of the Wadsworth. "In the Petrucci Family Foundation collection we saw that same excitement and daring that we prize at the Wadsworth. The Petrucci Foundation is a great partner in helping us and The Amistad bring this vivid history and culture into focus."

Carl Joe Williams, Waiting, 2016. Mixed media on mattress. Petrucci Family Foundation. © Carl Joe Williams

"We are a collection that has its genesis in a deep appreciation of African American culture and are dedicated to acquiring works of art that speak to the resilient, creative, and persistent humanity within Black American culture," says Petrucci Family Foundation curator and artist Berrisford Boothe. "Within the African American community and now across America at large, conceptions of race, gender, and community that once seemed fixed are now in flux or at least open for discussion. What was once a binary system of black or white aesthetics, now involves globally transplanted voices of color that exist within, are elevated by, and add authentic cosmological dynamism to American cultural conversations." In this continuing conversation, there must be sensitivity, but also the recognition that America's history and its impact cannot be eluded.

The Wadsworth is pleased to create a context for these ideas and for the creative output of African American artists to be explored through this exhibition's themes. Enslaved Africans brought a deep cosmological appreciation of the natural world. It is a system that supported relationships with gods and ancestors. The land had to be worked as slaves, but the enslaved also lived through and worshipped in partnership with water and land. The land always has been the setting for nurturing new religious and syncretic practices. Nature: The World as We Experience It includes works by Bob Thompson, Martha Jackson Jarvis, Howardena Pindell, Richard Watson and others who take nature's presence as inspiration to consider histories and imagine futures.

Gods and Humanity: Which Gods and Our Relationship to Them includes works by artists such as Palmer Hayden, Willie Cole, Didier William, Kenturah Davis, and Carl Joe Williams. Williams incorporates portraits of Black mystical figures as everyday saints. Religious tradition carried by many who endured the Middle Passage was conveyed through stories, songs, and movement. Christianity limited the scope of divinity but the familiar did not disappear as enslaved Africans developed syncretic forms of worship that combined elements of both traditions.

Worship sustained the captives and integrated diverse groups of Africans who through spirituality, became united in their commitment to freedom. Through works by Hale Woodruff, Richmond Barthé, Ralph Chessé, Addison Scurlock, and others, Ritual: Shared Worship Experiences looks at the new cosmologies, or ways of ordering the spiritual world, that affirmed new identities and communities in the Americas.

Origins: Preparation for the Journeys presents the vitality of Afrocosmologies through the art of Kerry James Marshall, John Biggers, Romare Bearden, Barbara Bullock, Sharif Bey, Ed Johnetta Miller, and others. Generations of African American artists and performers have struggled with ways to present the experience of slavery and Africa's bearing. From Reconstruction Era artists, to the Harlem Renaissance, to the Black Arts Movement, and continuing today, there is a reassessment of history and celebration of Africa's influence on contemporary culture.

Afrocosmologies will be on view October 19, 2019 through January 20, 2019. During the exhibition, six artists whose work is featured in the show will be participating in public programs at the Wadsworth. All are welcome.

Exhibition Catalogue
Afrocosmologies: American Reflections will be accompanied by a 156-page, fully illustrated catalogue with essays by Frank Mitchell, Berrisford Boothe, Claudia Highbaugh, and Kristin Hass--to be released in October 2019.

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