Senin, 31 Oktober 2011

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Posted: 31 Oct 2011 06:26 AM PDT

Giancarlo Perini (c) After proposing a series of concepts and teasers, Mini is now ready to launch on the market its sixth member of its range: the Mini Roadster. The charming kid is the first...


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The IFPDA Print Fair Brings Fine Art Prints to New York in November

Posted: 30 Oct 2011 10:12 PM PDT

artwork: Edward Bawden - "The Floral Hall, Covent Garden", circa 1967 - Linocut - 45 x 60.5 cm. - Courtesy of Osborne Samuel Ltd. On view at the IFPDA print fair in New York from November 3rd until November 6th.

New York City.-  The International Fine Print Dealers Association (IFPDA) print fair opens at the historic Park Avenue Armory located on Park Avenue between 66th and 67th Streets in the heart of Manhattan's elegant Upper East Side. The fair opens on November 3rd and runs through November 6th. The largest international art fair focused exclusively on the artistic medium of printmaking, the IFPDA orint fair is noted for its historical depth, exhibiting works from the 16th through 21st centuries. While the Fair is known among museum curators and major collectors for its rare and exceptional prints, excellent works can be found in all price ranges

Visitors have an unrivaled opportunity to view and acquire outstanding works across the diverse range of periods and specialties represented by the IFPDA's exhibiting members. While the Fair is known among museum curators and major collectors for its rare and exceptional prints, excellent works can be found in all price ranges, including exciting new projects from today's leading and emerging artists. For its entrance, the Fair is proud to introduce a new wallpaper created by painter and designer Madeline Weinrib and produced by Studio Printworks.

artwork: Thomas Hart Benton - "Going West (Express Train)", 1934 - Lithograph - Edition of 75 - 29.4 x 57.2 cm. Courtesy of The Old Print Shop, Inc. On view at the IFPDA print fair in NYC until November 6th.

Exhibiting dealers are all leading members of the International Fine Print Dealers Association (IFPDA). This year's roster of ninety exhibitors includes dealers from Paris, London, Amsterdam, Berlin, Frankfurt, Zurich, and North America.  The IFPDA is a non-profit organization of expert art dealers committed to the highest standards of quality, ethics, and connoisseurship, and to fostering a greater appreciation of fine prints among art collectors and the public. The Association's thorough vetting assures collectors of each exhibitor's expertise and professionalism, and of the authenticity and condition of artwork available for purchase. The IFPDA has sponsored the Print Fair since 1991.

The Fair presents nearly 500 years of printmaking from early woodcuts and traditional engravings to etchings, lithographs, and innovative contemporary projects. The wide historical spectrum of artists' works on view includes old masters Rembrandt, Dürer, and Goltzius; Japanese ukiyo-e; 19th century American masters including Winslow Homer, James McNeill Whistler, and Mary Cassatt; European Impressionists Edgar Degas and Pierre-Auguste Renoir; American and European Modernists such as George Bellows, Martin Lewis, Pablo Picasso, Henri Matisse, and Max Beckmann; and  postwar masterworks by Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, Andy Warhol, Joan Mitchell, and Louise Bourgeois. New editions pwill also remiere at the Fair from leading contemporary artists such as Chuck Close, Kiki Smith, Richard Serra, and John Baldessari.

artwork: Richard Estes - "D-Train", 1988 - Screenprint in colours - 52 of an edition of 125 - 107 x 195 cm. - Courtesy of Sims Reed Ltd. On view at the IFPDA print fair in New York from November 3rd until November 6th.

The Fair attracts over 6,000 new and seasoned collectors, curators from major museums worldwide, artists, art historians, and art enthusiasts. The fair is held at the end of New York's Print Week. This lively schedule of lectures, exhibitions, demonstrations, gallery talks, and openings is focused on printmaking and its vitality as an artistic practice. Print Week enables collectors, artists, scholars, educators, and the public to connect with IFPDA member galleries, museums, and non-profit organizations to discover new projects, enrich their knowledge of fine prints, and expand or begin their own collections. Visit the fair's website at ...

The Parrish Art Museum Highlights "American Portraits" From its Collection

Posted: 30 Oct 2011 10:11 PM PDT

artwork: Richard Avedon - "The Generals of the Daughters of the American Revolution, DAR Convention, Mayflower Hotel, Washington, D.C., October 15, 1963", Photograph, Gelatin silver print - 49" x 58" -  Collection of the Parrish Art Museum, Southampton, New York. -  © 2008 The Richard Avedon Foundation. On view in "American Portraits: Treasures from the Parrish Art Museum" until November 27th.

Southampton, New York.- "American Portraits: Treasures from the Parrish Art Museum", the fourth in a series of special exhibitions drawn exclusively from the Parrish's collection, showcases some of the truly exceptional works of art that illustrate the many and varied ways in which artists approach portraiture. The exhibition is presently on display through the 27th of November. William Sidney Mount's "Portrait of Mrs. Manice" (1833) is the earliest painting in the Parrish collection and a prime example of the importance of portrait painting in the early years of the nation, assigning both status and prominence to the sitter. Mount painted many of Long Island's best known citizens, and this work, while recalling Renaissance models, remains resolutely American.

The Museo d'Arte Mendrisio Presents a Major Retrospective of Simonetta Martini

Posted: 30 Oct 2011 09:57 PM PDT

artwork: Simonetta Martini - "The Flight", 2011 - Pigment on canvas - 158 x 200 cm. - Private collection. On view at the Museo d'Arte Mendrisio in "Simonetta Martini: Whither are You Taking My Art?" from October 29th until January 15th 2012.

Mendrisio, Switzerland.- The Museo d'Arte Mendrisio is proud to present "Simonetta Martini: Whither are You Taking My Art?", on view at the museum from October 29th through January 15th 2012. In this exhibition, the artist is showing an overview of her work of the past twenty years, with about twenty large-format works together with a series of drawings and ceramics (made in collaboration with Giusi Arndt). This is her first retrospective exhibition in a museum. The catalogue, which is part of a series of books devoted to contemporary art in Ticino, contains critical and literary essays by  Erri de Luca, Sylviane Dupuis, Maria Sole Martini Giovannoli, Simone Soldini, and Maria Will, and is illustrated with 54 colour plates.

The Smithsonian American Art Museum Shows Highlights From the Koffler Collection

Posted: 30 Oct 2011 09:34 PM PDT

Washington, D.C.- The Smithsonian American Art Museum is pleased to present "Made in Chicago: The Koffler Collection", on view at the museum until January 2nd 2012. The exhibition features 25 paintings, sculpture and works on paper from 1960 to 1980, including works by Roger Brown, Leon Golub, Theodore Halkin, Vera Klement, Ellen Lanyon, Jim Nutt, Ed Paschke, Barry Tinsley and Ray Yoshida. The artworks are all by Chicago artists from the S.W. and B.M. Koffler Foundation collection, given to the Smithsonian American Art Museum in the late 1970s and early 1980s by Samuel and Blanche Koffler.

The Royal College of Art to Open an Exhibition of Lebanese Art

Posted: 30 Oct 2011 09:22 PM PDT

London.- The Royal College of Art is pleased to host "Subtitled: with narratives from Lebanon" starting  November 2nd. Using five themes to interpret Lebanon's rich, complex history, artists living both in and outside of Lebanon explore the socio-political realities that have influenced and shaped their art. The exhibition has been organised by the Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL). The exhibition includes paintings, sculptures, mixed-media installations, photographs, digital animations, films and sculptures by over 30 Lebanese artists such as Ayman Baalbaki whose iconic representations provoke an edgy insight into his world and this approach contrasted by Huguette Caland, now in her eighties, who uses mixed media in abstract to evoke the cultural heritage of her country, drawn from childhood memories. This show comes at a time of progressive change across Lebanon, with the older generation sharing their experiences with the new and a government and people who want to leave the battlefields behind and embrace democracy.

Salffineart to Exhibit "The Nature of Graffiti"

Posted: 30 Oct 2011 09:21 PM PDT

artwork: Cisco Merel - "New Landscape" - Acrylic on canvas - 59" x 96.5" - Courtesy Saltfineart, Laguna Beach, CA. On view in "Graffiti Nature: The Nature of Graffiti" from November 3rd until December 29th.

Laguna Beach, California.- Fresh from artist residencies in Paris and Germany, saltfineart presents "Graffiti Nature: The Nature of Graffiti", an exhibition introducing paintings by celebrated Panamanian street artist Cisco Merel and artist collaborative dubbed W (Paz Ulloa and Vinicio Jimenez). "Graffiti Nature" will be on view at the gallery from November 3rd through December 29th and there will be an opening reception on Thursday, November 3rd from 6 - 9 pm. Graffiti Nature / The Nature of Graffiti explores the spectrum of influence "street art" has had on contemporary art through the work of two ground-breaking artists, Cisco Merel and the collaborative team W. Merel's canvases combine the compositional awareness of a classical painter and the graphic qualities of a street artist in order to convey a post-modern Utopia, moments of beauty and color infused into a world of chaos and concrete.

Te Papa Museum Exhibits Recent Contemporary Art Acquisitions

Posted: 30 Oct 2011 09:05 PM PDT

artwork: Séraphine Pick - "Pocket Full of Rainbows", 2010 - Oil on canvas - 200 x 165 cm. - Collection of Te Papa Museum, Wellington, NZ On view in "Collecting Contemporary" until 24 January 2012 (when the exhibits change - exhibition continues until June 2012).

Wellington, New Zealand.- Te Papa Museun is currently showing "Collecting Contemporary" on view through June 2012. Every year, Te Papa extends its contemporary art collection, adding significant works by both emerging and established artists, as well as pieces that enhance the collection or reflect important trends. This exhibition showcases a selection of works acquired between 2006 and 2011. The current selection of artworks will be on display until 24 January 2012. In February 2012, Collecting Contemporary will re-open with more new acquisitions, replacing some of the works now on display. Te Papa's purchases of works from new and emerging artists are based on the artist's individual practice, and the work's wider significance. Often these artists, although at the beginning of their careers, have in a short period of time developed a considerable exhibition history and a profile nationally and sometimes internationally.

The Minneapolis Institute of Arts Opens “Edo Pop ~ The Graphic Impact of Japanese Prints”

Posted: 30 Oct 2011 09:04 PM PDT

Minneapolis, Minnesota.- The Minneapolis Institute of Arts (MIA) is home to one of the world's great collections of ukiyo-e ("pictures of the floating world") prints. The museum's new exhibition, "Edo Pop: The Graphic Impact of Japanese Prints," opening October 30th, and running through January 8th 2012, features more than 160 masterworks that reveal the great breadth of ukiyo-e production as well as the individual artistry of about 40 artists. Organized thematically, the exhibition provides a kaleidoscopic view of popular culture in pre-modern Japan.

"Pop Art" usually describes the artistic movement of the 1950s, when artists such as Andy Warhol and Roy Lichtenstein gleaned inspiration from contemporary urban life, mass-produced consumer products, and slick advertising. Picturing film stars and comic-book heroes in bright colors and crisp forms, Pop Art referred largely to the popular culture from which the movement emerged. "Pop" also aptly describes ukiyo-e produced in Japan during the Edo period (1615–1868), which reflected the tastes and proclivities of a rising class of urban commoners, known as chønin.

artwork: Katsushika Hokusai - "The Manor's Dishes from One Hundred Tales", circa 1831-32 Color woodblock print - Collection of the Minneapolis Institute of Arts.Chønin merchants and artists grew rich providing goods and services to the inhabitants of Japan's rapidly growing cities. Strict stratification of Japanese society, however, prevented prosperous townspeople from advancing socially despite their wealth. As a result, many pursued hedonistic pleasures and pastimes. Most ukiyo-e artists created both paintings and designs for woodblock prints, depicting the pleasures and pastimes associated with the floating world. Fine paintings commanded high prices, but mass-produced woodblock prints were within the reach of almost everyone. Low cost alone, however, did not account for the immense popularity of ukiyo-e prints. The subversive subject matter made them irresistibly intriguing. Images of women, especially entertainers and the denizens of the licensed (and unlicensed) brothels, were purchased as reminders of their sex appeal and fashionable style. Depictions of actors were procured by devotees of Kabuki, the robust and lowbrow theater. Other figural themes included sumo wrestlers, dandies and male prostitutes, ghosts and demons, mythological and legendary heroes, and ordinary townspeople engaged in seasonal pastimes.

Consumer products were featured in these images, including the latest fashions and textiles, makeup, elegant pipes, lacquers, ceramics, clocks, rare plants and flowers, and even pets. Landscapes, too, became an important sub-genre, first in the form of illustrated guidebooks in the 18th century and then as single-sheet prints in the 19th. Interest in landscapes reflected the government's loosening of restrictions on travel, prompting city dwellers to take to the road in search of adventure and exotic pleasures. Ukiyo-e masters evolved a distinctive style that featured fluid yet descriptive outlines, novel vantage points, bold areas of clear color unimpeded by chiaroscuro, and audacious compositions with off-center subjects and dramatic cropping. Meanwhile, block carvers and printers developed innovative printing techniques. Consequently, ukiyo-e images were fresh and contemporary, appealing to the popular tastes of the townspeople. "Edo Pop:

artwork: Kabukido Enkyo - "Ichikawa Yaozo III as Umeomaru", 1796 Color woodblock print. Collection of the Minneapolis Institute of Arts.The Graphic Impact of Japanese Prints" also features works by contemporary artists inspired by ukiyo-e and the social and conceptual underpinnings that inform them. Iona Roseal Brown, based in Washington, D.C., sees parallels between hip-hop culture and the floating world. Graffiti artist Gajin Fujita portrays East Los Angeles gang members as Japanese warriors against a backdrop of heavily tagged walls. Nagano-based artist Tabaimo focuses on notions of transience and estrangement in her animated video titled "Hanabi-ra" (Flower Petal), which appropriates imagery from ukiyo-e prints. These works demonstrate that ukiyo-e remains a vital artistic force, as relevant today as when it was created by Japan's pre-modern Pop artists.

In 1883, twenty-five citizens of Minneapolis founded the Minneapolis Society of Fine Arts, committing them to bringing the arts into the life of their community. More than a century later, the museum they created, the Minneapolis Institute of Arts, stands as a monument to a remarkable history of civic involvement and cultural achievement. Designed by the preeminent New York architectural firm McKim, Mead and White, the original building opened its doors in 1915. A neoclassical landmark in the Twin Cities, the MIA expanded in 1974 with an addition designed by the late Japanese architect Kenzo Tange. In June 2006, the museum unveiled a new wing designed by architect Michael Graves. The Target Wing was the result of a major renovation and expansion that included thirty-four new galleries, and an additional 40% exhibition space.  As well as increased gallery space the expansion included a new Lecture Hall, Photographs Study Room, Print Study Room, and an Art Research Library in a new, more visible location.  The Graves design respectfully combined the neoclassical elegance of the original McKim, Mead & White 1915 building with the minimalism of Tange's 1974 addition. The MIA's permanent collection has grown from eight hundred works of art to around eighty thousand objects. The collection includes world-famous works that embody the highest levels of artistic achievement, spanning five thousand years and representing the world's diverse cultures across all continents. The MIA has seven curatorial areas: Arts of Africa & the Americas; Contemporary Art; Decorative Arts, Textiles & Sculpture; Asian Art; Paintings; Photography and New Media; Prints and Drawings; and Textiles. Visit the museum's website at ...

The National Gallery Of Art In Washington D.C. ~ A US Treasure Of European & American Art That Attracts 4.5 Million Visitors Annually

Posted: 30 Oct 2011 09:00 PM PDT

artwork: Quentin Massys - Netherlandish, (1466 - 1530) "Ill-Matched Lovers", c. 1523 - oil on panel, overall: 43.2 x 63 cm (17 x 24 13/16 in.) Ailsa Mellon Bruce Fund. On view at the National Gallery of Art, Washington, DC - Massys settled in Antwerp in 1491, soon becoming its leading painter. His fame was enhanced by stories, probably exaggerations of the truth, that he had been a blacksmith and taught himself to paint. Among his acquaintances were several of the city's leading humanists. Perhaps his contacts with these men prompted Massys to take up the kind of moralizing secular subject seen here.

Now visited by more than 4.5 million people annually, the National Gallery of Art is now one of the world's leading art museums. The National Gallery of Art was created in 1937 for the people of the United States of America by a joint resolution of Congress, accepting the gift of financier and art collector Andrew W. Mellon. Since its inception, the mission of the National Gallery of Art has been to serve the United States of America in a national role by preserving, collecting, exhibiting, and fostering the understanding of works of art, at the highest possible museum and scholarly standards. The original West Building, designed by John Russell Pope (architect of the Jefferson Memorial and the National Archives), is a neoclassical marble masterpiece with a domed rotunda over a colonnaded fountain and high-ceilinged corridors leading to delightful garden courts. At its completion in 1941, the building was the largest marble structure in the world. On March 17, 1941, President Franklin D. Roosevelt accepted the completed building and the collections on behalf of the people of the United States of America. The paintings and works of sculpture given by Andrew Mellon have formed a nucleus of high quality around which the collections have grown. Mr. Mellon's hope that the newly created National Gallery would attract gifts from other collectors was soon realized in the form of major donations of art from Samuel H. Kress, Rush H. Kress, Joseph Widener, Chester Dale, Ailsa Mellon Bruce, Lessing J. Rosenwald, and Edgar William and Bernice Chrysler Garbisch as well as individual gifts from hundreds of other donors. The modern East Building, designed by Pritzker Prize winning architect I. M. Pei and opened in 1978, is composed of two adjoining triangles with glass walls and lofty tetrahedron skylights. The pink Tennessee marble from which both buildings were constructed was taken from the same quarry and forms an architectural link between the two structures. The East Building provided an additional 56,100 m2 of floor space and accommodated the Gallery's growing collections and expanded exhibition schedule as well as housing an advanced research center, administrative offices, a great library, and a burgeoning collection of drawings and prints. The two buildings are linked by an underground concourse featuring sculptor Leo Villareal's computer-programmed digital light project "Multiverse". On May 23, 1999 the Gallery opened an outdoor sculpture garden located in the 6.1-acre block adjacent to the West Building at 7th Street and Constitution Avenue, N.W. The garden provides an informal, yet elegant setting for works of modern and contemporary sculpture. The National Gallery of Art contains three museum shops, three cafes and a bar as well as the Library, a major national art research center serving the Gallery's staff, members of the Center for Advanced Study, visiting scholars, and serious adult researchers. Visit the museum's thorough website at ..

artwork: Joan Miro - "The Farm", 1921-1922 - Oil on canvas - 123.8 x 141.3 cm. From the permanent collection of the National Gallery of Art, Washington, D.C. (c) Succession Miro / ADAGP, Paris and DACS, London

The National Gallery of Art has one of the finest art collections in the world, including an outstanding and highly representative collection of European art. The permanent collection of paintings spans from the Middle Ages to the present day. The strongest collection is the Italian Renaissance collection, which includes two panels from Duccio's "Maesta", the great tondo of the "Adoration of the Magi" by Fra Angelico and Filippo Lippi, a Botticelli on the same subject, Giorgione's Allendale "Nativity", Bellini's "The Feast of the Gods", the only Leonardo da Vinci painting in the Americas, and significant groups of works by Titian and Raphael. Other European collections include examples of the work of many of the great masters of western painting, including Mattias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, El Greco, Francisco Goya, Jean Auguste Dominique Ingres, Anthony van Dyck, Peter Paul Rubens, John Constable, J. M. W. Turner and Eugène Delacroix, among many others. American artists featured in the collection include Gilbert Stuart, Winslow Homer, Thomas Chambers, Fitz Henry Lane, Martin Johnson Heade, Frederic Edwin Church and Mary Cassatt among many others. The collection of sculpture and decorative arts includes such diverse works as the "Chalice of Abbot Suger of St-Denis", a superb collection of work by Rodin and Degas, Honoré Daumier's entire series of bronze sculptures, including all 36 of his caricatured portrait busts of French government officials, superb modern sculpture by Henry Moore and others and wonderful examples of Chinese porcelain. The east wing is a showcase for the museum's collection of 20th-century art, including works by Pablo Picasso, Georges Braque, Joan Miró, Henri Matisse, Jackson Pollock, Philip Guston and Mark Rothko as well as hosting the gallery's special exhibitions. The National Gallery of Art is home to fifteen diverse permanent exhibits that highlight artworks by Henri Matisse ("cutouts"), Alexander Calder (untitled mobile, commissioned for the East Building atrium), Andy Goldsworthy ("Roof", a sculpture installed on the ground level of the East Building) and other specially commissioned pieces or highlights from the collection.

artwork: Edouard Manet - "The Old Musician", 1862 - Oil on canvas - 187.4 x 248.2 cm. Chester Dale Collection. National Gallery of Art, Washington, D.C.

Three major exhibitions are now on view at the National Gallery of Art. "From Impressionism to Modernism: The Chester Dale Collection" (until 2 January 2012) highlights works from Chester Dale's magnificent bequest to the National Gallery of Art in 1962. This special exhibition features some 83 of his finest French and American paintings. Among the masterpieces on view are Jean-Baptiste-Camille Corot's "Forest of Fontainebleau", Auguste Renoir's "A Girl with a Watering Can", Mary Cassatt's "Boating Party", Edouard Manet's "Old Musician", Pablo Picasso's "Family of Saltimbanques", and George Bellows' "Blue Morning". Other artists represented include Paul Cézanne, Edgar Degas, Vincent van Gogh, Henri Matisse, Amedeo Modigliani, and Claude Monet. Dale was an astute businessman who made his fortune on Wall Street in the bond market. Portraits of Dale by Salvador Dalí and Diego Rivera are included in the show, along with portraits of Dale's wife Maud (who greatly influenced his interest in art) painted by George Bellows and Fernand Léger.

A selection of works from the museum library entitled "Collections Frozen in Time" (until 24 July 201) focuses on historic private collection catalogues held by the National Gallery of Art's own library. From the Middle-Ages until the 19th century, rulers, nobles, and wealthy merchants acquired and sold paintings, classical sculpture, gems, vases, and numismatics. As these private libraries grew they became a way to demonstrate an individual's wealth and sophistication and had to be documented. Some collectors wrote their own catalogues, others sought noted scholars to catalogue the works. In the days before photography, artists were commissioned to produce lavish engravings depicting the assembled objects in fine detail. The private collection catalogue soon became as much a luxury object as the items it described, and as collections were dispersed over time, these catalogues often remained the only record of the collections' original contents.

Until the 15th of May 2011, the National Gallery of Art is spotlighting Ter Brugghen's "Saint Sebastian Tended by Irene" (on loan from the Allen Memorial At Museum of Oberlin College) hanging it alongside their own, famous "Bagpipe Player". Although these paintings belong to different genres, they reveal the sure fluidity of brush, exquisite color harmonies, and sophisticated compositional orchestration for which Ter Brugghen is renowned. "Saint Sebastian Tended by Irene" depicts an episode from the life of Sebastian, a third–century Roman soldier. After refusing to renounce Christianity he was bound to a tree and shot by archers. Irene, along with her maidservant, rescued him, removed the arrows from his flesh, and nursed his wounds. The circumstances prompting the creation of this work are not certain, but it is probable that Ter Brugghen painted it for a hospital in Utrecht.

artwork: Canaletto - "The Square of Saint Mark's, Venice", 1742/1744 - Oil on canvas - 114.6 x 153 cm. From the permanent collection of the National Gallery of Art, Washington, D.C. Not generally on display, featured in the exhibition "Venice: Canaletto and His Rivals" from 20th February 2011

Major forthcoming exhibitions at the National Gallery of Art include "Venice: Canaletto and His Rivals" from 20th February 2011. Organized jointly with the National Gallery, London, this exhibition will explore the 18th century art inspired by the city of Venice. The exhibition celebrates the rich variety of these Venetian views, known as 'vedute', through some 20 masterworks by Canaletto and more than 30 by his rivals, including Michele Marieschi, Francesco Guardi, and Bernardo Bellotto. Responding to an art market fueled largely by the Grand Tour, these gifted painters depicted the famous monuments and vistas of Venice in different moods and seasons. From February 27thth 2011, "Gauguin: Maker of Myth will feature nearly 120 works by Gauguin in the first major look at the artist's oeuvre in the United States since the blockbuster National Gallery of Art retrospective of 1988–1989, "The Art of Paul Gauguin". Organized by Tate Modern, London, in association with the National Gallery of Art, the exhibition will bring together self-portraits, genre pictures, still lifes, and landscapes from throughout the artist's career. It will include not only oil paintings but also pastels, prints, drawings, sculpture, and decorated functional objects. Organized thematically, the exhibition will examine Gauguin's use of religious and mythological symbols to tell stories, reinventing or appropriating narratives and myths drawn both from his European cultural heritage and from Maori legend. Opening on April 17th 2011, a retrospective of work by Gabriel Metsu will featue some 35 paintings. Gabriel Metsu (1629–1667) is one of the most important Dutch genre painters of the mid-17th century. His ability to capture ordinary moments of life with freshness and spontaneity was matched only by his ability to depict materials with an unerring truth to nature. Although his career was relatively short, Metsu enjoyed great success as a genre painter, but also for his religious scenes, still lifes, and portraits. This exhibition will be the first monographic show of Metsu's work ever mounted in the United States.

The Museum of Fine Arts in Budapest opens "From Botticelli to Titian"

Posted: 30 Oct 2011 08:59 PM PDT

artwork: Alessandro Botticelli - The Story of Virginia. c.1496-1504 - Tempera on panel - Accademia Carrara, Bergamo, Italy

BUDAPEST, HUNGARY - The most comprehensive exhibition to date dedicated to the Italian Renaissance will run in the Museum of Fine Arts from 28 October through 14 February, 2010. The large-scale exhibition entitled "From Botticelli to Titian: Masterpieces of Two Centuries of Italian Painting" will display paintings on loan to the Museum of Fine Arts from over fifty museums, including the Uffizi in Florence, the Louvre in Paris, the national galleries of London and Washington, the Metropolitan Museum in New York, the Galleria Borghese in Rome and the Prado in Madrid.

Stanley Spencer at Laning

Posted: 30 Oct 2011 08:58 PM PDT

artwork: Stanley Spencer - The Lovers, 1934 - Copyright The Estate of Stanley Spencer 2008. All rights reserved DACS 

Newcastle upon Tyne, UK - The Stanley Spencer exhibition has previously been on show at Tate Liverpool. A major exhibition of work by one of the most innovative artists of the 20th century is to go on show at the Laing Art Gallery in Newcastle.  On exhibition through 11 January, 2009.

'Flesh and the Color' exhibition at Museo Nacional de Arte in Mexico City

Posted: 30 Oct 2011 08:57 PM PDT

artwork: Diego Rivera (1886 - 1957) - The Temptations of Saint Anthony, 1947 - Oil on canvas. 89.5 x 100 cm. Museo Nacional de Arte, INBA

MEXICO CITY - The Museo Nacional de Arte (MUNAL) and the Musée des Beaux-Arts de Rennes (MBAR) present the exhibition La carne y el color (The Flesh and the Color), through October. The show gathers paintings and drawings from both cultural institutions. The exhibition presents a total of 89 works by 73 artists. Among them are David Alfaro Siqueiros, Pablo Caliari "Veronese", Luca Giordano, José Clemente Orozco, Paul Gauguin, Pablo Picasso, Yves Tanguy, Roberto Montenegro and Gerardo Murillo.

Mexico's INBA Celebrates Dolores Olmedo's 100th Anniversary

Posted: 30 Oct 2011 08:56 PM PDT

artwork: The head of the Museos Frida Kahlo and son of Dolores Olmedo, Carlos Phillips Olmedo, presents the exhibition Dolores Olmedo: History of a Collection which opens at Palacio de Bellas Artes in Mexico City. The exhibition will remember Dolores Olmedo as a collector on her 100th anniversary. Dolores Olmedo was the art collector who held the most amount of paintings made by Diego Rivera and Frida Kahlo in the world. - Photo: EFE / Mario Guzmán

MEXICO CITY - The Instituto Nacional de Bellas Artes (National Institute of Fine Arts) will honor Dolores Olmedo on the centenary of her birth with the exhibition Dolores Olmedo: History of a Collection which will open at the Diego Rivera Hall in the Museo del Palacio de Bellas Artes (Museum of the Palace of Fine Arts), on December 9th, 2009.The exhibition is a coordinated effort between the Museo del Palacio de Bellas Artes and the Museo Dolores Olmedo which shows a selection from her collections that represent the labor that Dolores Olmedo undertook as an art aficionado and that allows to appreciate life of this outstanding woman in Mexico's cultural life of the 19th century.

Wolfe Contemporary Shows Works on Paper in "Sight Unseen"

Posted: 30 Oct 2011 08:55 PM PDT

artwork: Kirsten Deirup - "Discourager", 2011 - Gouache on paper - 22" x 30". Courtesy Wolfe Contemporary, San Francisco, © the artist. On view at Wolfe Contemporary in "Sight Unseen: Works on Paper by Various Artists" is on view at the gallery until July 15th.

San Francisco, CA.- Mark Wolfe Contemporary Art is pleased to present "Sight Unseen", a summer group exhibition of works on paper. Featured artists include Dan Attoe, Kirsten Deirup, Shawn Kuruneru, and Frank Magnotta. "Sight Unseen: Works on Paper by Various Artists" is on view at the gallery until July 15th.With the exception of Portland-based Attoe, all are based in New York City and rarely exhibited in the Bay Area.

Kunsthistorisches Museum presents " Rooms in Pictures ~ Interiors from 1500 to 1900"

Posted: 30 Oct 2011 08:54 PM PDT

artwork: Hieronymus II. Francken (1578 - 1623 Antwerpen) - Paul Vredeman de Vries (Architektur) ca.1600 © Wien, Kunsthistorisches Museum

Vienna, Austria - Interiors are the most varied and diverse of all pictorial genres. Such paintings record the setting in which man lives, his private milieu, his place of work and the intimacy of his home. They depict every-day life in all its poetic detail, with all its quotidian, sometimes comic and occasionally tragic moments. Apart from the artistic challenge of creating the illusion of an interior with the help of perspective and light, they depict the reality of life in stark authenticity, through an ironic prism, or as a moralistic warning. On view at the Kunsthistorisches Museum through 12 July, 2009.

Christie’s Post-War & Contemporary Art Evening Sale totaled $348,263,600 with Eight World Auction Records

Posted: 30 Oct 2011 08:53 PM PDT

artwork: Andy Warhol - Double Marlon (detail) - Silkscreen ink on unprimed linen - 213.4 x 243.2 cm. - Christie's Images Ltd. 2008 Striking, sexy, and effortlessly cool, Andy Warhol's Double Marlon, 1966 sold for $32,521,000

New York City - Christie's highly anticipated Post-War and Contemporary Art Evening Sale totaled $348,263,600, marking the second highest total ever in auction history for the category. Eight new world auction records were established for artists including Richard Prince, Sam Francis, Leon Gottlieb, with Lucian Freud's Benefits Supervisor Sleeping setting a world auction record for any living artist, sold for $33,641,000.  The sale was 95% sold by value and 95% sold by lot.

Juan Genovés Presents 15 New Paintings at Marlborough Fine Art in London

Posted: 30 Oct 2011 08:52 PM PDT

artwork: Juan Genovés - "Arco III", 2009 - Acrylic on canvas on board, 160 x 210 cm. © Juan Genovés Photo: Courtesy Marlborough Fine Art London Ltd.

LONDON.- Marlborough Fine Art presents the first London exhibition in over 40 years by the Spanish artist Juan Genovés of 15 new paintings that will open at Marlborough Fine Art, London on October 29 through 28 November, 2009. Born in Valencia in 1930, Genovés has been exhibiting with Marlborough worldwide since 1964. This exhibition continues Genovés' exploration of people in groups, depicted through bird's-eye views of crowds where the absence of buildings, roads, trees or clues to a common landscape creates a dynamic of intensity and dislocation. The motiva­tions for the groups' activities are never clear, as Genovés allows the viewer to draw his own conclusions.

The National Gallery of Denmark opens "Nature Strikes Back"

Posted: 30 Oct 2011 08:51 PM PDT

artwork: Olafur Eliasson (f. 1967) - Islandserie, 1995 - National Gallery of Denmark

COPENHAGEN.- Throughout history, mankind has perceived nature differently at different times. During the Middle Ages, nature was mostly regarded as evil and mankind was prey to its whims, which only God could protect us from. This understanding was replaced by a more positive view of nature in the Renaissance, where man begins to regard nature as a useful resource that can be controlled. This way of thinking became increasingly striking in modern times. Nature came to be regarded as inexhaustible and something to be mastered and completely subjected to human needs.

Freud's “Eros & Thanatos" Theory of Drives through Exceptional Works of Fine Art

Posted: 30 Oct 2011 08:50 PM PDT

artwork: Peter Paul Rubens (1577–1640) - Allegory of War, c. 1628 - Oil on wood, 35.6 x 50.2 cm. - Sammlungen des Fürsten von und zu Liechtenstein, Vaduz–Wien

VIENNA, AUSTRIA - For the first time, the exhibition "Eros & Thanatos – Drives, Images, Interpretations", on view at the Sigmund Freud Museum and in the Historic Library of the Liechtenstein Museum, thematizes Freud's theory of drives through exceptional works of fine art. Paintings, drawings, prints, enamels and sculptures by artists including Dürer, Rubens, Bellucci, Klimt and Schiele illustrate the interplay between the life and death drives. The exhibition's team of curators and scientific advisors includes Monika Knofler, director of the Academy's Graphic Collection, Johann Kräftner, director of the Liechtenstein Museum, Hannes Etzlstorfer, and Jeanne Wolff-Bernstein, a psychoanalyst based in San Francisco and former president of the Psychoanalytic Institute of Northern California. On exhibition 12 June though 13 October, 2009.

artwork: Francesco del Cairo (1607–1665) Lucretia, c. 1635–40. Oil on canvas, 63.7 x 50.5 cm. - Sammlungen des Fürsten von und zu LiechtensteinIn his late work, Freud's theory of drives centered on the opposition between the death drive (Thanatos) and the life drive (Eros). He sought to explain the diversity of psychical life through the interplay of and conflict between these two primal drives. "Eros & Thanatos" is the first joint effort of the two museums, and it represents a continuation of the Sigmund Freud Museum's cooperation with the Graphic Collection of the Vienna Academy of Fine Arts.

Inge Scholz-Strasser, director of the Sigmund Freud Museum, elucidates: "In this exhibition we have brought together a controversial psychoanalytic theory with two internationally renowned and art-historically significant collections. It is the first cooperation with the nearby Liechtenstein Museum, which has provided key works on loan to the Sigmund Freud Museum."

Johann Kräftner, director of the Liechtenstein Museum continues: "With this exhibition we would like to bring together the energies of the two museums, providing a new impulse in a district that has repeatedly been the birthplace of great cultural achievements in Vienna. Through the cooperation of two great antipodes, the home and workplace of Sigmund Freud in Berggasse and the Liechtenstein Palace, working together with the Graphic Collection of the Academy of Fine Arts, new realizations are opened by the integration of a transdisciplinary perspective into the consideration of themes of which one might have thought there was nothing new to know."

artwork: Cristofano Allori (1577–1621) Judith with the Head of Holofernes, 1613, Sammlungen des Fürsten von und zu Liechtenstein, Vaduz–WienThe exhibition illustrates Freud's many-sided theory of the life and death drives using paintings and graphics from antiquity, the Renaissance and the fin de siècle. During Freud's life, artists such as Schiele, Klimt and Kokoschka devoted great attention to the theme of sexuality without ever having read Freud's theories on the topic. Conversely, although Freud felt himself misunderstood by his adherents in the question of Eros and Thanatos, he also did not seek contact to the artists of his era, instead only taking heed of the resonances he found with his revolutionary theories in the writings of the pre-Socratic philosopher Empedocles.

In "Eros and Thanatos" the Sigmund Freud Museum and the Liechtenstein Museum use Freud's texts in exploring the tension between life and death, between violence and passion in the work of artists of various epochs – from Dürer through Giordano to the Vienna Secession.

Eros and Thanatos in the Work of Sigmund Freud
In Beyond the Pleasure Principle (1920) Freud introduced the life and death drives for the first time, whereby he declared that his earlier conception of a duality between the self-preservation drive and the sex drive was no longer sufficient. Although a number of psychoanalysts expressed doubt regarding his new theory, Freud remained an energetic proponent of this theory for the rest of his life.

According to his essay, the life drive – Eros – strives to lengthen life and makes connections to objects, while the death drive – Thanatos – yearns for a return to an earlier stage of life, a tension-free and almost lifeless state, and does not strive to enter into object relationships. In Freud's last years, his theories of Eros and Thanatos found increasing resonance before the background of the violent and selfdestructive nature of political and social developments worldwide. In his 1932 letter to Albert Einstein, Freud linked Eros to love and Thanatos to hate, while at the same time warning: "(...) we must be chary of passing overhastily to the notions of good and evil. Each of these instincts is every whit as indispensable as its opposite, and all the phenomena of life derive from their activity." The exhibition "Eros & Thanatos" shows how continually relevant the struggle between external storm and inner drive has remained for humanity over the centuries.

Visit The Liechtenstein Museum at :

Art Knowledge News Presents "This Week In Review"

Posted: 30 Oct 2011 08:49 PM PDT

This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here .

When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

This Week in Review in Art News

Minggu, 30 Oktober 2011

Art Knowledge News - Keeping You in Touch with the World of Art...

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The Museum of Arts and Design to Show Contemporary Korean Artists

Posted: 29 Oct 2011 11:57 PM PDT

artwork: Young In Hong- "Procession", 2010 - Embroidery and Acrylic on Scenic Fabric - 320 x 200 cm. - Courtesy of the Saatchi Gallery, London. © 2009 Young In Hong. On view at the Museum of Arts and Design, NYC in "Korean Eye: Energy and Matter" from November 1st until February 19th 2012.

New York City.- The Museum of Arts and Design (MAD) is proud to host the internationally-acclaimed exhibition "Korean Eye: Energy and Matter". Sponsored by Standard Chartered, the exhibition shines a spotlight on new work by contemporary Korean artists, bringing together 21 emerging and established Korean artists working in photography, painting, video, and mixed media. "Korean Eye" will be on view at MAD from November 1st through February 19th 2012. The Museum of Arts and Design, working in collaboration with Parallel Contemporary Art (founded by David and Serenella Ciclitira), is pleased to be the inaugural venue for the exhibition, which will tour internationally after its premiere. A previous iteration of "Korean Eye: Energy and Matter", presented by Standard Chartered, was shown at the Saatchi Gallery, London and in Seoul and Singapore.

"Korean Eye: Energy and Matter" reflects a new era of diversity in Korean life, politics, and culture, and offers a unique opportunity for education and appreciation of Korea's rapidly developing art scene, which until recently has seen little global exposure. Korean Eye: Energy and Matter extends MAD's focus on materials and process in contemporary art and design by showcasing works of art in an astonishing range of materials, reflecting the ways in which Korean artists today are exploring techniques both traditional and innovative. Korean Eye: Energy and Matter offers an illuminating commentary on the philosophical and aesthetic conditions of modern Korean culture, from virtual reality and the pervasive influence of fantasy and pop culture to the dehumanization inherent in a post-industrial society. By turns ironic, satirical, and metaphorical, the exhibition includes photo-sculptures by Seung Hyo Jang; embroidery and acrylic paintings by Young In Hong; a large, imposing shark fabricated from reclaimed and repurposed automobile tires by Yong Ho Ji; and Meekyoung Shin's astonishing "antique" porcelain vases, rendered in soap.

artwork: Kim Hyun Soo - "Breik", 2008 - Sculpture of human hair, oil color, waterpaint, epoxy, steel - 155 x 150 x 92 cm. Courtesy of the artist. On view at the Museum of Arts and Design, New York until February 19th 2012.

The Museum of Arts and Design ("MAD") explores the blur zone between art, design, and craft today. Accredited by the American Association of Museums since 1991, MAD focuses on contemporary creativity and the ways in which artists and designers from around the world transform materials through processes ranging from the artisanal to the digital. For nearly half a century, MAD has served as the country's premier institution dedicated to the collection and exhibition of contemporary objects created in media such as clay, glass, wood, metal, and fiber. The seed for MAD, however, was planted almost 70 years ago, when Aileen Osborn Webb—the nation's premier craft patron and benefactor—established the American Craftsmen's Council in 1942. In the decades that followed, MAD broadened its vision and expanded the scope of its exhibitions and programs. In 1979, MAD was renamed the American Craft Museum, reflecting its position, and in 1986, moved to a new location in four floors of a new building at 40 West 53rd Street. The new Museum's space—designed by Roche-Dinkeloo, with an interior created by Fox & Fowle Architects—doubled the space of the original quarters. The opening exhibition was Craft Today: Poetry of the Physical, which articulated the direction of MAD's new era. Some of the objects were purely functional, while others placed a higher value on visual expression and conceptual content. Today, MAD celebrates materials and processes that are embraced by practitioners in the fields of craft, art and design, as well as architecture, fashion, interior design, technology, performing arts, and art and design-driven industries.

artwork: Park Seung Mo - "Bicycle", 2005 - Aluminum wire, fiberglass, lifecasting - 74 x 150 x 95 cm. Courtesy of the artist. On view at the Museum of Arts and Design, until February 19th 2012.

The institution's new name, adopted in 2002, reflects this wider spectrum of interest, as well as the increasingly interdisciplinary nature of MAD's permanent collection and exhibition programming. In September, 2008, MAD opened the doors to its new home at 2 Columbus Circle to the public. With triple the exhibition space, and new amenities including a greatly expanded store, a 144-seat theater, and a restaurant, MAD is finally able to satisfy the growing public demand for its programs. 2 Columbus Circle's design, accomplished  in collaboration with architect Brad Cloepfil of Allied Works Architecture, weaves MAD into the social and cultural fabric of the newly revived Columbus Circle and its surrounding neighborhoods. The design includes a new façade that features textured terracotta panels and transparent fritted glass, materials that express MAD's history of honoring the relationship between materials and maker. Visit the museum's website at ...

Chinese artist Hung Liu solos at Walter Maciel Gallery in Los Angeles

Posted: 29 Oct 2011 11:21 PM PDT

artwork: Hung Liu - Band of Brothers, 2011 - Oil on canvas - 80" x 120" - Courtesy of Walter Maciel Gallery in Los Angeles, CA

LOS ANGELES, CA.- Walter Maciel Gallery presents a solo show of new work by internationally known artist Hung Liu. This is Liu's third solo gallery exhibition appropriately titled Dawn Blossoms Plucked at Dusk which references the idea of remembering one's youth, possibly from an elder's perspective. The show is presented concurrently with Pacific Standard Time celebrating the art in Southern California from 1945 though the early 80s. Liu was born in Changchun, China in 1948 and immigrated to the US In 1984 to attend the University of California, San Diego where she received an MFA in the Visual Arts Program. She studied with Allan Kaprow who became a lifelong friend and mentor. On exhibition from 29 October though 22 December.

The Museum of Biblical Art Exhibits the Paintings of Ludwig Blum

Posted: 29 Oct 2011 10:53 PM PDT

artwork:Ludwig Blum - "Temple Mount and the Western Wall", 1943 - Oil on canvas - 32 x 46 cm. - Private Collection. On view at the Museum of Biblical Art, NYC in "Jerusalem and the Holy Land: The Paintings of Ludwig Blum" from October 28th until January 15th 2012.

New York City.- The Museum of Biblical Art (MOBIA) is proud to present "Jerusalem and the Holy Land: The Paintings of Ludwig Blum", on view at the museum from October 28th through January 15th 2012. This exhibition, organized by Ben Uri, The London Jewish Museum of Art, The Art Museum for Everyone, was first shown in London, England in January 2011 and curated there by the Israeli scholar Dr. Dalia Manor. Known as the "Painter of Jerusalem," Ludwig Blum (1891-1974) immigrated to Palestine in 1923 from what is now the Czech Republic. A veteran of the First World War and an academically-trained painter, Blum set about depicting the Middle East, most notably, the Holy Land, both through vast topographical scenes and through small-scale street and marketplace scenes.

The Museum of Contemporary Art (MCA) to Host Retrospective of Iain Baxter&

Posted: 29 Oct 2011 10:24 PM PDT

artwork: Iain Baxter& - "Still Life with Winter Vista", 1996 - Cibachrome transparency, light box - 123 x 157.5 x 20.5 cm. - Courtesy of the artist and Corkin Gallery, Toronto. © 2011 Iain Baxter&. On view at the Museum of Contemporary Art, Chicago in "Iain Baxter&: Works 1958-2011" from November 5th until January 15th 2012.

Chicago, Illinois.- The Museum of Contemporary Art (MCA) is proud to present the first retrospective of one of Canada's most compelling artists, when "Iain Baxter&: Works 1958-2011" opens on November 5th. The exhibition will remain on view through January 15th 2012. Iain Baxter legally changed his name to Iain Baxter& in 2005. He appended an ampersand to his name to underscore that art is about connectivity and collaboration with the viewer."Iain Baxter&: Works 1958-2011" is a survey of all major phases of his work. Baxter&'s consistent emphasis is on reaching out to the viewer, his core concern with ecology and the environment and his belief that art must be made in many kinds of media, inform his early understanding that "art is all over."

The Carnegie Museum of Art Presents the Photographs of Teenie Harris

Posted: 29 Oct 2011 08:49 PM PDT

artwork: Charles "Teenie" Harris - "Boxers, possibly Golden Gloves contenders, lined up in boxing ring", circa 1955 - Black-and-white negative - Collection of the Carnegie Museum of Art, Pittsburgh © Teenie Harris Archive. on view in "Teenie Harris, Photographer: An American Story" from October 29th until April 7th 2012.

Pittsburgh, PA.- The Carnegie Museum of Art is proud to present "Teenie Harris, Photographer: An American Story" on view from October 29th through April 7th 2012. This groundbreaking exhibition will celebrate the artist/photographer whose work is considered one of the most complete portraits anywhere of 20th-century African American experience. Large-scale, themed photographic projections of nearly 1,000 of Teenie Harris's greatest images accompanied by an original jazz soundtrack will generate an immersive experience in the exhibition's opening gallery. Subsequent galleries will present a chronological display of these photographs at a conventional scale, and give visitor access to the more than 73,000 catalogued and digitized images in the museum's Teenie Harris Archive. The exhibition will offer an examination of Harris's working process and artistry, and audio commentary on the man and his work by the people who knew him. In addition, the photographs and many of these materials will be accessible on Carnegie Museum of Art's website.

The Lowe Art Museum Shows a Gift of Mexican Retablos From Joseph and Janet Shein

Posted: 29 Oct 2011 08:26 PM PDT

artwork: Unknown artist - "El Divino Rostro (Veronica's Veil or The Divine Face)", (detail) 1914 - Mexican votive - Oil on tin in painted wood frame - Collection of the Lowe Art Museum, Florida. On view in "Saintly Blessings: A Gift of Mexican Retablos from Joesph and Janet Shein" through September 23rd 2012.

Miami, Florida.- The Lowe Art Museum is pleased to present "Saintly Blessings: A Gift of Mexican Retablos from Joesph and Janet Shein", on view at the museum through September 23rd 2012. Painted devotional images of saints and other holy persons, called retablos, are used primarily by Mexican peoples as objects of veneration and to seek favors. A splendid collection of twenty-eight retablos, painted on tin, has been graciously donated to the Lowe Art Museum by prominent Philadelphia and Miami art collectors, Joseph and Janet Shein. The gift is an important addition to the Lowe's collection of santos (2 and 3 dimensional depictions of saints and other Catholic religious icons). When the Spanish came to the New World, they brought significant changes, one of the most lasting of which was their religion, Catholicism. As the desire to possess a sacred object that would ensure health, fertility, and abundance of crops led to a transfer of beliefs from pagan images to those of the Church, religious imagery appeared. They are on view for the first time at the Lowe Art Museum.

The Mezzanin Stiftung für Kunst Collection on view at Kunstmuseum Liechtenstein

Posted: 29 Oct 2011 08:25 PM PDT

artwork: Otto Zitko - Untitled, 1990 - Oil on canvas - Courtesy of the Kunstmuseum Liechtenstein

Vaduz, Liechtenstein - Domiciled in Liechtenstein, the "Mezzanin Stiftung für Kunst" collection is devoted primarily to international, contemporary art. Bearing the stamp of the extreme care and personal commitment of collector Hanny Frick, it has grown continuously over the past few decades. Hanny Frick relies on direct contact with artists and their works of art. Her approach has led, over the years, to a collection that places the collector on equal footing with the international art world. The holdings range from paintings, drawings, prints and photography to objects and a remarkable group of sculptures from Europe and Africa. In addition, the collection includes artefacts such as found pieces from nature, tools used by artists and a group of prehistoric rock drawings that have been transferred to paper. The exhibition is on view from 28 October until 26 February, 2012.

Andrea Rosen Gallery Presents a Study of Llyn Foulkes' Rock Paintings

Posted: 29 Oct 2011 07:43 PM PDT

artwork: Llyn Foulkes - "Lost Horizon", 1991 - Acrylic and recycled materials - 210.8 x 279.4 cm. - Courtesy Andrea Rosen Gallery, New York. On View in "Llyn Foulkes" until December 3rd.

New York City.- The Andrea Rosen Gallery is extremely excited to present a focused study of Llyn Foulkes paintings revolving around the presence of the rock imagery spanning from 1963 to 1991. As a legendary figure and pioneer beginning in the 1960's,  Foulkes' influence within the LA community is both "vast and unquantifiable" and while he has a deep following he is just now beginning to get his full recognition. Over the past number of years, his work has been included in seminal exhibitions from LA MoCA's "Helter Skelter" (1992), the Hammer's "Nine Lives: Visionary Artists From L.A." (2009), to the Venice Biennale (present) which has brought a growing awareness and clarity to the wide range of his influence and the powerfulness of his unique artistic territory. "Llyn Foulkes" is on view at the gallery through December 3rd. In the past two years the Andrea Rosen Gallery have been carefully researching Foulkes' complete oeuvre and is delighted to present this extremely specialized exhibition that studies Foulkes' landscape paintings and our multi-faceted and veiled relationship to nature.

Gary Snyder Gallery to Display New Sculptures by Richard Van Buren

Posted: 29 Oct 2011 07:19 PM PDT

artwork: Richard Van Buren - "Olongapo", 2011 - Thermoplastic, acrylic paint, and shells - 37" x 52 1/2" x 33" Courtesy Gary Snyder Gallery, New York. On view in "Richard Van Buren: New Sculpture" from November 10th until December 17th.

New York City.- Gary Snyder Gallery is pleased to announce "Richard Van Buren: New Sculpture" on view at the gallery from November 10th through December 17th. The exhibition features new works in thermoplastic and is Van Buren's first in a New York gallery in almost ten years. Eighteen of the artist's swirling abstract sculptures will be on view, including a thirteen-foot wall piece, "Botticelli's Revenge" (2011), and "Walking with Garth" (2011), a twenty-four-foot floor piece—Van Buren's largest and most ambitious works to date. A fully illustrated catalogue will accompany the exhibition, with an essay by Klaus Kertess. The exhibition and its accompanying publication offer an in-depth look at the artist's work over the past three years—Technicolor biomorphs in thermoplastic and acrylic paint, adorned with natural materials.

Ashmolean Museum Exhibition Features "Claude Lorrain: The Enchanted Landscape"

Posted: 29 Oct 2011 07:18 PM PDT

artwork: Claude Lorrain - "Landscape with Ascanius shooting the Stag of Sylvia", 1634 - Oil on canvas - 120 x 150 cm. - Collection of the Ashmolean Museum, Oxford. On view in "Claude Lorrain: The Enchanted Landscape" until January 8th 2012.

Oxford, UK.- The Ashmolean Museum's major exhibition this autumn is "Claude Lorrain:The Enchanted Landscape", rediscovering the father of European landscape painting, Claude Gellée (c.1600–1682), or Claude Lorrain as he is best known.In partnership with the Städel Museum, Frankfurt, the exhibition will bring together 140 works from international collections, created at different points in the artist's career. By uniting 'pairs' of Claude's paintings and making a comprehensive survey of his work in different media, the exhibition brings new research to bear on his working methods, to reveal an unconventional side to Claude which has previously been little known. "The Enchanted Landscape" is on show until January 8th 2012.

Born in France, Claude travelled first to Italy at the age of 13 or 14, settling in Rome for the rest of his life in 1627. The scenery of his great compositions was based on his studies of the ancient ruins and the rolling country of the Tiber Valley and the Roman Campagna. Claude's ability to translate his vision of the countryside and the majesty of natural light with the aid of his brush won him the admiration of his contemporaries, above all else, as a 'natural painter'. It has been his signature treatment of classical landscape and literature which has impressed itself on generations of artists and collectors, and which has made his name synonymous with great landscape painting. The cult of Claude which grew up in the 18th and 19th centuries, begun by British 'Grand Tourists', has left a profound mark on our history and landscape. English country houses are well stocked with both originals by Claude and with copies. Responding to aristocratic taste and fashion, designers such as Capability Brown, Henry Hoare and William Kent reproduced his ideal views in the parklands of great houses from Blenheim Palace, Rousham House and Stowe, to Stourhead and Chatsworth. Claude's drawings were collected with no less enthusiasm by English connoisseurs, as a result, over 40% of his drawings are now in the British Museum. Claude's influence on later artists is apparent in the work of Thomas Gainsborough, J. M. W. Turner and John Constable, who described him as 'the most perfect landscape painter the world ever saw'.

artwork: Claude Lorrain - "Departure for the Fields", circa 1640-1641 - Etching - 5" x 7" - Collection of the Ashmolean Museum On view in "Claude Lorrain: The Enchanted Landscape" until January 8th 2012.

A lesser-known side to Claude is the eccentricity of his graphic art. The exhibition will show 13 paintings alongside related drawings and etchings from international and private collections, and from the Ashmolean's own extensive holdings. Claude was a dedicated graphic artist. He drew for the sake of mastering the world of nature but also because drawing was a pleasure in itself. Many of his drawings were made as works of art in their own right. During his own lifetime Claude's fame grew rapidly. As a guard against forgeries, he made copies of his paintings in a book, the Liber Veritatis (Book of Truth), which, by the time of his death, contained 200 drawings. The book also gave him a collection of ideas which he could reuse when necessary. Although he made only 40 prints in total, all of which are on display, he took a serious interest in printmaking. Similar to his drawings, his principle focus was to explore the potential of the medium. His exceptional technique - a painterly brush-and-ink style replicating natural effects - was a novelty in contemporary printmaking. The spectacular 'Fireworks' series, ten etchings made during a week of firework displays in Rome, illustrate his experimental style and will be on show together in the Ashmolean's exhibition.

Unlike contemporaries who had an academic training, Claude's style and artistic process were unique to him. He worked frequently with existing materials progressing from one painting to another through a process of variation and combination. His sketching excursions provided him with a stock of motifs, including trees, hills, rivers and antique ruins, which became constant accessories in his paintings. Figure groups were shifted from one composition to another. Landscapes, like stage scenery, were taken out for reuse with a different set of characters. Elsewhere he would cut compositions in two or enlarge them with separate sheets. Occasionally, he would pick up a discarded study and add detail to make it a finished work of art, often with peculiar results.

Claude was also the first artist to specialise in painting 'pairs'. Approximately half his compositions were made as companion pieces, the earliest of which, on display here, are Landscape with the Judgement of Paris and Coast View (both 1633). The idea of pairs is also found among his prints. While many of his pairs show a compositional correspondence, contrast played as great a role as similarity. Often an Arcadian landscape is combined with a maritime view, or a morning scene with an evening setting. The pairs were not always executed concurrently: his very last painting, the Ashmolean's great Ascanius and the Stag of Sylvia (1682), was made 5 years after its companion, Aeneas's Farewell to Dido in Carthage (1676) now in Hamburg.

artwork: Claude Lorrain - "Landscape With Judgement of Paris", 1633 - Oil on canvas - Private collection. On view at the Ashmolean Museum, Oxford in "Claude Lorrain: The Enchanted Landscape".

The present Ashmolean was created in 1908 by combining two ancient Oxford institutions: the University Art Collection and the original Ashmolean Museum. The older partner in this merger, the University Art Collection, was based for many years in what is now the Upper Reading Room in the Bodleian Library. The collection began modestly in the 1620s with a handful of portraits and curiosities displayed in a small room on the upper floor. In 1636 and 1657, Archbishop Laud and Ralph Freke added notable collections of coins and medals, later installed in a strong room of their own and now incorporated into the Ashmolean coin collection. The objects of curiosity included Guy Fawkes' lantern and a sword said to have been given by the pope to Henry VIII, both now in the Ashmolean, as well as a number of more exotic items, including Jacob's Coat of Many Colours, long since lost. However, as there was a museum for curiosities of this kind in the University Anatomy Theatre, objects like this tended to go there or to the Ashmolean, after it opened in 1683, leaving the Bodleian gallery to develop as a museum of art. Visit the museum's website at ...

Mystic Masque ~ Georges Rouault, 1871-1958 at The McMullen Museum of Art

Posted: 29 Oct 2011 07:08 PM PDT

artwork: Georges Rouault - Les Trois Clowns - Trio Cirques, 1928 - Oil on Canvas

CHESTNUT HILL, MA.- The McMullen Museum of Art at Boston College hosts an exclusive exhibition, Mystic Masque: Semblance and Reality in Georges Rouault, 1871-1958, on view August 30 through December 7, 2008. It marks the fiftieth anniversary of the 1958 death of the French Fauvist and Expressionist painter and printmaker, and aims to recover the artist for a new generation by uncovering dissonant aspects of his work, which exhibition curator Stephen Schloesser, SJ, an associate professor in BC's History Department, argues have been obscured by "forced conventional consonances."

The exhibition will comprise approximately 240 of Rouault's finest paintings, works on paper and stained glass—many never before displayed in North America—drawn largely from the holdings in Paris of the Fondation Georges Rouault, the Centre Pompidou and the Musée d'Art Moderne de la Ville de Paris. Prominent American museums also will lend paintings (see below), and many of Rouault's prints and books will be lent by the Boston Public Library.

artwork: Georges Rouault, Fille (Femme aux Cheveux Roux), Watercolor, gouache, and pastel on paper, mounted at the edges on board, 28 1/4 by 2 0 1 /4 in. - 1908, Courtesy Mitchell-Innes & Nash"Drawing largely on the unique resources of the Boston College faculty in multiple disciplines, the McMullen is pleased to offer this re-examination, and in several cases new interpretations, of Georges Rouault's oeuvre in the most comprehensive exhibition of his work mounted in North America in several decades," according to McMullen Museum Director and Professor of Art History Nancy Netzer.

Mystic Masque: Focusing on meanings preserved in the French word "masque," the exhibition and catalogue explore Rouault's work in two senses, organizers note. First, displaying the many outward "masks" he loved to paint—those of circus players, prostitutes and judicial figures, as well as the iconic sainte face (holy face) of Christ, definitively symbolized by the key figure of Véronique (vera icon)—the exhibition will recover Rouault's keen sense of disjunction, unintended consequences and ironic reversals. Schloesser explains that "this irony—a sometimes bitterly satirical one—was often glossed over by a conventional piety in the presentation of his work from the time of his death in 1958 until the centenary of his birth in 1971."

Employing a second sense of "masque," the exhibition presents Rouault's representation of the human condition as a kind of "pageant" or "guising"—or as Balzac put it, a "human comedy." Rouault's world is an often tragic comedy of errors, marked by uncertainty and misapprehension. Outward appearances misrepresent and betray deeper realities. This is true both for society's marginal figures and esteemed ones. Rouault succinctly summed up this vision in his several studies entitled (quoting Virgil's Aeneid), "Sunt Lacrymae Rerum"—"There are tears (of grief) at the very heart of things."

According to organizers, the exhibition will show viewers that the act of judgment is central in Rouault's work: judicial figures must make their judgments based on limited appearances and not full knowledge. The innocence of criminals is frequently misjudged; the painted on joy of clowns and prostitutes (filles de joie) is an intentional misrepresentation that leads the audience to misjudge these tragicomic lives.

Rouault explicitly used these figures as types for the dissimulation of human beings in general: "Who among us does not wear a mask?" he famously asks in one image reproduced several times. "Are we not slaves ... believing ourselves to be kings?" he asks in another.

artwork: Georges Rouault -Parade, 1934 Oil, ink & gouache on canvas, 11 4/5 x 7 7/10 inches, Private Collection, © 2008 Artists Rights Society (ARS), NY Schloesser explains: "Such dark reflections are redeemed for Rouault by the human masque's qualifier—"mystic"—which points to the centrality of Christian iconography for the artist." Arranged chronologically, the exhibition seeks to demonstrate that Rouault's religious realism as it developed was far removed from any conventional piety. Rouault's human comedy is simultaneously a divine comedy; it is a masque—but one that is ultimately mystic.

In addition to the French institutions, lenders to Mystic Masque include the Metropolitan Museum, Museum of Modern Art, Currier Museum, Saint Louis Art Museum, Philadelphia Museum of Art, Chrysler Museum of Art, Dumbarton Oaks, Museum of Fine Arts, Boston, Los Angeles County Museum of Art, Dallas Museum, Phillips Collection, and Dayton Art Institute.

Accompanying Exhibition Catalogue - A fully-illustrated catalogue of approximately 450 pages, edited by Schloesser, will comprise more than 30 essays—discussing various themes and groups of objects—based on new research by scholars, many professors at Boston College, from a variety of disciplines, including Art History (Jody Blake, Naomi Blumberg, Claude Cernuschi, Stephan Dahme, Marie Garraut, Jeffery Howe, Soo Yun Kang, John McCoy, John Michalczyk, Tara Ward); Painting, (Gael Mooney); Sculpture and Aesthetics (Jean-Marie Tézé, SJ); History (Paul Breines, Sheila Nowinski, Virginia Reinburg, Mary Louise Roberts, David Quigley, Schloesser), Literature (Bernard Doering, Thomas Epstein, Susan Michalczyk); Philosophy (Anne Davenport, Nora Possenti Ghiglia), and Theology (Roberto Goizueta, James Keenan, SJ, Margaret Miles).

McMullen Museum of Art The McMullen Museum is renowned for organizing interdisciplinary exhibitions that ask new questions and break new ground in the display and scholarship of the works on view. It serves as a dynamic educational resource for all of New England as well as the national and the international community. The Museum displays its notable permanent collection and mounts exhibitions of international scholarly importance from all periods and cultures of the history of art. In keeping with the University's central teaching mission, the Museum's exhibitions are accom-panied by scholarly catalogues and related public programs. The McMullen Museum of Art was named in 1996 by the late Boston College benefactor, trustee and art collector John J. McMullen.

McMullen Museum Hours and Tours Admission to the McMullen Museum is free; it is handicapped accessible and open to the public. The Museum is located in Devlin Hall on BC's Chestnut Hill campus, at 140 Common-wealth Avenue. During this exhibition, hours are: Monday through Friday, 11 a.m. to 4 p.m.; Saturday and Sunday from noon to 5 p.m. Closed on the following dates: September 1, October 13, November 27-28. For directions, parking and information on public programs, visit :  or call (617) 552-8100.

Masterpieces of the Renaissance from the National Galleries of Scotland on View at MIA

Posted: 29 Oct 2011 07:07 PM PDT

artwork: Titian - "Diana and Actaeon", 1556-59 - Oil on canvas, 185 X 202 cm. - © National Gallery, London

MINNEAPOLIS, MN.- The Minneapolis Institute of Arts, in conjunction with the National Galleries of Scotland, the High Museum of Art, Atlanta, and the Museum of Fine Arts, Houston, presents an exhibition of 25 Venetian masterpieces, 12 paintings and 13 drawings, including two of the greatest paintings of the Italian Renaissance, Titian's "Diana and Actaeon" and "Diana and Callisto" (1556–59). The exhibition will also include paintings by Tintoretto, Veronese, and Lotto from the National Galleries of Scotland's collection. The Minneapolis Institute of Arts' presentation of "Titian and the Golden Age of Venetian Painting: Masterpieces from the National Galleries of Scotland" will be on view February 6 through May 1, 2011. Visit the Minneapolis Institute of Arts (MIA) at :

Monique van Genderen Solos at Galerie Michael Janssen

Posted: 29 Oct 2011 07:06 PM PDT

artwork: Monique van Genderen - Untitled, 2008 - Oil and pigment on canvas - Private Collection - Not on Exhibition

Galerie Michael Janssen presents its second solo exhibition by L.A.-based artist Monique van Genderen. Entitled The Gentle Art of Making Enemies the exhibition alludes to the book of the same name by James Abbot McNeill Whistler. First published in 1892 it is an account of personal revenges between Whistler and the art critic John Ruskin who criticized Whistler's painting Nocturne in Black and Gold, exhibited in the Grosvenor Gallery in London in 1877, as „unfinished" and as „a pot of paint flung in the public's eye". Whistler was incensed with the criticism and initiated a libel case against Ruskin. While the text is a narrative about the development of abstract painting, it also explores the relationship between artist and viewer and their expectations and desires for imparting unfixed ideas.

Hood Museum of Art Opens "American Art from the Huber Family Collection"

Posted: 29 Oct 2011 07:05 PM PDT

artwork: Jane Peterson - The Dry Dock, c. 1915 - Opaque watercolor and charcoal on brown paper. - Huber family collection. Courtesy of the Hood Museum of Art

HANOVER, NH.- America at the turn of the twentieth century was characterized by dramatic social, cultural, and artistic change. The works in Embracing Elegance, 1885–1920: American Art from the Huber Family Collection represent a diversity of reactions to that change while generally featuring intimate, informal subjects captured in a personally expressive manner influenced variously by the Aesthetic movement, impressionism, urban realism, and postimpressionism. The exhibition features over thirty pastels, drawings, watercolors, and paintings by such leading artists of the period as Cecilia Beaux, Thomas Wilmer Dewing, Joseph DeCamp, Robert Henri, Lilla Cabot Perry, John Singer Sargent, Everett Shinn, John Sloan, John Henry Twachtman, and J. Alden Weir. All of the works were collected over the past twenty-five years by Jack Huber, Dartmouth Class of 1963, and his wife, Russell. On exhibition through 4 September.

The Arkansas Art Center Shows "The Impressionists and Their Influence"

Posted: 29 Oct 2011 07:04 PM PDT

artwork: Claude Monet - "Autumn on the Seine, Argenteuil", 1873 - Oil on canvas. Collection of the High Museum of Art, Atlanta. On view at "The Impressionists and Their Influence" at the Arkansas Art Center.

Little Rock, Arkansas.- The Arkansas Art Center is proud to present "The Impressionists and Their Influence" until June 26th. Organized in conjunction with the High Museum of Art in Atlanta, this exhibition brings together beautiful paintings and intimate works on paper by such French artists as Claude Monet, Paul Cézanne, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, as well as works by major Post-Impressionist artists Pierre Bonnard, Édouard Vuillard, and Paul Signac. In addition, the show features works by American artists, such as Mary Cassatt, Childe Hassam, and Theodore Robinson, who fell under the influence of the Impressionists. Featuring more than 100 works from the collections of the renowned High Museum of Art, the Arkansas Arts Center, and private collections, The Impressionists and Their Influence is a splendid opportunity to explore the movement that became Impressionism.

In late 19th century Paris, a group of artists broke from long-standing tradition when they moved outdoors to paint. These artists, the Impressionists, captured the world around them in new ways creating colorful, light-filled scenes of carefree summer outings, riverbanks and seashores, private gardens, public parks, dance halls, cafés and the people who inhabited them. This exhibition brings together beautiful master paintings and intimate works on paper by French artists such as Claude Monet, Paul Cézanne, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, as well as works by major Post-Impressionist artists Pierre Bonnard, Édouard Vuillard, Paul Signac and more. In addition, the show features works by American artists, such as Mary Cassatt, Childe Hassam, and Theodore Robinson, who fell full sway under the influence of the Impressionists. Featuring more than 100 works from the collections of the renowned High Museum of Art, the Arkansas Arts Center and private collections, The Impressionists and Their Influence is a unique opportunity to explore the movement that became Impressionism.

Frederic Bazille -  "The Beach at Sainte-Adresse", 1865 - Oil on canvas. Collection of the High Museum of Art, Atlanta.

artwork: Pierre-Auguste Renoir - "Woman Arranging Her Hat" 1890 - Oil on canvas. Collection of the High Museum of Art.The Arkansas Arts Center is an art museum with a children's theatre and a studio school. Founded in 1960, its mission is to ensure that learning, inspiration and creative expression in the arts flourish throughout Arkansas, for people of all ages and backgrounds. The AAC realizes this mission by developing, preserving and exhibiting its outstanding permanent collection, offering a rich variety of art from other collections and presenting programs for the education and cultural benefit of the public. The seed for the Arkansas Arts Center was planted in 1914, when the Fine Arts Club of Arkansas was formed. Its membership formed the core of supporters and volunteers who later contributed to the creation of the Museum of Fine Arts in 1937 in Little Rock's MacArthur Park. Several key decisions at critical points in the Arts Center's history helped form the remarkable arts facility that exists today.

In 1960, the museum was created by ordinance of the City of Little Rock and renamed the Arkansas Arts Center. By 1963, the museum had been enlarged to include 5 galleries, a 381-seat theater, 4 studio classrooms, sculpture courtyards and an art library. It offered temporary art exhibitions, community theater and a school of fine and performing arts. In 1971, the board selected drawings as the collection's primary concentration, recognizing that few museums were collecting unique works on paper. They believed, and rightly so, that the AAC could acquire such works with limited resources, excel in the area and make a unique contribution to the field.

The quality and character of exhibitions was increased accordingly. In 1982, having completed an enlargement of the Museum School studios and collection storage and preparation areas in 1975, a new gallery at the main facility, the 3,200 sq. ft. Rockefeller Gallery, was built and in 1985 the AAC's Decorative Arts Museum (DAM) opened. This historic Greek Revival house had been bequeathed to the City for use by the AAC and was substantially renovated to serve as a gallery for the decorative arts. The DAM became the home of a growing collection of objects in craft media. Further expansion was carried out in 1989, when the 1,300 sq. ft. Strauss Gallery was added to the west side of the Rockefeller Gallery and 2000, when more than 30,000 square feet of space and renovation of 12,000 square feet of existing space was carried out as part of an ambitious expansion plan. Visit the museum's website at ...

Museo de Zaragoza features "Goya and the Modern World"

Posted: 29 Oct 2011 07:03 PM PDT

artwork: The President of the government of Aragon, Marcelino Iglesias, contemplates Edward Munch´s 'Madonna', at the exhibition 'Goya and the Modern World' which was inaugurated at the Museo de Zaragoza - Photo: EFE/Javier Cebollada

ZARAGOZA, SPAIN - The President of the government of Aragon, Marcelino Iglesias, inaugurated today at the Museo de Zaragoza the exhibition "Goya and the Modern World" which includes 345 works of art – 138 made by the artist from Fuendetodos—in which the influence of the painter from Aragon reflects on artists from the 19th and 20th centuries. The Museo de Zaragoza will open this exhibit on Thursday, December 18, and this exhibition will be open to the public until the first week of March. The exhibition has been organized by the Government of Aragon and the Goya Foundation.

Napoleon and the Art of the Empire Style (1800–1815) at the Saint Louis Art Museum

Posted: 29 Oct 2011 07:02 PM PDT

artwork: Portait Of Napoleon I In His Robes

St. Louis, MO - The Saint Louis Art Museum announces the June 17 opening of Symbols of Power: Napoleon and the Art of the Empire Style, 1800–1815, an exhibition featuring more than 140 extraordinary works of decorative art, including furniture, silver, bronze, porcelain, jewelry, clothing, textiles and wallpaper in addition to drawings, paintings and sculpture.  The exhibition is organized by the American Federation of Arts, New York, and Les Arts Décoratifs, Paris.  The national tour is made possible, in part, by the Joseph and Sylvia Slifka Foundation, Inc. and the Samuel H. Kress Foundation.  The exhibition is also supported by an indemnity from the Federal Council on the Arts and the Humanities.

George Eastman Museum features Roger Ballen: Photographs 1982-2009

Posted: 29 Oct 2011 07:01 PM PDT

artwork: Roger Ballen © Roger Ballen - 'Eugene on the phone', 2000, from 'Outland'.

ROCHESTER, NY.- George Eastman House International Museum of Photography & Film  presents an exhibition of photographs by contemporary, and often controversial, artist Roger Ballen. The 74 black-and-white images of this mini-retrospective, titled Roger Ballen: Photographs 1982-2009 , will be on display through June 6, 2010. Eastman House will travel the exhibition worldwide following its Rochester run. Ballen is known for his thought-provoking photography and his particular attention to rich detail, photographing his human and animal subjects in complex, fictional scenes filled with symbolism. Critics have called Ballen's images powerful social statements that at the same time are disturbing psychological studies.

The Sterling and Francine Clark Art Institute shows 'The Art of the Pastel'

Posted: 29 Oct 2011 07:00 PM PDT

artwork: Edgar Degas - The Entrance of the Masked Dancers, 1879 -  Pastel on paper, 19 1/4 x 25 1/2 in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

WILLIAMSTOWN, MA -  Pastel has long been embraced as an exceptionally versatile and effective drawing technique. The Art of the Pastel at the Sterling and Francine Clark Art Institute will feature eleven works by Edgar Degas, Jean-François Millet, Camille Pissarro, Mary Cassatt, and others. The pastels will be on view November 22, 2008, through February 16, 2009.

artwork: Jean-François Millet - The Sower, c. 1865-66 / Black conté crayon & pastel on paper, 18 1/2 x 14 3/4 in. Sterling & Francine Clark Art InstituteThe Art of the Pastel  highlights the range of styles and subjects explored by nineteenth-century artists using this delicate yet spirited technique. Included are Méry Laurent Wearing a Small Toque by Édouard Manet; Entrance of the Masked Dancers by Edgar Degas; Boulevard de Clichy, Effect of Winter Sunlight by Camille Pissarro; Portrait of Mrs. Cyrus J. Lawrence with Grandson R. Lawrence Oakley, Simone in a White Bonnet, and Child in a Red Hat by Mary Cassatt; Little Girl with a Pear by Frederick Childe Hassam; Madame Maugey-Rosengart and a Dog in an Interior by Edouard Vuillard; The Sower by Jean-François Millet; and Portrait of William W. Gilbert and Portrait of Catherine Casine Gilbert attributed to James Sharples.

A favored medium for portraiture since the eighteenth century, the pastel crayon—composed of vibrant pigments and gum-based binders—produces colored lines with fluidity and flexibility, allowing artists to create quickly conceived, luminous designs which can then be manipulated through layering, smudging, and blending. The resultant image, while similar in effect to a finished oil painting, can be extremely fragile due to the powdery nature of the medium.

The Clark's outstanding collection of pastels has been an important feature since the museum's founding. From Sterling and Francine Clark's purchase of Entrance of the Masked Dancers in 1927, to the addition of Pissarro's Boulevard de Clichy in 1996, the collection has expanded to include key works by prominent artists in the medium, exploring the art of the pastel as it was practiced throughout the nineteenth century. The Clark has more than 5,000 prints, drawings, and photographs, which are available for viewing in the print study room by advance appointment. To schedule an appointment, call (413) 458-0560 or email

artwork: Camille Pissarro - Boulevard de Clichy, Effect of Winter Sunlight, 1880 Pastel on blue paper, 23 5/8 x 29 1/8 in. Sterling and Francine Clark Art InstituteAbout the Clark

In 1950 Sterling and Francine Clark chartered the Sterling and Francine Clark Art Institute as a home for their extensive art collection. Opened to public in 1955, the Institute has built upon this extraordinary group of works to become one of the most beloved and respected art museums in the world, known for its intimate galleries and stunning natural environment. One of the few institutions in the United States that combines a public art museum with a complement of research and academic programs, including a major art history library, the Clark is now a leading international center for research and discussion on the nature of art and art history. Building upon the founders' legacy, the Institute has recently unveiled its master plan for the twenty-first century, which fosters the Clark's commitment to providing space for its expanding research and museum programs while maintaining the unique character of its beautiful rural setting.

The Clark is located at 225 South Street in Williamstown, Massachusetts. The galleries are open Tuesday through Sunday, 10 am to 5 pm (daily in July and August). Admission is free November through May. Admission June 1 through October 31 is $12.50 for adults, free for children 18 and younger, members, and students with valid ID. For more information, call 413-458-2303 or visit .

This Week in Review in Art Knowledge News

Posted: 29 Oct 2011 07:00 PM PDT

This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here .

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This Week in Review in Art News