Rabu, 30 November 2011

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

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

The Pushkin State Museum of Fine Art Presents the First Major William Blake Exhibition in Russia

Posted: 29 Nov 2011 09:28 PM PST

artwork: William Blake - "Pity", circa 1795 - Colour print finished in ink and watercolour on paper - Tate collection. On view at the Pushkin State Museum of Fine Art in "William Blake and British Visionary Art" from November 29th until February 19th 2012.

Moscow.- The Pushkin State Museum of Fine Art is proud to present "William Blake and British Visionary Art" on view at the museum from November 29th through February 19th 2012. This is the first major exhibition to present Blake's visual art in Russia as well as being the first exhibition to explore Blake and his legacy. The exhibition is a collaborative project between the Tate and the Pushkin State Museum of Fine Art in partnership with the British Council.Drawn mainly from Tate's Collection alongside works generously lent from other British collections, the exhibition consists of approximately 110 of Blake's works, including many of his best known images such as The Ghost of a Flea c.1819-20. It also includes the recently discovered hand-coloured etchings from the major prophetic work The First Book of Urizen 1796 c.1818.

Although mainly overlooked during his lifetime, Blake's impact and influence on later generations of artists, writers and musicians has been enormous. His visionary ideas, and his ability to convey these in both poetry and painting, remain a major reference point in British culture today and this show aims to reveal his remarkable art and its visual legacy to a Russian audience. The expression of spiritual values through bodily form is the hallmark of Blake's visionary art and came to influence both the Symbolist art of the later nineteenth century and the neo-romantic revival of the 1930s. Many of the artists associated with these movements saw Blake as a pioneer in imagining infinite possibilities for sensory and spiritual experience. His work has been a reference point for artists nationally and internationally and this exhibition will include over twenty works by British artists who have been influenced by Blake including Samuel Palmer, Dante Gabriel Rossetti, John Piper and Francis Bacon.

artwork: William Blake - Plate 11 from 'The First Book of Urizen' (1796 - c.1818) Colour printed relief etching finished in pen and ink and watercolour on wove paper - 26.4 x 18.5 cm. - Tate collection. On view at the Pushkin State Museum of Fine Art in - "William Blake and British Visionary Art"

As part of the Blake in Russia project a new Russian translation of Blake's Songs of Innocence and Experience has been jointly published by the British Council and the State Library of Foreign Literature. Blake was not so much a poet, printmaker and artist but rather that his chosen form allowed all these things to come together on one page. His illustrations were never set along aside the poems, and the poems were not typeset.  Rather he actually made prints of his poems and pictures together. This is the first time that Blake's illustrations have ever been published alongside his poetry in Russia.

The Pushkin Museum of Fine Arts is the largest museum of European art in Moscow, located in Volkhonka street, just opposite the Cathedral of Christ the Saviour. The museum's name is misleading, as it has nothing to do with the famous Russian poet. It was founded by professor Ivan Tsvetaev (father of the poet Marina Tsvetaeva). Tsvetaev persuaded the millionaire and philanthropist Yuriy Nechaev-Maltsov and the fashionable architect Roman Klein of the urgent need to give Moscow a fine arts museum. The museum building was designed by Roman Klein and Vladimir Shukhov and financed primarily by Yury Nechaev-Maltsov. Construction work began in 1898 and continued till 1912. Ivan Rerberg headed structural engineering effort on the museum site for 12 years, till 1909. Tsvetaev's dream was realised in May 1912, when the museum opened its doors to the public. The museum was originally named after Alexander III, although the government provided only 200,000 rubles toward its construction, in comparison with over 2 million from Nechaev-Maltsev. Its first exhibits were copies of ancient statuary, thought indispensable for the education of art students. The only genuinely ancient items - Moscow Mathematical Papyrus and Story of Wenamun - had been contributed by Vladimir Golenishchev three years earlier.

artwork: William Blake - "God Judging Adam", 1795 - Colour-printed relief etching with ink and watercolour on paper support - 43.2 x 53.5 cm. -Tate collection. On view at the Pushkin State Museum of Fine Art in "William Blake & British Visionary Art" until February 19th.

After the Russian capital was moved to Moscow in 1918, the Soviet government decided to transfer thousands of works from St Petersburg's Hermitage Museum to the new capital. The entire collection of Western art from the Museum Roumjantsev was added too. These paintings formed a nucleus of the Pushkin museum's collections of Western art. But the most important paintings were added later from the State Museum of New Western Art. These comprised Impressionist and Post-Impressionist artwork, including top works by Vincent Van Gogh, Paul Gauguin, Pablo Picasso, Georges Dufrénoy and Henri Matisse. Among them Van Goghs "Le Vigne Rouge" apparently the only painting sold during the artist's lifetime. In 1937, Pushkin's name was appended to the museum, because the Soviet Union marked the centenary of the poet's death that year. The Pushkin Museum is still a main depositary of Troy's fabulous gold looted from Troy by the German archaeologist, Heinrich Schliemann and taken by the Soviet Army (Red Army) from the Pergamon Museum in Berlin. The International musical festival Svyatoslav Richter's December nights has been held in the Pushkin museum since 1981. Visit the museum's website at ... http://www.museum.ru/M296

Gary Nader Announces Auction to Coincide With Art Basel Miami Beach

Posted: 29 Nov 2011 09:27 PM PST

artwork: Cundo Bermudez - "Musicos", 2005 - Oil on paper laid on board - 121.9 x 198.8 cm. - Courtesy Gary Nader Gallery. To be auctioned during Art Basel Miami Beach on December 1st (Estimate $ 60,000 - 80,000).

Coral Gables, FL.- Gary Nader is pleased to announce his next Latin American, Modern and Contemporary Art Auction. The Auction artworks will be on display from Thursday, November 17th, 2011. The Auction will take place on Thursday, December 1st, 2011 during the celebration of Art Basel Miami Beach 2011. Full color printed and online catalogues will be available. Gary Nader is requesting artworks by some of the most important Latin American, Modern and Contemporary artists for inclusion in the auciton.

The Verve Gallery Shows Staged Photographs of Three Artists

Posted: 29 Nov 2011 09:02 PM PST

artwork: Charbonneau/French - "Dividing Suns", (from the Playground Series) - Chromogenic print - Edition of 4 - 20" x 38 1/2" Courtesy the Verve Gallery of Photography, Santa Fe. On view in "Charbonneau/French & Jennifer B. Hudson" until December 31st.

Santa Fe, New Mexico.- The Verve Gallery of Photography is pleased to present an exhibition with three artists, the collaborative team of Jeff Charbonneau and Eliza French (known simply as Charbonneau/French) and artist Jennifer B. Hudson. These artists work narratively, using stories and ideas that play out visually in their staged imagery. Jennifer B. Hudson's small prints will grace the walls of the smaller and more intimate room in the gallery and Charbonneau/French's large scale work will be exhibited in the main gallery space. The exhibition is on view through Saturday, December 31st. The collaborative team Jeff Charbonneau and Eliza French (Charbonneau / French) debut their first exhibition at Verve Gallery with 21 large-scale photographs from both their Massillon and Playground series. Their work has been appropriately described as images with Victorian-era aesthetics and a 19th century craftsmanship. They produce their work by combining traditional black and white darkroom techniques with contemporary photographic processes. The Massillon series takes its name from the Ohio town where Eliza French's great-grandmother, Zeta Eliza Woolley, lived at the turn of the 20th century.

The Museum of Contemporary Canadian Art Presents Winter Exhibitions

Posted: 29 Nov 2011 08:41 PM PST

Toronto, Ontario.- The Museum of Contemporary Canadian Art is pleased to launch its winter exhibition season with two spectacular projects; "Ineffable Plasticity: the experience of being human" and "Human / Nature" through December 31st. Taking shape according to the most current work within each artist's practice, "Ineffable Plasticity: the experience of being human" considers the idea that all human attributes and activity are an expression of nature. The exhibition looks at nature as an unstoppable force that governs and defines us, challenging the notion that anything could be construed as unnatural, whether psychological or physical. The apocalypse on people's minds these days, regardless of culture or creed, is the notion of an eco-apocalypse. What's striking is that the end of humanity is not the end of the world, but it is another extinction. The world, the universe, the nature that we are an incarnation of, won't come to a halt. It's revealing of a faulty sense of protuberance in nature to think that we are capable of destroying anything.

The New Art Dealers Alliance in Miami Beach for the 9th edition of NADA Exhibitors

Posted: 29 Nov 2011 08:25 PM PST

artwork: Dasha Shishkin - "If less is more, nothing is everything" - 24.5"x18", 100. Archival inkjet on canvas. Exhibition A.

MIAMI BEACH, FL.- The New Art Dealers Alliance announces the 9th annual NADA Miami Beach on December 1st through December 4th at the Deauville Beach Resort (6701 Collins Ave) in its expansive Napoleon, Richelieu, and Le Jardin Ballrooms. NADA Miami Beach is recognized as the preeminent fair featuring the world's most significant emerging art galleries from over 30 cities worldwide. The fair is prominently recognized for celebrating new and innovative contemporary art from rising talents around the globe. In an effort to accommodate the tremendous response from the 2010 fair, NADA has expanded to the Deauville's third ballroom, called Le Jardin. This year the fair offers three booth sizes, giving NADA exhibitors a variety of options in designing their presentations. NADA Miami Beach will again present a new roster of NADA Projects - an invitational developed to showcase new, innovative and idiosyncratic programs.

The Complete Collection of Elizabeth Taylor Displayed at Christie's in New York

Posted: 29 Nov 2011 08:12 PM PST

artwork: A diamond ring, which belonged to the late actress Elizabeth Taylor, is shown during a media preview at Christie's New York.

NEW YORK, N.Y.- Over Thanksgiving weekend, a team of practiced installers convened at Christie's flagship headquarters in Rockefeller Center to begin construction and installation of one of the most anticipated exhibitions in U.S. auction history: the complete Collection of Elizabeth Taylor. This stunning display of nearly 2,000 individual items from the personal collection of America's last great film star and fashion icon will open to the public on Saturday, December 3rd for an unprecedented ten-day exhibition that runs through December 12. Christie's has devoted all 300,000 square feet of its facility to this museum-quality exhibition of Elizabeth Taylor's collections of jewelry, fashion, accessories, fine art, film memorabilia, costumes and decorative items. The auctions will take place December 13-16 and are expected to exceed $50 million in total.

Scottish National Portrait Gallery opens following $27.4 Million Restoration

Posted: 29 Nov 2011 07:55 PM PST

artwork: The foyer of the Scottish National Portrait Gallery in Edinburgh is decorated with stunning murals depicting key moments in Scottish history. The museum is now open to the public after a two and a half year 17.6 million pounds ($27.4 million) restoration project, which has increased its overall space by sixty percent.

EDINBURGH.- The Scottish National Portrait Gallery (SNPG) will open on 1 December, following an ambitious £17.6m restoration project and with an entirely new presentation of its world-famous collection. The project – the first major refurbishment in the Gallery's 120-year history – has restored much of the architect's original vision, opening up previously inaccessible parts of the building and increasing the public space by more than 60 percent. It has also added a range of new facilities that will utterly transform visitors' experience of the Gallery. Entry to the new Portrait Gallery will be completely free. The SNPG opened in 1889 as the world's first purpose-built portrait gallery and is now an iconic landmark in the heart of Scotland's capital. Over the past century, its collection of portraits has grown to become one of the largest and finest in the world, comprising 3,000 paintings and sculptures, 25,000 prints and drawings. This distinctive red sandstone building also houses the national collection of photography with some 38,000 historic and modern photographs.

MAMAC Presents Figurative Works From its Collection

Posted: 29 Nov 2011 07:33 PM PST

artwork: Jean-Charles Blais - "El papel Tiger (The Paper Tiger)", 1982 - Mixed media on paper posters - 285 x 230 x 5 cm. Collection of MAMAC, Nice. © ADAGP, Paris, 2011. On view in "Figuration Free of the Figure" until January 15th 2012.

Nice, France.- The Museum of Modern and Contemporary Art ( MAMAC ) of the City of Nice is pleased to present a new exhibition at the Gallery Ponchettes, a selection from its collection on the theme of "Figuration Free of the Figure". The exhibition is on view through January 15th 2012. Figuration was the main motivation of many artists in the 1980s. Artists including Jean-Michel Alberola , Jean-Charles Blais , Rémi Blanchard , François Boisrond , Robert Combas and Hervé Di Rosa , addressed topics related to comics, graffiti and street slogans, in an ironic and deliberately naive fashion. This exhibition present works by these artists as well as Denis Castellas, Luciano Castelli, Keith Haring , Antonio Recalcati, Gerald Thupinier and Vladimir Velickovic , all exploring the theme of the figure in the collections of MAMAC.

The National Museum of Western Art in Tokyo Exhibits "Goya from Museo del Prado"

Posted: 29 Nov 2011 07:32 PM PST

artwork: Francisco Goya - "Clothed Maja", 1800-1805 - Oil on canvas - 97 x 190 cm. - Collection of the Museo del Prado, Madrid. On view at the National Museum of Western Art, Tokyo in "Goya: Light and Shade. Masterpieces from the Museo del Prado" until January 29th 2012.

Tokyo.- The National Museum of Western Art is proud to show "Goya: Light and Shade. Masterpieces from the Museo del Prado" on view through January 29th 2012. The Museo del Prado is continuing its rewarding collaboration with Japan in this third exhibition project, the first to be devoted to a single artist. It marks the culmination of a decade of exhibitions co-organised with leading Japanese institutions and made possible through the sponsorship of The Yomiuri Shimbun. Following the two exhibitions entitled Masterpieces from the Museo del Prado held in 2002 and 2006, which comprised rigorous selections of some of the Museum's masterpieces, this exhibition will be entirely devoted to one of the most important names within the Prado's collection: Francisco José de Goya y Lucientes.

The Prado has placed great emphasis on the organisation of this exhibition, which will present a sizeable selection of its collection of paintings, drawings and prints by Goya, one of the artists most admired by the Japanese public. The works to be shown have been selected with the intention of offering the visiting public a chronological survey of the work of Goya. Without aiming at being exhaustive, the exhibition will be structured into different sections in the manner of small visual accounts that will analyse the principal themes depicted by the artist during the course of his career. The result will be to present a series of fundamental ideas around which Goya's artistic, political and social thinking was articulated. The different sections of the exhibition will thus reflect the social reality of Goya's life, in which monarchs, the social elite, his friends and the working people all played prominent roles. It will also focus on the thematic variety and impressive technique evident throughout Goya's oeuvre in all the different media in which he worked, as well as the fact that he simultaneously produced official commissions and other works of a freer, more critical nature that were the response to his own expressive needs.

artwork: Francisco Goya - "Los Disparates: Cheerful Folly", circa 1820-1823 - Etching, aquatint, drypoint, etc. - 24.5 x 35.0 cm. Collection of the Museum of Western Art, Tokyo.  - "Goya: Light and Shade. Masterpieces from the Museo del Prado"

artwork: Francisco Goya - "Witches' Flight", 1797 Oil on canvas - 43.5 x 30.5 cm. Collection of the Museo Nacional del Prado, Madrid.An important aspect of the exhibition is its emphasis on Goya's astonishing mastery of the different techniques employed in his paintings, drawings and prints, which laid the way for the subsequent liberation achieved by modern art. Visitors to the exhibition will also be able to appreciate technical and conceptual links between Goya and later artists that established a unique path and one that made him 'the first modern artist'. The exhibition will feature more than 100 works, including 45 prints by Goya from the National Museum of Western Art's own colleciton as well as 6 from other Japanese institutions: the Nagasaki Prefectural Art Museum and the Fuji Art Museum, the latter also in Tokyo. The Museo del Prado will be lending around 25 paintings and 46 works on paper.

The National Museum of Western Art was established in April 1959 and was based on the Matsukata Collection focusing on the Impressionist paintings and Auguste Rodin's sculptures previously stored by the French government. The museum's purpose is to provide the public with opportunities to appreciate western art. Since its opening, the museum, as Japan's only national institution devoted to western art, has been involved in exhibitions, art work and document acquisition, research, restoration and conservation, education and the publication of materials related to western art. The museum exhibits works from the Matsukata Collection as well as works created from the Renaissance to the early 20th century that have been acquired since the museum's opening.

The museum has purchased art work every year since its establishment in its efforts to build and develop its permanent collection. These permanent collection works are displayed in the Main Building (Le Corbusier, 1959) and New Wing (MAEKAWA Kunio, 1979) throughout the year. The museum is involved in the development and organization of a special exhibition every year. These exhibitions feature works on loan from private collections and museums both in and out of Japan. The museum also co-sponsors exhibitions organized jointly with outside organizations, including major newspapers, that are held held twice a year.

Special exhibitions are displayed in the Exhibition Galleries completed in 1997. The museum's collection features pre-18th century paintings including those by Andreas Ritzos, Joos Van Cleve, Paolo Veronese, Peter Paul Rubens, Salomon Van Ruysdael, and Jusepe de Ribera, 19th to early 20th century French paintings including works by Eugène Delacroix, Gustave Courbet, Edouard Manet, Pierre-Auguste Renoir, Claude Monet, Vincent Van Gogh, Paul Gauguin, and Gustave Moreau and works by the next generation of artists, such as Albert Marquet, Pablo Picasso, Max Ernst, Joan Miro, Jean Dubuffet and Jackson Pollock. Visit the museum's website at ... http://collection.nmwa.go.jp

The Tel Aviv Art Museum ~ The World’s Finest Collection Of Israeli Art & International Fine Art

Posted: 29 Nov 2011 07:19 PM PST

artwork: The Tel Aviv Art Museum in Israel hosts the largest collection of Israeli Art alongside international old masters, modern and contemporary works. The building opened in 1971. As well as the main building, the museum has the Helena Rubinstein Pavilion for Contemporary Art annex and is building a new wing designed by Preston Scott Cohen Inc.

The Tel Aviv Art Museum is Israel's leading museum of modern and contemporary art as well as being home to one of the world's largest collections of Israeli art and a fine selection of Old Masters. Since its founding in 1932, the Museum has served as one of Tel Aviv's major cultural hubs, displaying a vibrant mix of permanent collections and temporary exhibitions in a wide variety of fields. Each year, the Tel Aviv Museum of Art welcomes more than 750,000 visitors annualy. Situated in an impressive architectural complex, the Museum is an integral part of the city's major cultural center (the Golda Meir Cultural and Art Center) home to the Israeli Opera and the Cameri Theater. In addition to its collections, the Museum presents performances of music and dance, film, and lecture series on philosophy and art. The fully computerized art library and its Documentation Center for Art in Israel serve over 15,000 students, scholars and curators each year. The library subscribes to the major art journals and receives the latest catalogues of exhibitions of Israeli art, modern and contemporary art, photography, design and architecture. It is the most comprehensive reference center in the Middle East. The Museum's original building on Rothschild Boulevard was donated by Tel Aviv's first mayor, Meir Dizengoff, who gave his home over to the city to be officially transformed into the Tel Aviv Museum of Art in 1932. It was at this building that Prime Minister David Ben-Gurion proclaimed the establishment of the State of Israel on 14 May 1948. The Helena Rubinstein Pavilion for Contemporary Art opened in 1959 and was fully renovated in 1989 with funds provided by the Helena Rubinstein Foundation and the Municipality of Tel Aviv-Yafo. The museum moved to its current location on King Saul Avenue in 1971. Another wing was added in 1999 and a sculpture garden was established. Each week some 1,500 children, youth and adults from all walks of life attend classes in painting, drawing, ceramics, sculpture, photography, video and computer art, and printmaking at the Museum's Joseph and Rebecca Meyerhoff Art Education Center. The Museum announced, in 2002, a competition for the design of a new building of about 22,000 square meters, enabled by a donation from Herta and Paul Amir. The design competition was won by the Preston Scott Cohen (head of the Harvard University Graduate School of Architecture). His horizontal "radiator" model is currently under construction and due for completion in late 2011. This new wing is simultaneously linear and multi-layered. A vertical "light fall" drains the building's vertical dimension, orientates the visitor, unites all spaces around it, leads from one level to another, and brings natural light to the building's lower level. The building's exterior envelope, an extended "folding" surface that breaks at disparate-angled modules, is a dynamic ornament made of 430 polished cement panels manufactured on location. The Tel Aviv Museum's Art Library serves as a research center for thousands of students, scholars, art critics, authors and curators from Israel and abroad. Known for its comprehensive collection of books, the library is often the sole resource in Israel for background information on modern and contemporary art and design. The museum also contains museum shops and a restaurant. Visit the Tel Aviv Art Museum's website at … http://www.tamuseum.com

artwork: Anselm Kiefer - "Abendland (The Occident)", 1991 - Oil, emulsion, shellac, ashes, & lead on canvas - 250 x 440 cm. Collection of the Tel Aviv Art Museum - Acquisition, 1992

The Tel Aviv Museum of Art is Israel's leading museum of modern and contemporary art, and home to one of the world's largest collections of Israeli art. A large part of the Museum's permanent collections (consisting of over 23,000 items) has been generously donated by artists, art patrons and benefactors. The holdings are also complemented and enriched by numerous works and collections entrusted to the Museum, which serve as a testimony to the extraordinary international support this institution receives from dedicated collectors and friends around the world. The collection of modern and contemporary art encompasses works by leading pioneers of Modernism and a representative selection of the diverse postwar and contemporary trends that developed in Europe and the United States. Most major art movements of the late 19th through the mid-20th century are highlighted in the Moshe and Sara Mayer Collection, the Mizne-Blumental Collection, and the Simon and Marie Jaglom Collection. These collections include masterpieces by Monet, Renoir, Degas, Pissarro, Bonnard, Cézanne, Van Gogh, Matisse, Gauguin, Kandinsky, Klimt, Mondrian, Modigliani, Braque and Miró, as well as fine works by Léger and Picasso representing different periods in their art. Important works of Surrealism and Abstract art characterize the significant donation by Peggy Guggenheim in the 1950s with masterpieces by Tanguy, Masson and Nicholson. Of particular note are works representing the beginnings of American Abstract Expressionism, among them paintings by Jackson Pollock. A sculpture collection donated by Helene and Zygfryd Wolloch spans the late 19th century through the 1980s and includes works by Arp, Giacometti, Moore and Calder. Together with works by Jacques Lipchitz, given by the Jacques and Yulla Lipchitz Foundation, they have significantly enriched the Museum's holdings of modern sculpture. Various trends in Geometrical Abstract art from Russian Constructivism through Minimalism are well represented in the important donation of the Riklis Collection of the McCrory Corporation. Postwar European trends such as Nouveau Réalisme, Fluxus and Arte Povera, as well as contemporary art by leading artists such as Boetti, Cucchi, and Paladino, constitute the core of the collection donated by Vera and Arturo Schwarz. Among numerous pieces of European and American art, emblematic works by Francis Bacon and David Salle highlight the gift made to the Museum by Susan and Anton Roland-Rosenberg. The Museum's major assets also include a group of early and unique works by Alexander Archipenko, a selection of paintings by Marc Chagall illustrating the variety of his styles, as well as a large mural in the Museum lobby, which was especially conceived and executed by Roy Lichtenstein as a gift to the Museum.

artwork: Jan Brueghel the Younger - "An Allegory of the Four Elements", circa 1630 - Oil on panel - 66 x 104 cm. Tel Aviv Art Museum Acquisition through the bequest of Charles S. Weston, USA, 1992.

The Museum is home to one of the most comprehensive collections of Israeli art in the world. This unique collection traces the development of Israeli art from its beginnings and through the 1920s – when the Modernist style of painting in Israel emerged, to contemporary Israeli art. Israeli artists have been particularly concerned with questions of identity and conflict. They explore topics as varied as local landscapes and Mediterranean light, Jewish tradition and its complex attitude toward figurative art, and socio-political as well as urban issues: local versus universal, periphery versus center, or east versus west dialectics. Recently, Israeli artists have become much more present on the international art scene. Often, the Museum has served as a springboard for these artists, by showcasing solo exhibitions accompanied by extensive catalogues and by acquiring some of their major art works. Over the years, the Museum collection of Israeli art has been steadily enlarged through generous gifts from artists, benefactors and acquisition funds, such as the Recanati Fund, the Ettinger-Gilman Fund, the Lily Richmond Fund, the Uzi Zucker Fund, the Nathan Gottesdiener Foundation, the Rappaport Prize, the Isracard Foundation and the support of the America-Israel Cultural Foundation. The Department of Old Masters was established (as an independent department) in 1988. The Museum's Old Masters Collection, which includes about 150 paintings and sculptures and some 50 works on loan, is presented in six galleries: four galleries in the Museum's main building, and two galleries dedicated to decorative art at the Helena Rubinstein Pavilion. The Museum's Old Masters Collection specializes in 16th to 18th century Italian art and 16th to 17th century Flemish and Dutch art, with paintings by Rubens, Van Dyck, Jan Brueghel the Younger, Honthorst, Teniers, Van Goyen, Canaletto, Rigaud and Reynolds. Works by 19th century Jewish artists are also included, among them, Maurycy Gottlieb and Jozef Israëls. Recently, the Danek and Jadzia Gertner Collection of decorative art has enriched the Department's collections. Works of Meissen porcelain and glassware by Emile Gallé are currently on display at the Helena Rubinstein Pavilion in the Danek and Jadzia Gertner Galleries. Helena Rubinsteins' Miniature Rooms is also part of the Department.

artwork: Mark Rothko - ¨Untitled¨, circa 1945 - Tel Aviv Art Museum Gift of Samuel A. Berger, NY, through the America-Israel Cultural Foundation, 1956

The Department of Drawings and Prints houses a collection of 25 thousand works on paper including sketches, drawings, prints, artists' books, and illustrated books of artists from all periods, with a special emphasis on artists of the nineteenth and twentieth centuries. An important and unique component of the collection is the assemblage of drawings and prints representing early twentieth century German Expressionism. The Dr. Karl Schwarz Collection, the Goeritz Collection, and the Hermann Struck Collection which were donated to the Tel Aviv Museum in its early years led to the donation of another important collection, that of Avraham Horodisch from Amsterdam, a collector and publisher of prints from Germany in the 1920s. An important unit of the collection consists of 150 prints by the renowned Norwegian artist Edvard Munch donated in 1986 by Charles and Evelyn Kramer of New York. The Munch Collection at the Tel Aviv Museum of Art, as one of the largest collections in the world of prints by this artist, offers a representative selection of Munch's graphic work including etchings, lithographs, and colored woodcuts, with the earliest of them created in Berlin (1894-95) through to prints made in his last years. An additional component of the collection consists of 300 prints and books by Surrealist artists which were also donated by Charles and Evelyn Kramer of New York in 1990. This collection directs attention to the close collaboration between the artists, writers, and poets who created in the spirit of Surrealism. The Museum's photography collection was begun in 1977 with Israeli photographer Micha Bar Am, and encompasses important pictures of the Middle East taken by 19th and early 20th century European photographers, such as Francis Frith and Félix Bonfils, and a collection of rare glass negatives of E.M. Lilien donated by the Schocken family; works by American photojournalists W. Eugene Smith and Weegee, donated by Michael S. Sachs; as well as photographs by Robert Capa donated by Cornelia and Edith Capa, and other international Modernist and Post-Modernist artists. A collection of Soviet photography from the 1930s to 1970s was donated by Howard Schickler and David LaFaille and an anonymous donor. Courtesy of the Marc Rich Foundation for Education, Cultura and Welfare, the Department has a strong representation of works by Henri Cartier-Bresson. Thanks to donations by Michaela and Leon Constantiner, who initiated the Constantiner Photography Award for an Israeli Artist, the representation of contemporary Israeli photography in the collection has been growing steadily, now including works by internationally renowned photographers Adi Nes, Pavel Wolberg and Barry Frydlender. The exhibitions of the Department of Design and Architecture are cutting edge. In the Department's collection are included works that represent a prospectus of solo exhibitions and thematic exhibitions that were held in the Department, among them: Gaetano Pesce, Ron Arad, Chanan de-Lange, Charles and Ray Eames, Enzo Mari, Konstantin Grcic, Hella Jongerius, Ron Gilad, Yaacov Kaufman, Tal Gur, Ayala Tzarfati, Fernando and Huberto Campanga, Esther Knobel, and Irit Abba.

artwork: Ayelet Carmi - ¨Untitled¨, 2010 - Oil on mylar From "More Than Canvas" on view at the Tel Aviv Art Museum until 27 October 2011

The Tel Aviv Art Museum hosts more than twenty temporary exhibitions every year, focused both on local and international artists. Amongst the exhibitions currently on show is "More than Canvas", until 27 October 2011 features a fascinating collection of works, showing the diverse range of materials that artists have worked on. It includes works on paper, canvas, wood, leaves glass and computer screens and shows that any surface can serve as support for a painting on which color, lines and forms merge into one whole. This interactive exhibition exposes children and adults to works of art executed on traditional as well as other kinds of support: traffic lights, leaves, stones, walls and the body. Children will have an opportunity to actually feel the various kinds of supports, in order to better understand how the material of the support affects the choice of medium and technique. "Neo-Expressionist Painting From Berlin – Gift of Susan and Martin Sanders" (until 27 March 2011) is held in honor of the generous gift of Susan and Martin Sanders, New York, to the Tel Aviv Museum of Art, that includes important works by some of the prominent Neo-Expressionist artists active in Berlin during the 1970s and 1980s: Karl Horst Hödicke, Rainer Fetting, Salomé, Helmut Middendorf and Peter Chevalier. Their works represent interesting aspects of the "back to painting" trend that had swept over the centers of the western world, in Europe and the USA, as a backlash to the minimal and conceptual art of the 1960s and 1970s. The Neo-Expressionist artists reacted to their complex reality in West Berlin in the shadow of the Cold War, through sensuous, tactile painting that assimilated the colorful intensity and formal elements of German Expressionism of early 20th century and of American Abstract Expressionism. The fresh and lively aesthetic approach of these paintings was characterized by large formats, bold color, narrative, upfront exposure of the self, provocativity, seductiveness and assimilation of images outside the realm of art. "Avi Ganor: RealityTrauma" opens on March 19th 2011. Artist Avi Ganor has been involved in photography since 1975. A Science Studies graduate at the Technion, he studied Business Management at the Hebrew University, Jerusalem; Photography at the San Francisco Art Institute and the Pratt Institute, New York; and Digital Media Studies at the Interdisciplinary Center, Herzliya. He has taught at the Departments of Photography and of Visual Communication at Bezalel, Jerusalem, and held solo exhibitions at the Tel Aviv Museum in 1985 and The Israel Museum in 1990. Alongside his photographic work, Ganor researches theoretical aspects of the medium. His works deal with the necessity of using forced metaphors, and the fluid moderation of the relationships between actuality and physical existence, between trauma and reality. The exhibition presents some 30 works from the series "RealityTrauma" (2003–2010), in direct "close to home" documentary diary style, through an allegorical poetic observation of both concepts and their conversion into a third, unified concept into which they collapse. In their reductive manner, the works offer a way to deal with horror as the concept of trauma escapes an appropriate interpretation, whether literal or visual. Beyond description, they seek to represent the indefinable, conducting a complex, tortuous discourse with the medium and with the way various genres deal with representation.

The Art Gallery of Nova Scotia features a Retrospective of Sculptor Joe Fafard

Posted: 29 Nov 2011 07:18 PM PST

artwork: Joe Fafard - Auguste, 1993 - Private Collection - (Courtesy of the Douglas Udell Gallery) 

Halifax, Nova Scotia -  The Art Gallery of Nova Scotia will have an opportunity to admire the impressive works – ceramic, bronze, plaster, and steel sculptures, as well as works on paper – of artist Joe Fafard. Considered one of Canada's finest sculptors, people are "fascinated by his skill and ability to observe the minute" says National Gallery of Canada director Pierre Théberge.  Organized by the NGC in partnership with Regina's MacKenzie Art Gallery, Joe Fafard is the artist's first major retrospective, covering a period of more than forty years. On view through 8 February, 2009.

Christie's to Offer Magnificent Gustav Klimt Portrait in London

Posted: 29 Nov 2011 07:17 PM PST

artwork: Gustav Klimt - 'Frauenbildnis' (Portrait of Ria Munk III), 1917-1918 - Photo: Christie's Images London 2010.

LONDON.- Christie's announced that they will offer one of the last of the great female portraits painted by Gustav Klimt (1862-1918) at the Impressionist and Modern Art Evening Sale in London on 23 June 2010. Executed in 1917-18, Frauenbildnis (Portrait of Ria Munk III) is the third and final painting in a series of three portraits commissioned by the Munk family of their daughter Ria. One of the last and most modern of Klimt's full-length female portraits, the painting offers a glimpse into the working methods of one of the most celebrated artists of the 20th century and is expected to realise £14 million to £18 million.

"Original" Reproductions by Marcel Duchamp at the Tel Aviv Museum of Art

Posted: 29 Nov 2011 07:16 PM PST

artwork: Marcel Duchamp - Boite-En-Valise  (Box in a Suitcase), 1941-1942 (original 1938) Cardboard box containing 68 miniature replicas & reproductions, Series D of 1961, Edition of 300. Norton Simon Museum, Museum Purchase. Photo courtesy of Norton Simon Museum

TEL AVIV.- "Impossible for me to recall the original phrase", Duchamp noted alongside his signature on the replica of the readymade Bottle Rack in 1960. The first Bottle Rack that was found-chosen by Duchamp in 1914, was lost shortly after being chosen, and its caption remains unknown. The replica was purchased by Robert Rauschenberg for three dollars, following its presentation in the 1959 "Art and the Found Object" exhibition. It was preceded by two signed replicas (circa 1921; and 1936) and followed by three more approvals; but it was only in the act of signing this replica in 1960 that Duchamp made a double contradictory move: on the one hand, he re-applied the step of turning something into art—the signature—onto a mass-produced, practical object whose validity as an artistic object is based not on the appreciation of contemporary authorities (the scholar or the curator) but on its very announcement as such by the artist; on the other hand, he approved this replica, sold to Rauschenberg, as "an original" by the very sentence revealing the existence of a previous original.

Fundación Barrié de la Maza presents Designer George Nelson Retrospective

Posted: 29 Nov 2011 07:15 PM PST

artwork: Designer George Nelson -   Ball Clock, 1948 - Photo: Vitra Design Museum

A CORUNA, SPAIN.- In the year 2008, the American designer George Nelson (1908-1986) would have celebrated his 100th birthday. To commemorate this occasion, the Vitra Design Museum is planning the first comprehensive retrospective of his work. Nelson was one of the most influential figures in American design during the second half of the twentieth century. With an architectural degree from Yale, he was not only active in the fields of architecture and design, but was also a widely respected writer and publicist, lecturer, curator, and a passionate photographer. His office produced numerous furnishings and interior designs that became modern classics, including the Coconut Chair (1956), the Marshmallow Sofa (1956), the Ball Clock (1947) and the Bubble Lamps (1952 onwards).

Marc Chagall in Paris During the Early 20th Century at the Philadelphia Museum of Art

Posted: 29 Nov 2011 07:14 PM PST

artwork: Visitors attend the exhibit, "Paris Through the Window: Marc Chagall and His Circle," during a media preview at the Philadelphia Museum of Art in Philadelphia. The exhibit is scheduled to run from March 1 to July 10. - AP Photo/Matt Rourke

PHILADELPHIA, PA.- As a center of cosmopolitan culture and a symbol of modernity, Paris held a magnetic attraction for artists from Eastern Europe during the early decades of the 20th century. Most painters and sculptors settled around Montparnasse, which was sprinkled with cafes, and art galleries. It was here that Alexander Archipenko, Marc Chagall, Moïse Kisling, Jacques Lipchitz, Louis Marcoussis, Amedeo Modigliani, Chana Orloff, Jules Pascin, Margit Pogany, Chaim Soutine, and Ossip Zadkine established studios and discovered each other's work. This exhibition will include around 40 paintings and sculptures by these émigrés, whose work was both imbued with the spirit of modernism and informed by their own cultural heritage. The exhibition will focus in particular on the paintings Chagall made between 1910 and 1920, including Half Past Three (The Poet), of 1911, one of the treasures of the Philadelphia Museum of Art.

"Paris Through the Window: Marc Chagall and His Circle", which highlights an exceptional strength of the museum's holdings of early modern art, is presented in conjunction with a new international arts festival in Philadelphia that is being organized by the city's Kimmel Center and will run from April 7 to May 1, 2011.

artwork: Marc Chagall, 1887 - 1985 Paris Through the Window, 1913 Oil on canvas, 135.8 x 141.4 cm. Solomon R. Guggenheim Museum © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris"Paris Through the Window: Marc Chagall and His Circle represents the Museum's contribution to this festival and will focus on the powerful influence that Paris had on Chagall and his contemporaries," said Timothy Rub, the George D. Widener Director and CEO of the Museum. The curator of the exhibition, Michael R. Taylor, the Muriel and Philip Berman Curator of Modern Art at the Museum, continued: "This exhibition provides a unique opportunity to reconsider the cross-fertilization of ideas that took place in the French capital during the 1910s and 1920s, which was one of the most experimental and creative periods in Western art."

Shortly after arriving in Paris in 1911, Marc Chagall rapidly assimilated the pictorial language of the most avant-garde artistic styles of the day, especially Cubism, and married it with the artistic traditions of his native Russia. Chagall developed his own remarkably inventive visual language while living and working at La Ruche (the beehive), so named because of its distinctive cylindrical shape and honeycomb-like maze of artists' studios. Located on the southwestern fringe of Montparnasse, La Ruche was a three-story-high building with a staircase in the center and studios radiating out from its core. Founded by the French sculptor Alfred Boucher, who converted the original domed central building into a series of small, wedge-shaped studios with large windows that provided excellent lighting, La Ruche opened in 1902 and, since the rent was minimal and artists' models were supplied free of charge, it quickly became a thriving artists' community, with its own theater and exhibition schedule. "In La Ruche," Chagall later said, "you either came out dead or famous."

By the time Chagall moved there, La Ruche already held a large population of Eastern European artists who had moved to Paris to discover firsthand the most recent trends in modern art. Liberated from the often strict and rigid academic training of their former homelands, they experienced the vibrant artistic interchanges that made Paris such an attractive place to live and work as well as unparalleled exhibition opportunities. Among the other artists to live in or frequent La Ruche in the 1910s were Archipenko, Kisling, Lipchitz, Soutine, and Zadkine, who will be represented in the exhibition by two monumental sculptures in cedar wood that have not been displayed at the Museum since 1963. These émigrés, many of whom were Jewish, were also attracted to the religious tolerance of the French capital, which provided a safe new working environment free from the pogroms and persecution that their families had endured for generations in their former homelands of Russia, Poland, and other Eastern European countries.

The French artist Fernand Léger also worked at La Ruche during this time, as did the Italian painter and sculptor Amedeo Modigliani, whose libertine behavior made him one of the most colorful personalities of this bohemian enclave. While sculptors and painters like Archipenko, Lipchitz, Marcoussis, and Zadkine experimented with the interlocking planes and sharply angled forms of Cubism, other artists attempted to reconcile modern art's abstract geometries with the folk traditions of their native lands. Chagall's brightly colored, folkloric paintings often make reference to the customs and rituals of Jewish life in Vitebsk in his native Russia (now Belorussia), although his monumental 1911 painting Half-Past Three (The Poet), made shortly after his arrival in Paris from art school in Saint Petersburg, reveals—quite literally—the head-spinning impact of Cubism, which encouraged him to incorporate fragmented planes and diagonal shafts of color into his compositions. During his early years in Paris, Chagall studied at the Académie de la Palette with the French Cubist painter Jean Metzinger, whose brightly colored geometric compositions undoubtedly informed Half-Past Three (The Poet) as well as other works from this period.

artwork: Marc Chagall - 'The Poet' (Half Past Three) Oil on canvas, 1911 196 x 145 cm. Philadelphia Museum of ArtThe exhibition will be largely drawn from the Museum's outstanding collection of modern painting and sculpture, but this will be supplemented with a handful of key loans from museums and private collections in the United States and Europe. These include one of Chagall's most famous works, the early masterpiece Paris Through the Window, of 1913, from the Solomon R. Guggenheim Museum in New York, which presents a kaleidoscopic impression of the city of Paris as seen from Chagall's studio window at La Ruche. The deployment of strong, non-naturalistic color in this painting reveals the influence of Chagall's friend Robert Delaunay, who developed a more colorful and poetic variant of Cubism known as Orphism. The motif of the Eiffel Tower, which dominates the background of Paris Through the Window, was also a central feature of Delaunay's work at this time, although the Janus-headed man and the sphinx-like cat in the foreground belong to Chagall's imagination alone and imbues the work with a dream-like otherworldliness. Another important loan to the exhibition is the 1915 painting The Poet Reclining from the Tate Modern in London, which belongs to the same series of euphoric poet paintings as Half-Past Three (The Poet), which Chagall made four years earlier. In his first years in Paris, the artist counted among his closest friends the poets Guillaume Apollinaire and Blaise Cendrars, both of whom wrote eloquently about his work, and these delightfully tumultuous paintings address the themes of poetic reverie, fantasy and inspiration that also characterized his own approach to art-making.

Like many of the La Ruche artists, Chagall returned to his homeland following the outbreak of World War I, which would have a deep impact on his future work, as seen in Wounded Soldier, of 1914, and The Smolensk Newspaper of the same year. In this poignant painting, a young man reacts to the newspaper headline regarding the outbreak of the global conflict with a mixture of terror and disbelief, surely realizing that he would be called up for military duty in the Russian army, while the older bearded man pensively reflects on the wars he has seen during his long life.

During the war years Chagall continued to paint scenes that are evocative of his childhood in Vitebsk, such as Purim, of 1916-18, which remains one of his best-known and most beloved paintings of Jewish village life before the Russian Revolution. In 1923 Chagall returned to Paris at the request of the French art dealer Ambroise Vollard, who commissioned the artist to create a 100-plate cycle illustrating La Fontaine's Fables, one of the most revered works of French literature. This project dominated his work from the mid-1920s to the early 1930s, as seen in The Watering Trough, of c.1925, where the bent-over female figure and smiling pig share the sense of otherworldly fantasy and charm that Chagall similarly expressed in the gouaches and prints that he made for the Fables project. The community of artists, writers, and musicians that sprang up in Montparnasse before World War I thrived for three decades, until the occupation of Paris by German troops on June 14, 1940. Like many Jewish artists, including Kisling and Lipchitz, Chagall spent World War II as a refugee in New York, having fled the catastrophe that now enveloped his beloved Paris.  Visit the website : http://www.philamuseum.org/

Van Gogh Museum Bids a Festive Welcome to the 200,000th Visitor

Posted: 29 Nov 2011 07:13 PM PST

artwork: The starry night over the Rhône, 1888 - Vincent van Gogh - Courtesy of Musée d'Orsay, Paris

AMSTERDAM, NL - Director Axel Rüger welcomed the 200,000th visitor to the exhibition Van Gogh and the colours of the night in the Van Gogh Museum. The show, which opened to the public on 13th February, has gained enthusiastic press reviews both nationally and internationally. The New York Times wrote "Gain new insight into one of the 19th century's most influential artists with this unprecedented exhibition" while The International Herald Tribune concluded "A dazzling show charts Van Gogh's metamorphosis." Especially for this exhibition the museum has extended its opening hours, in addition to the Friday night the museum is also open until 22 hours on Thursdays and Saturdays.

Isamu Noguchi at Yorkshire Sculpture Park ~ Noguchi and Iconic Designers

Posted: 29 Nov 2011 07:12 PM PST

artwork: Isamu Noguchi - Miharu,1968 - Miharu granite & granite base Courtesy The Noguchi Museum

WEST BRETTON, UK - Works range from monumental sculpture situated in landscaped gardens to smaller interior works, designs, drawings, furniture, dance sets, and works on paper. The first major European exhibition of work by renowned Japanese-American artist Isamu Noguchi (1904–88) opens on July 18, 2008, at Yorkshire Sculpture Park, near Wakefield, England.

The Brighton Museum & Art Gallery Shows the Art of Duncan Grant and Vanessa Bell

Posted: 29 Nov 2011 07:11 PM PST

artwork: Duncan Grant - "Bathing", 1911 - Oil on canvas - 228.6 x 306.1 cm. Collection of and © Tate, London, 2010. On view at the Brighton Museum and Art Gallery in "Radical Bloomsbury: The Art of Duncan Grant and Vanessa Bell 1905-25" until October 9th.

Brighton, England.- The Brighton Museum and Art Gallery in the Royal Pavillion is pleased to present "Radical Bloomsbury: The Art of Duncan Grant and Vanessa Bell 1905-25" until October 9th. "Radical Bloomsbury" establishes a new understanding of the pictorial imagination of Bloomsbury by re-evaluating the unique painting partnership of Duncan Grant and Vanessa Bell, exploring their relationship with avant-garde art from 1905 to 1925. It demonstrates how these Bloomsbury painters were among the earliest British artists to look at new developments in European art, such as French Post-Impressionist practices, and the importance of their role in modernising British art.

Gustav Klimt ~ Swingers in Vienna Art Hall Highlight Provocative Masterpiece

Posted: 29 Nov 2011 07:10 PM PST

artwork: Gustav Klimt - The Beethoven Frieze:  The Arts, Choir of Angels, and Embracing Couple, detail, 1902. The Österreichische Galerie Belvedere, Vienna, Austria.

VIENNA, AustriaIn the name of art, an Austrian landmark is encouraging visitors to confront their sexual inhibitions by having them walk through a swingers club to reach one of Gustav Klimt's masterpieces. The Secession - a world-renowned venue for contemporary art in downtown Vienna - has temporarily incorporated a sex club named "Element6" as part of a project by Swiss artist Christoph Buechel. The swingers are not there during the day, but their mattresses, erotic pictures, bar and whirlpool are.

Secession spokeswoman Urte Schmitt-Ulms said Buechel hoped to spark a stir reminiscent of the scandal Klimt caused when his "Beethoven Frieze" was first exhibited in 1902. Now considered one of the Austrian painter's key pieces, it was once thought of as obscene and pornographic because of the way women's bodies were depicted. One section of the mural shows three mostly naked women, one with very large breasts who looks pregnant and the other two covered only by their long flowing tresses. Another includes naked mythical figures and a zombie-like, seminude female with stringy black hair.

Three important innovations can be observed in the Beethoven Frieze by Gustav Klimt: the two-dimensional depiction and the monumental isolation of the human figure, the expressive use of line and the dominating role of ornament. Klimt's participation in the Beethoven experiment marks the beginning of his famous 'golden period'. Today, the monumental allegory is seen as one of the key works in the artist's development. The theme of the frieze is based on Richard Wagner's interpretation of the 9th Symphony by Ludwig van Beethoven.

The Beethoven Frieze was originally intended as an ephemeral work of art and, like the other decorative paintings, it was to be removed after the close of the exhibition. It was only owing to fortunate circumstances, that the frieze was not destroyed as planned: the Secession was to present the following year a major Klimt retrospective (XVIIIth exhibition, 1903), and it was decided to leave the work of art in place. 

While the club only opens at night long after the art hall closes, daytime visitors aged 18 and older pass through its dimly lit rooms on their way to see the Klimt wall painting located in the basement of the building. The room where the frieze is exhibited is locked at night for security reasons. But it too has its share of mattresses, surrounded by fake tropical plants and a life-size stuffed lion. Just outside the room is a non-working sauna, complete with a towel rack and bathrobes.

artwork: Gustav Klimt - Beethoven Frieze, 1902 - Detail 'Gorgons' The Österreichische Galerie Belvedere, Vienna, Austria.

Buechel declined to comment on his project, but the club, normally located in another part of town, said its participation "aims to give as many people as possible the opportunity to overcome their inhibitions."

"In the framework of this exhibition at the Secession, each individual can test for himself or herself whether this opens up new dimensions for his or her own sexuality," the club said in a statement.

There's no question that Buechel has succeeded in igniting a debate.

"Group sex in the Secession - has our society completely lost it?" Austria's far-right Freedom Party asked.

Yet on the streets of Vienna, people appeared more amused than appalled.

"I think it's perfectly OK," said Moritz Wagner, a 26-year-old medical student.

"It's not my thing but why not?" echoed a laughing Ute Wegscheider as she pushed her young daughter's stroller. "Maybe I should go check it out with my husband!"

Gerald Adler of Britain's Kent School of Architecture, who was taking students to see the Secession, said Buechel should have chosen a different site - such as St. Stephen's Cathedral - if he wanted to make a real splash. "He's putting it in a place that's an accepted venue for avant-garde art, so it loses its effect," Adler said.

The project runs until April 18.

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Art Knowledge News Presents "This Week In Review"

Posted: 29 Nov 2011 07:09 PM PST

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

Selasa, 29 November 2011

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

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The Museum Georg Schäfer Features "Magic Nocturnal Moments" From the Collection

Posted: 28 Nov 2011 09:53 PM PST

artwork: Jakob Alt - "Die Sonnenfinsternis am 8. Juli, 1842 (The Solar Eclipse July 8th 1842)", 1842 - Oil on canvas - Collection of the Museum Georg Schäfer, Schweinfurt, Germany. -  On view in "Magic Nocturnal Moments: Carl Spitzweg and Artists From the Collection" until February 19th 2012.

Schweinfurt, Germany.- The Museum Georg Schäfer is proud to present "Magic Nocturnal Moments: Carl Spitzweg and Artists From the Collection", on view at the museum through February 19th 2012. The exhibition features more than 60 works from the museum's collection, showing how the German Romantic painters and their contemporaries illustrated night during the nineteenth century. Carl Spitzweg features frominently in the exhibition, with works including "Der Blasturm in Schwandorf", "Nachtwächter in einer alten Stadt (Nightwatchman in an Old Town)", "Der Stern von Bethlehem (The Star of Bethlehem)", "Geigender Eremit in Felsenklause Nächtliches Stelldichein", "Hexenritt (Witches Ride)", "Ein Ständchen vom Boot aus Der Astrologe (Sternengucker) (The Astrologer - Stargazing)" and many others. Schäfer's work is set in the context of the time by including a number of works by other famouse German artists and artistic schools.

artwork: Carl Spitzweg - "Der Astrologe: Sternengucker (The Astrologer: Stargazing), 1860/64 - Oil on canvas - Collection of the Museum Georg Schäfer, Schweinfurt, Germany. Other schools are represented with night pictures of the German Romanticism school by Caspar David Friedrich and Gustav Carus taking on contemplation and a timeless sense of foundation in the sense of a penetrating pantheism. In addition there are Frederick Carus , Oehme , Lessing , Schwind , Lier , Schleich the Elder , Lichtenheld , Adolph Menzel , Diez , Johann Peter Hasenclever and others. Nocturnal drinking scenes, moonlit landscapes, liaisons, fantasy and religious scenes are illustrated by moonlight, fires and candles and the then new-fangled gas lamps.

Carl Spitzweg (February 5, 1808 – September 23, 1885) was a German romanticist painter and poet. He is considered to be one of the most important artists of the Biedermeier era. He was born in Unterpfaffenhofen as the second of three sons of Franziska and Simon Spitzweg. His father, a wealthy merchant, had Carl trained as a pharmacist. He attained his qualification from the University of Munich, but while recovering from an illness he also took up painting. Spitzweg was self-taught as an artist, and began by copying the works of Flemish masters. He contributed his first work to satiric magazines. Upon receiving an inheritance in 1833, he was able to dedicate himself to painting. Later, Spitzweg visited European art centers, studying the works of various artists and refining his technique and style; he visited Prague, Venice, Paris, London, and Belgium. His later paintings and drawings are often humorous genre works. Many of his paintings depict sharply characterized eccentrics, for example "The Bookworm" (1850) and "The Hypochondriac" (c. 1865, in the Neue Pinakothek, Munich). His paintings inspired the musical comedy Das kleine Hofkonzert by Edmund Nick. He is buried in the Alter Südfriedhof in Munich.

The Museum Georg Schäfer presents the most important private art collection of the German speaking world, with its focus on the 19th Century. With paintings and works on paper from the laste 18th until the beginning of the 20th Century, it offers panoramic views of the various art movements of the time - from late rococo, the classicists and romantics to the Impressionists and Secessionists. Among the oldest paintings in the collection is Januarius Zicks 'Rural Idyll' from around 1760, the youngest Max Liebermann's wife 'Martha Liebermann', created in 1930. The quality of the collection is based on a combination of top-class works with individual groups of works of major artists and new discoveries of paintings by lesser-known masters. Thus, the Georg Schäfer Museum stands in line with the collection of English art at the Tate Gallery, London, or the collections of German art in the National Gallery , Berlin, and the Neue Pinakothek in Munich. A characteristic of the collection is that it contains extensive porfolios, showing the individual artists in a comprehensive overview of their development work.

artwork: Bernhard Stange - "Blick von der Gardini Publici auf San Giorgione zu Venedig (View of the Gardini Publici on San Giorgione in Venice)" 1850/55 - Oil on canvas - Collection of the Museum Georg Schäfer, Schweinfurt, Germany.  -  On view until February 19th 2012.

The museum contains the largest collection of Carl Spitzweg's works with 160 paintings and 110 drawings. But, the museum also has more than 100 paintings, gouaches and drawings by Adolph Menzel, and significant collections of works by Caspar David Friedrich, Georg Ferdinand Waldmüller , Wilhelm Leibl and his friends Johann Sperl and Carl Schuch , Hans Thoma , Josef Wenglein Wopfner , Max Liebermann and Max Slevogt . Georg Schäfer (1896-1975) began actively collecting paintings in the 1950s, and architect Erich Schelling drew up plans for a museum to house the collection. A later design by Mies van der Rohe was rejected when the Schweinfurt city council declined to assume the cost of maintaining the museum. The plans were later adapted for the Neue Nationalgalerie in Berlin. The city of Schweinfurt and the Schäfer family first came to terms on housing the collection in a museum in 1988, but those plans were delayed by a financial crisis in the FAG Kugelfischer company, which led Schäfer's heirs to mortgage the art collection. By the end of 1997 the family had regained control of much of the collection and established a foundation to protect it. City officials meanwhile secured resources for the museum, and in February 1997 Volker Staab won the commission to design the museum. The museum is sited next to the city hall (Rathaus) at the southern entry to downtown Schweinfurt. The museum opened to the public on 23 September 2000. Visit the museum's website at ... http://www.museumgeorgschaefer.de

World Famous "Art Miami" Returns for its 22nd Edition

Posted: 28 Nov 2011 09:19 PM PST

artwork: Roy Lichtenstein - "Reflections on Minerva", 1990 - Mixed media print - 38" x 48" - Courtesy of Hollis Taggart Galleries. On view at the Hollis Taggart Galleries stand at Art Miami from November 30th until December 4th.

Miami, Florida.- Known as Miami's premiere anchor fair, Art Miami kicks off  the opening day of Art Week — the first week of December when thousands of collectors, dealers, curators, and artists descend upon Miami. World-famous for its stylish gallery-like decor, its extraordinary variety and outstanding quality, Art Miami showcases the best in modern and contemporary art from 100 international art galleries and prominent art institutions.With over 110 prestigious international galleries participating, Art Miami is a "can't miss" event for collectors, curators, museum professionals and art enthusiasts to acquire some of the finest and most important works of art that the contemporary market has to offer.

The American Art Fair Celebrates its 4th Year in New York City

Posted: 28 Nov 2011 08:51 PM PST

artwork: John George Brown - "Taking Aim", 1875 - Oil on canvas laid down on board - 33.7 x 48.9 cm. - Courtesy Menconi & Schoelkopf Fine Art. On view at the American Art Fair New York through December 1st at the Bohemian National Hall.

New York City.- The American Art Fair moves to a new venue as it celebrates its fourth year and will be held through December 1st at the Bohemian National Hall, 321 East 73rd Street, New York City. The gala preview on Sunday, November 27 marks the beginning of American Paintings week in New York. Inaugurated in 2008, the fair focuses on the grand tradition of American art established early in the 19th century and gathers more than 300 works including landscapes, portraits, still lifes, studies, and sculpture. The Fair assembles the premier specialists in 19th and early 20th century American art.

Recent Works by Russian artist Vladimir Ovchinnikov at Erarta Galleries in London

Posted: 28 Nov 2011 07:57 PM PST

artwork: Vladimir Ovchinnikov - "From the Diary", 2011 - Oil on canvas, 90 x 130 cm. - Courtesy of  Erarta Galleries in London

LONDON.- Erarta Galleries London presents a selection of new and recent works by Vladimir Ovchinnikov. One of the most significant artists to emerge from St. Petersburg during the Soviet era, Vladimir Ovchinnikov is known for his paintings that blur the boundaries between realism and surrealism, fusing together contemporary Russian subject matter with magical, fantastic elements, often derived from myth and religion. His distinctively rotund, heavy-bodied, yellow-skinned figures have a primeval, statuesque quality, as if stemming from ancient monuments or religious icons – and yet at the same time his works also allude to social and political conditions, vividly satirizing contemporary mores, and puncturing the hypocrisy and spiritual bankruptcy at the heart of everyday life.

Michel Majerus' Complex Oeuvre on view at Kunstmuseum Stuttgart

Posted: 28 Nov 2011 07:13 PM PST

artwork: Artwork entitled "Yet Sometimes What Is Read Successfully, Stops Us With Its Meaning, No. II", by Luxembourgian artist Michel Majerus (1967-2002) at the Kunstmuseum in Stuttgart, Germany. The exhibition of the artist opens to the public on 26 November on. -  Photo by EPA

STUTTGART. - Michel Majerus only lived to the age of thirty-five and nevertheless the artist left behind a complex and comprehensive oeuvre. In a creative period of just ten years he produced a unique statement about painting that remains relevant today. Majerus worked with diverse techniques and varied subjects and motifs taken from the realm of computers, comics, and advertising. At the same time he made use of art history, drawing on works by artists such as Frank Stella, Andy Warhol, Willem de Kooning, and other representatives of Pop Art and Minimal Art. With his sampling method of combining various elements in a free and nonhierarchical manner, he created his own world of imagery and thereby gave painting an important impulse. Because of his works' large size and their installation character, very few museums have been able to show them in all their complexity. From November 26, 2011 to April 9, 2012 the Kunstmuseum Stuttgart fills this gap with a comprehensive exhibition of more than one hundred of the artist's paintings and installations, including works on loan from Los Angeles, New York, London, Paris, Berlin, and Stuttgart.

Seelevel Gallery Shows "Once Removed" ~ Tania Theodorou & Adam Etmanski

Posted: 28 Nov 2011 07:12 PM PST

artwork: Adam Etmanski - A photo installation based upon a place, that could be anyplace. - "Till these days, I remember the smell of this place and words that have been spoken there without any shame. God, art, theater, nation, and taxes." - Courtesy of the artist.

AMSTERDAM.- The exhibition "Once Removed" at Seelevel Gallery is an open ended visual chitchat between Tania Theodorou, Adam Etmanski and the audience about the way they both approach meaning, photography, and the presentation of it in an original and idiosyncratic way. The Greek artist Tania Theodorou uses images and objects that already sustain evidence of significance or function. She attempts to set them loose, into a new context, and see to what kind of meaning they are able to attach themselves. She likes to see the process by which the very meaning of a work can take on different nuances. This leads to layered installations where the work is in a kind of open-ended conversation with itself and the audience. Adam Etmanski (1971) exhibited twice at Foam, the Photography Museum of Amsterdam; he also exhibited at projectspace Le Bal in Paris and during the festival Les Rencotre d'Arles in Arles (France) at W139 and at ACF in Amsterdam. He lives and works in Amsterdam.

Dale Chihuly to launch Halcyon Gallery in London's New Bond Street

Posted: 28 Nov 2011 07:03 PM PST

artwork: Dale Chihuly - "Yellow Persian"  -  Chihuly is widely regarded as the most exciting and spectacular artist working in contemporary glass, credited with elevating the medium from the realm of craft to groundbreaking fine art. A prodigiously prolific artist, whose work balances content with thorough investigations in to the properties of glass. -  Courtesy of Halcyon Gallery, London

LONDON.- Halcyon Gallery will open its new gallery on New Bond Street on 5 December 2011, with an inaugural exhibition by Dale Chihuly. The artist comments, "Returning to London to show this important collection of work is truly exciting. The inaugural exhibition at Halcyon Gallery, in such an incredible building, presents the ideal space to show this work - I'm pushing the boundaries of the medium as far as they can go in terms of scale and new techniques all the time." The timing of this exhibition is significant for Chihuly, as 2012 will mark fifty years of the International Studio Glass Movement. Chihuly is a founding member and leading protagonist of the Movement, which started from humble beginnings in America in 1962.Since the early days, Chihuly has done more to revolutionize how glass is perceived as an art form worldwide, than any other artist working with the medium.

St. Thomas University Presents Unique Paintings of Destry Sparks

Posted: 28 Nov 2011 06:24 PM PST

artwork: Destry Sparks - "There Is a Path", 2009 - Mixed media on burlap - 30" x 40" - Courtesy of the artist - On view in "Spiritual Painting with Physical Objects" at Sardinas Gallery, St. Thomas University, Miami Gardens, Florida until January 13th 2012.

Miami Gardens, Florida.- The Sardinas Gallery at St. Thomas University is pleased to present "Spiritual Painting with Physical Objects" by United States painter Destry Sparks . This is the artist's first exhibition in the Miami metro area after solo shows earlier this year in New York, Richmond (Virginia) and at the University of North Carolina Charlotte.  Seventeen of his assemblage paintings featuring worn found objects attached to burlap, window screens & wood pallets are on display until January 13, 2012. Sparks is known for a distinct brand of visceral painting.  The objects he attaches to a range of rough surfaces are both natural and manufactured.  The natural objects include wood sticks, dried leaves, parched white bones and seashells.  The manufactured items often consist of colorful smashed bottle caps and wires, rusted mechanical parts, and window frames well past their prime.

Sotheby's NY Auction of American Paintings, Drawings & Sculpture to Feature George Catlin, Edward Hopper & Winslow Homer

Posted: 28 Nov 2011 06:22 PM PST

artwork: Martin Johnson Heade - "Orchids and Hummingbirds", circa 1885 - Oil on canvas - 15" x 20" - Courtesy of Sotheby's NY (from the Estate of Helen Marx), where the work will feature in the 1st December auction of American Paintings, Drawings & Sculpture. -  Estimate $500,000 - 700,000.

New York City.- Sotheby's New York auction of American Paintings, Drawings & Sculpture on 1st December 2011 will feature a strong selection works across the diverse genres that the category encompasses, with many of the highlights on offer from distinguished institutions and celebrated collections. Following Sotheby's 2004 sale of a group of 31 George Catlin paintings, on offer from The Field Museum in Chicago and originally in the collection of Benjamin O'Fallon,  the December 2011 sale will be led by four additional works from the collection that represent the finest from the original group. The sale will be on exhibition in Sotheby's York Avenue galleries beginning 26th November. George Catlin was a 19th century painter who specialized in depicting Native American tribes of the Old West, and Benjamin O'Fallon – nephew of William Clark and the 'United States Indian Agent' for the Missouri River Tribes – was one of his first patrons. The collection that O'Fallon assembled is remarkable for including only works that Catlin painted in the West during the first two years of his effort to visit every tribe in the United States, as opposed to those he painted later from Europe. The paintings have resided in the collection of The Field Museum in Chicago since 1894, when it purchased the 35 surviving Catlin paintings from Benjamin O'Fallon's collection.

In December 2004, the museum consigned 31 of the canvases to Sotheby's, which sold them at auction as a single lot to a private collector. At the time of the 2004 sale, the Field Museum retained what were arguably the four finest canvases from the O'Fallon Collection, which are the four works on offer this December in New York. The group features two portraits and two scene paintings. "One Horn, Head Chief of the Miniconjou Tribe, Teton Dakota (Western Sioux)" is one of the first portraits that Catlin made in the field (estimate $1/1.5 million), while "Black Hawk, Prominent Sauk Chief, Sauk and Fox" depicts the man who gave his name to a brief but bloody war in the summer of 1832 (estimate $1/1.5 million). "Interior of a Mandan Lodge" is one of six surviving pictures from the collection that depict Mandan sitters (estimate $800,000/1.2 million), and "Buffalo Chase, a Surround by the Hidatsa" is a dramatic and chaotic hunting scene that is among the most dynamic of Catlin's canvases (estimate $800,000/1.2 million).

artwork: George Catlin - "Buffalo Chase, A Surround by the Hidatsa", 1832-1833 - Oil on canvas - 24" x 29" Courtesy of Sotheby's New York (from The Field Museum, Chicago) Estimate $800,000 - 1.2 million.

The December sale will feature Winslow Homer's rare oil painting "Reverie" (estimate $1.2/1.8 million) from the collection of Joan Whitney Payson. The work is from a small series of four canvases executed in the summer of 1872, while the artist was staying in Hurley, New York. Each shows a young woman in a dark interior, beside a bright window view of the outdoors – the composition and costume of the girl recalling the tradition of 17th century Dutch interiors. The works stand alone in Homer's career, as nothing the artist did before or after these works directly refers to them. Relatively small in scale, they are gem-like in execution. They are the work of an artist who had already made his mark critically both in the United States and abroad, but was still striving to find his own voice and to establish his own market. Another rare work from the 19th century will be "Red Hollyhocks" by John La Farge, an artist whose works infrequently appear at auction (estimate $500/700,000). La Farge was known for experimenting with color and technique, and in this spirit he painted his 1860s hollyhock compositions in encaustic – a mix of oil and wax credited to the ancient Greeks that gives the present work its unique texture and striking coloration. Sotheby's is honored to offer a group of 18 works from the highly personal collection of Helen Marx this December. As a successful publisher under the imprint Helen Marx Books, she specialized in literary fiction, biographies and works in French. Over a period of 30 years, Mrs. Marx assembled a collection that reflected both her sophisticated taste and lifelong dedication to the arts, including beautiful examples by several of the most notable American artists of the 19th century.

Property from the Estate of Helen Marx will be led by works from Martin Johnson Heade and Winslow Homer. Heade's "Orchids and Hummingbirds" is an example of the artist's coveted pairings of the flora and fauna he first witnessed in Brazil in 1863 (estimate $500/700,000). "Orange Trees and Gate" is one of a series of watercolors executed by Homer during his first trip to Nassau, Bahamas in 1884-85 (estimate $500/700,000). Recognized as one of the 19th century's most gifted masters of this medium, Homer's work captures the brilliant sunshine and the abundant tropical foliage of the islands. The Marx collection will also feature still lifes by artists including Severin Roesen and William Michael Harnett, as well as a charming group of genre paintings. The American Paintings, Drawings  & Sculpture auction will feature two works executed in 1946 by iconic American artists visiting Mexico. Made after a three-month long trip to Mexico in that year, "Crucifixion" exemplifies Milton Avery's ability to create works appealing to serious and popular audiences, while responding to a contemporary cultural dialogue between the United States and Mexico around the time of World War II (estimate $1/1.5 million). The work depicts a local woman worshipping in the Parrochia church of San Miguel de Allende. To escape the tense climate of New England, Edward Hopper and his wife Jo began visiting Mexico for their summers in 1943. On their first trip they discovered the small town of Saltillo, and they returned there each summer for several years. Always painting en plein air and after 5 pm in order to record the best late afternoon light, Hopper produced an impressive group of watercolors inspired by the old town, including "Construction in Mexico" in 1946 (estimate $800,000/1.2 million).

artwork: Edward Hopper  - "Construction in Mexico", 1946 - Watercolor - Courtesy of Sotheby's New York, Estimate $800,000 - 1.2 million.

In addition to the Catlin paintings from the Field Museum, Sotheby's is pleased to offer works from several  additional museums as part of the December auction. Property from the Birger Sandzén Memorial Gallery features Marsden Hartley's "Untitled (Still Life)" from 1919, which depicts a blooming cactus in a Pueblo Indian blackware olla, set on a red and white striped table cloth with a view of the New Mexico landscape behind (estimate $700/900,000). Johan Oscar Thorsen – a colleague of artist Birger Sandzén at Bethany College in Lindsborg, Kansas – had purchased the work directly from Hartley after a trip to Santa Fe, and on his death it was bequeathed to the Birger Sandzén Memorial Gallery at Bethany. Property from the Textile Museum, Washington, D.C. will include a bronze portrait medallion of Robert Louis Stevenson that documents his friendship with the artist Augustus Saint-Gaudens, the acclaimed sculptor of the monument to Civil War hero David Farragut installed in Madison Square Park (est. $100/150,000). Property from the Amerind Foundation Collection features Robert Henri's "Untitled [Alanna]" from 1928 (estimate $400/600,000). The work is among Henri's last paintings, and depicts a young girl from Achill Island, Ireland, where the artist and his wife lived in the 1920s. And Property from the Israel Museum, Jerusalem will offer works by Thomas Hart Benton and Marsden Hartley.

American Illustration in the sale will be led by a group of eight works by quintessential American artist Norman Rockwell. The group will feature the Saturday Evening Post cover "Couple with Milkman", which depicts a couple on their way home from an evening event, stopping a milkman to check the time (estimate $1.2/1.8 million). The work reflects the central role that young romance had come to play in Rockwell's life – after divorcing his first wife Irene O'Connor in 1930, he married the young schoolteacher Mary Barstow – and further conveys the inherent humor the artist found in all walks of daily American life. The December auction will also feature Rockwell's work in advertising. "Whispering sweepstakes" is a group of four paintings commissioned by the Corn Products Company for use in ads for Skippy peanut butter (estimate $200/300,000), while both "Young Husband Checking Grocery List" (estimate $250/350,000) and "Pregnant Woman Drinking Tea" (estimate $200/300,000) were commissioned by the Brooke Bond Foods Company for use in ads for its Red Rose Tea label.

Sotheby's was founded in London on March 11, 1744, when Samuel Baker auctioned "several Hundred scarce and valuable books" from the library of the Rt Hon Sir John Stanley for a few hundred pounds. The story of Sotheby's expansion beyond books to include the best in fine and decorative arts and jewellery is also the story of the global auction market, defined by extraordinary moments that continue to capture the world's attention. Since 1744, Sotheby's has distinguished itself as a leader in the auction world. Their auctions, conducted in the venerable salerooms in London and Paris, the museum-quality galleries of their headquarters in New York and the spirited environs of Hong Kong rivet audiences worldwide. Season after season, the depth and excellence of Sotheby's offerings have produced watershed, record-breaking sales. They were the first international auction house to expand from London to New York in 1955, and the first to conduct sales in Hong Kong and the then–Soviet Union. Today they maintain 90 locations in 40 countries and they conduct 250 auctions each year in over 70 categories. In addition to their four principal salerooms, the company, recognising the potential in new markets, also conducts auctions in six other salerooms around the world, further expanding its global reach. Visit the auction house's website at ... http://www.sothebys.com

The Kunsthaus Bregenz (the "KUB") ~ Outstanding Exhibition Spaces for Contemporary Art In Austria ~ Is Toured By AKN Editor

Posted: 28 Nov 2011 06:09 PM PST

artwork: On the right the last two buildings are The Kunsthaus in Bregenz (KUB) and the museum's cafe and administration building to the right of the museum. Designed by Peter Zumthor and opened in 1997. Architectonically unusual exhibition gallery for contemporary art, a glass cube at the banks of Lake Constance. From the outside, the building looks like a lamp. It absorbs the changing light of the sky, the haze of the lake, it reflects light and colour and gives an intimation of its inner life according to the angle of vision, the daylight and the weather.

In August 1993 the district administration office of Bregenz issued the building permit for the construction of a new art museum. Planning and negotiation had begun some years before, and construction started the following year. Both the museum itself and adjacent administration building were designed by Swiss architect Peter Zumthor a Pritzker Prize winner. The Kunsthaus Bregenz ( the KUB) was opened on July 25, 1997. The architect described the building as: "The art museum stands in the light of Lake Constance. It is made of glass and steel and a cast concrete stone mass which endows the interior of the building with texture and spatial composition. From the outside, the building looks like a lamp. It absorbs the changing light of the sky, the haze of the lake, it reflects light and colour and gives an intimation of its inner life according to the angle of vision, the daylight and the weather." Within the Urban Context The Kunsthaus Bregenz was built as a solitary construction in a prominent location not far from the lakefront bank. It filled the space on "Seestraße" between the Theater for Vorarlberg and the main post office. Fresh air is conducted through a gap between the floor and the outer walls to the halls. The used air is sucked in through the gaps between the sheets of glass of the light ceiling and flows out through this space, requiring no mechanical air conditioning. The entrance lies on the eastern side of the building facing the town. The administration building, situated in front of the museum towards the city centre, acts as a transitional structure to the smaller and low buildings of the old part of the town. All functional facilities of the Kunsthaus other than those directly associated with the presentation of art are housed separately in this smaller building, which accommodates a library, the museum shop and a café besides the administrative offices. The striking facade consists of etched glass shingles that lend the building lightness and transparency, provide insulation and form an essential part of the lighting arrangement for the building. The refractive properties of the glass shingles and a 90-centimetre wide light pit between the glass cladding and the concrete structure of the building proper makes it possible to direct daylight to the first subterranean level and illuminate the building at night. Three exhibition floors are used to exhibit the museum's own collection and featured thematic or solo artist exhibitions. As a new institution, the Kunsthaus' own collection is still very young, but focuses on contemporary Austrian art The collection begins in the 1980s with works by the younger generation of artists which broke away from the determining traditions of postwar Austrian art in favor of a more international orientation (for example Bohatsch, Brandl, Kogler, Kopf, F. Pichler, Rockenschaub, Scheibl, Schmalix, Ströhle, Türtscher, West, Wurm, Zobernig, among others). Acquisitions of groups of works by the most important artists set focal points. In parallel to these exhibitions, the KUB Arena's program examines examples of differing forms of curatorial practice (such as the current Antony Gormley installation in the high Alps). Visit the museum's website at : www.kunsthaus-bregenz.at

artwork: Antony Gormley -  Horizon Field Installations on view until April 2012 - A Landscape Installation in the High Alps of Vorarlberg, Austria. Horizon Field consists of 100 life -size, solid cast iron figures of the human body spread over an area of 150 square kilometers.Presented by Kunsthaus Bregenz

Currently, the Kunsthaus are showing three exhibitions. Haegue Yang's "Arrivals" runs until 4th March 2011 and features both the artist's older work as well as 33 new light sculptures, which enigmatically populate the third floor like alien life-forms and her largest installation to date, specifically for the Bregenz show, consisting of approximately 200 aluminum venetian blinds, which occupy KUB's entire second floor with an impressive weightlessness. These complex installations, sculptures, objects, photographs, videos, and slide projections, which in their atmospheric intensity appear equally poetic and conceptual, negate any unequivocal interpretation. Haegue Yang's work captivates precisely because of its ambiguity, which is rooted as much in the conceptual art of the 1960s and 1970s, as in an engagement with current theoretical discourses. Also 'Living Archives' - Cooperation Van Abbemusem (which runs until 4th March 2011) explores artistic archives. What is an archive? What is a collection? What are the relationships between the documents stored in archives and objects stored in collections concerned with memory, identity, history, and politics? The collaboration with the Van Abbemuseum in Eindhoven is a joint consideration of the significance of archives and collections, which play a major role in the current reconsiderations of artistic practices and conservations in the realm of the museum. Alongside the exhibit Living Archive – Mixed Messages of the Van Abbemuseum, which includes works by Francis Bacon, Robert Indiana and Paul McCarthy, works by Michal Heiman, Hannah Hurtzig (both from the collection of the Van Abbemuseum) and Katrin Mayer offer a range of processual and amenable strategies of collecting and archiving. Meanwhile, for the more adventurous visitor, The KUB Arena presents Antony Gormley's "Horizon Field" which can be found in the High Alps of Vorarlberg, a short journey from Bregenz. The Kunsthaus Bregenz and the British artist Antony Gormley (born in 1950) realized a unique project in the mountains of Vorarlberg. Horizon Field is the first art project of its kind erected in the mountains and the largest landscape intervention in Austria to date. Horizon Field consists of 100 life-size, solid cast iron figures of the human body spread over an area of 150 square kilometers. The work forms a horizontal line at 2,039 meters above sea level. This height has no specific metaphorical or thematic relevance in the placement of the figures. It is an altitude that is readily accessible but, at the same time, lies beyond the realm of everyday life. Some of the figures are installed in places one can hike to or ski past in the winter. Others are unapproachable though visible from certain vantage points. The works are neither representations (statues) nor symbols, but represent the place where a human being once was, and where any human being could be. Horizon Field engages the physical, perceptual, and imaginative responses of anyone coming within its relational field. Over the 2 years during which this installation is in place, the work will be exposed to the elements, to different lighting conditions, and to the changing seasons, thus enabling constantly new perceptions and impressions.

Cincinnati Art Museum features Masterpieces of Dada and Surrealist Art

Posted: 28 Nov 2011 06:08 PM PST

artwork: Hannah Höch (November 1, 1889 - May 31, 1978)  - Imaginary Bridge - Oil on Canvas - Private Collection

CINCINNATI, OHIO - The Cincinnati Art Museum  is the sole U.S. venue for an exhibition that features works by the greatest masters of Dada and Surrealist art, including Salvador Dalí, Marcel Duchamp, Pablo Picasso, Max Ernst, René Magritte, Joan Miró, Jean (Hans) Arp, Man Ray, Kurt Schwitters, Hannah Höch and Paul Delvaux. Surrealism and Beyond: In the Israel Museum, Jerusalem provides a comprehensive survey of Surrealist art from its roots in the beginnings of the Dada movement in 1916, through recent manifestations in international contemporary art. The exhibition—on view from February 15 through May 17, 2009—will showcase over 200 works.

' Paul Klee: Melody / Rhythm / Dance ' at Museum der Moderne Salzburg

Posted: 28 Nov 2011 06:07 PM PST

artwork: Paul Klee - Paukenspieler, 1940 - Kleisterfarbe auf Papier und Karton, 34.6 x 21.2 cm. - Zentrum Paul Klee, Bern - © VBK, Wien, 2008 

SALZBURG, AUSTRIA - Museum der Moderne Salzburg presents today Paul Klee: Melody / Rhythm / Dance, on view through February 1, 2009. The exhibition "Paul Klee. Melody / Rhythm / Dance" is dedicated to Paul Klee's (1879—1940) intensive involvement with music, with melody, rhythm and polyphony, as well as with dance . .  these topics represented central elements in his work, in terms of both content and form.

The Gemeentemuseum The Hague Retrospective of Lucian Freud

Posted: 28 Nov 2011 06:06 PM PST

artwork: Lucian Freud - Bella and Esther, 1988 - Oil on canvas - 73.7 x 88.9 cm Private Collection - © the Artist

THE HAGUE, NL - The Gemeentemuseum The Hague presents Lucian Freud, on view through June 8, 2008. German-born British painter Lucian Freud (b. 1922) is famous around the world for his intimate and revealing portraits and nudes. With his keen eye and highly personal approach, he lays bare the hidden feelings and thoughts of his subjects. The aim is not to achieve any superficial or flattering likeness, but to reveal the essence of the subject's inner being. The results are impressive and extremely private portraits of vulnerable individuals. The first ever Dutch retrospective of this extraordinary and unconventional artist.

artwork: Lucian Freud, Naked Portrait on a Red Sofa, 1989-91, Oil on canvas, 100.2 x 90.2 cm. Private Collection © the ArtistLucian Freud, grandson of psychiatrist Sigmund Freud, was born in Berlin in 1922. He moved with his parents to London in the thirties and in 1939 acquired British nationality. Following his training in London and East Anglia, he quickly became friends with Francis Bacon, with whom he was to be one of the founders of the 'London School'. In 1954, together with Bacon and Ben Nicholson, he represented Britain at the Venice Biennale. Ever since then, he has been regarded as one of Britain's greatest living artists.

Through into the 1950s, Freud worked in a flat, schematic style that seemed to leave little room for personal interpretation. In the late '50s, however, he abandoned his precious sable brushes in favour of broader hog's hair ones and started to work on his feet rather than sitting down. The change had a major impact on his style: his work became looser, with a heavier impasto, more voluptuous models and more use of light and shadow. He uses this highly distinctive new style to depict his models in merciless detail. His view of the world leaves no room for sentimentality or embarrassment. Sagging bellies, wrinkles, bags under the eyes, double chins and folds - nothing about his models escapes him. Yet his pictures are by no means a mechanical reproduction of what he sees before him; they are autonomous works of art created not with the aim of achieving a mere likeness, but rather to create a portrait of what the subject actually is. And Freud is merciless not just to other people, but also to himself. When he heard that two of his incisors would have to go, he immediately started planning a 'self portrait without front teeth'.

artwork: Lucian Freud After ChardinLucian Freud asks a great deal of his models. They have to pose many times, at frequent intervals and for long periods. Because he believes that the subject influences the whole world around them, they have to be present and in the right pose even when Freud is working on a completely different part of the canvas. His subjects are often people close to him: friends, family, fellow-artists, children or lovers. As a result, his portraits and nudes possess an extraordinary intensity. For example, Night Portrait, Face Down, painted in 1999/2000, is an intense depiction of a naked woman slumped on her belly across a bed. She lies with her eyes closed, entirely at the mercy of the artist's gaze.

At a time when abstraction and minimalism reigned supreme, Freud remained faithful to his realistic manner of painting, in which both form and subject were rooted deeply in the classical tradition. His heroes were masters of the past like Chardin, Constable and Frans Hals. It was not until the 1980s, with the revival of interest in figurative painting, that his work began to be internationally appreciated. Around that time, his paintings tended to be increasingly large and therefore monumental. His 1994 portrait Leigh under the Skylight shows a corpulent man seen from a low angle – a classical nude, but big, rough and impressive. The memorable female nude Standing by the Rags, painted in 1988/89 and on loan from the Tate Gallery, will also be on show at the Gemeentemuseum.

The exhibition has been put together by guest curator Catherine Lampert and is being held in collaboration with the Irish Museum of Modern Art in Dublin and the Louisiana Museum of Modern Art in Denmark. It will be accompanied by a lavishly illustrated catalogue (price: € 29.95).

Virginia Museum of Fine Arts Acquires Fischer Collection of German Expressionism

Posted: 28 Nov 2011 06:05 PM PST

artwork: Ernst Ludwig Kirchner - "Six Dancers," 1911 - Oil on canvas - VMFA's Ludwig and Rosy Fischer Collection Photo: Katherine Wetzel, © 2009 Virginia Museum of Fine Arts

RICHMOND, VA.- One of the finest remaining refugee collections of German Expressionist art has a new home – at the Virginia Museum of Fine Arts. The Ludwig and Rosy Fischer Collection includes works assembled by the couple in Frankfurt, Germany, between 1905 and 1925, the most creative years of German Expressionism. No state funds were spent by the museum. VMFA used donor funds restricted to the purchase of art for the commonwealth.

Toledo Museum of Art acquires Bolognese Master Guercino's Baroque Painting

Posted: 28 Nov 2011 06:04 PM PST

artwork: Giovanni Francesco Barbieri, called Guercino (Italian, 1591-1666) - "Lot and His Daughters", 1651-52, (detail). Oil on canvas. Purchased with funds from the Libbey Endowment. Gift of Edward Drummond Libbey, 2009.345. Photo: Richard Goodbody.

TOLEDO, OH.-Toledo Museum of Art (TMA) has been trying to fill for more than 50 years. A work by Bolognese master Giovanni Francesco Barbieri, commonly known as Guercino ("the squinter"), has been a long-sought-after addition to the TMA collection. Guercino's vibrant "Lot and His Daughters" (about 1651-1652) was acquired by the Museum in October of 2009. The large painting (176 x 231 cm / 69 ¼ x 90 7/8 inches) will be unveiled to Museum members and the general public on Friday, Jan. 22 during a 7 p.m. ceremony in the Museum's Great Gallery. "Lot and His Daughters" will temporarily hang in the gallery's most prominent location, normally reserved for Peter Paul Rubens' "Crowning of St. Catherine", which will be relocated to an adjacent wall. The move will result in several additional works being relocated within the gallery in order to show the new Guercino to its best advantage.

The Getty Center shows Manet’s 'A Bar at the Folies-Bergère'

Posted: 28 Nov 2011 06:03 PM PST

artwork: Edouard Monet

LOS ANGELES, CA - Édouard Manet's A Bar at the Folies-Bergère, one of the great masterpieces of 19th-century French art, is coming to the J. Paul Getty Museum at the Getty Center this summer.  To celebrate this loan from the Samuel Courtauld Trust, Courtauld Institute of Art Gallery in London, the Getty Museum has organized the special installation Manet's Bar at the Folies-Bergère to showcase the painting and its visual complexities.  The painting will be on view concurrently with the Drawings Department's exhibition of 19th-century French works of art on paper Defining Modernity:  European Drawings 1800-1900, an exhibition also featuring works by Manet and several loans from the Courtauld. On exhibition June 5 - September 9, 2007.

"A Bar at the Folies-Bergère

artwork: Gustave Courbet Head Of Sleeping Bacchanteis one of the most intriguing works of Manet's career and of 19th-century European art in general," observes Michael Brand, director of the J. Paul Getty Museum.  "This is a once in a lifetime opportunity to share this masterpiece with Getty audiences, and we are incredibly grateful to our colleagues at the Courtauld Institute of Art and the Samuel Courtauld Trust for making this possible."

A Bar at the Folies-Bergère

has not been seen in the United States since 1988, and has never been exhibited on the West Coast. The painting is an excellent complement to the Getty's rich holdings in Impressionist art, which include another significant work by Manet, The Rue Mosnier with Flags.  As an emblematic image of a working woman in modern Paris, A Bar at the Folies-Bergère provides a fascinating comparison to Edgar Degas' The Milliners, recently acquired by the Getty Museum.

The installation of a mirror opposite the painting, the dominant motif of which is itself a mirror, will set up a play of reflections encouraging visitors to reflect on the optical conundrums Manet's painting poses.

Manet's Bar at the Folies-Bergère will be accompanied by a detailed illustrated brochure providing visitors with essential historical, social, and critical context, summarizing some of the extensive debates surrounding the painting in recent years, and providing viewers with some interesting perspectives on the painting's visual oddities and ambiguities.

Manet's Bar at the Folies-Bergère is curated by Scott Allan, assistant curator in the department of paintings, with Scott Schaefer, curator of paintings, the J. Paul Getty Museum.

The accompanying exhibition

artwork: Constantin Guys Woman With A ParasolDefining Modernity: European Drawings 1800-1900, surveys the J. Paul Getty Museum's 19th-century drawings collection, and features a number of recent acquisitions, as well as loans from the Courtauld Institute of Art's drawings collection.  The development of new artistic materials, the expansion of artistic themes to include subjects from modern life, and the increased demand for images created by new print media all invigorated the practice of drawing during the 1800s.

Defining Modernity will feature 46 drawings, including works by Manet, Degas, Vincent van Gogh, and Georges Seurat, who exploited the new subjects and materials of drawing and used traditional subjects and media in innovative ways. 

 This exhibition inaugurates the new galleries for drawings on the Plaza Level of the West Pavilion at the J. Paul Getty Museum at the Getty Center, and is curated by Christine Giviskos, assistant curator of drawings, the J. Paul Getty Museum.

The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that features the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu.

Visiting the Getty Center: The Getty Center is open Tuesday through Thursday and Sunday from 10 a.m. to 6 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Mondays and major holidays.  Admission to the Getty Center is always free.  Parking is $8; no reservations required. Reservations are required for event seating and groups of 15 or more.  For more information, call 310-440-7300 (English or Spanish); 310-440-7305 (TTY line for the deaf or hearing impaired).

Additional information is available at www.getty.edu

At the Louvre, Many Stop to Snap but So Few Stay to Focus

Posted: 28 Nov 2011 06:02 PM PST

artwork: Observing visitors at the Louvre: some engage directly with the art . . while others only take pictures of pictures. Photo by Valerio Mezzanotti for The New York Times

PARIS - Spending an idle morning watching people look at art is hardly a scientific experiment, but it rekindles a perennial question: What exactly are we looking for when we roam as tourists around great museums? As with so many things right in front of us, the answer may be no less useful for being familiar. At the Louvre the other day, in the Pavillon des Sessions, two young women in flowered dresses meandered through the gallery. They paused and circled around a few sculptures. They took their time. They looked slowly. The young women were unusual for stopping. Most of the museum's visitors passed through the gallery oblivious.

220,0000 Blockbuster ' Monet to Dalí ' at Vancouver Art Gallery

Posted: 28 Nov 2011 06:01 PM PST

artwork: Salvador Dali Metamorphosis Of Narcissus 

VANCOUVER, BC. - The most successful exhibition in the Vancouver Art Gallery's history, Monet to Dalí: Modern Masters from the Cleveland Museum of Art closed Sunday, September 16th with a record day's attendance of more than 7600 visitors, bringing the total number of people to see the blockbuster exhibition to more than 220,0000. The previous record attendance for an exhibition at the Gallery was in 2002, when 95,000 people viewed the summer exhibition Carr, O'Keeffe, Kahlo: Places of Their Own.

Works by Edward Hopper staged at Palazzo Reale / First Major Italian Exhibition

Posted: 28 Nov 2011 06:00 PM PST

artwork: Edward Hopper (1882-1967),  - Morning Sun, 1952 - Oil on canvas, 28 1/8 x 40 1/8 inches - Columbus Museum of Art, Ohio

MILAN, ITALY - For the first time in Italy, Milan and Rome, are set to pay tribute to the entire career of Edward Hopper (1882-1967), the 20th century's most popular and best known American artist, with a major anthological exhibition that is the first of its kind in this country. The exhibition presents more than 160 works, including famous masterpieces such as "Summer Interior" (1909), "Pennsylvania Coal Town" (1947), "Morning Sun" (1952), "Second Story Sunlight" (1960), "A Woman in the Sun" (1961) and various paintings that have never been exhibited, like the stunning "Girlie Show" (1941). It explores the whole of Hopper's oeuvre, and all the techniques used by an artist now viewed as one of the classic painters of the twentieth century.

The exhibition will be staged in Palazzo Reale in Milan from October 14, 2009 to January 31. Immediately after that it will be held in Rome, at the Fondazione Roma Museum, from February 16 to June 13, 2010, and then at the Fondation de l'Hermitage in Lausanne, from June 25 until October 17, 2010.

The Hopper event also exceptionally heralds the beginning of a cultural partnership between Comune di Milano and Fondazione Roma, set to give rise to the first in a series of joint projects involving the City Council of Mayor Letizia Moratti and the Fondazione Roma, chaired by Prof. Emmanuele Francesco Maria Emanuele.

"It is with immense pleasure and great satisfaction that today we launch this important collaboration between Comune di Milano and the Fondazione Roma, presenting the first major anthological exhibition dedicated to Edward Hopper", explain Letizia Moratti and Emmanuele Francesco Maria Emanuele. "This is an extremely high level cultural project that involves a public body and one of the main protagonists on the Italian and international cultural scene, united by their devotion to and love of art and culture".

The Artist
Hopper was born and grew up in Nyack, a small town in New York State. He studied illustration for a short period, then painting at New York School of Art under legendary masters William Mer­ritt Chase and Robert Henri. He visited Europe three times (from 1906 to 1907, in 1909 and 1910) and his experiences in Paris, above all, made a lasting mark on him: he remained a lifelong Francophile, even after settling permanently in New York in 1913.

Despite his imposing physical presence – he was six foot two – he was famous for his reserve, and very rarely wrote or spoke about his work. He died at the age of 84 and his work enjoyed the esteem of critics and the public throughout his career, despite the success of the up-and-coming avant-garde movements, Surrealism, Abstract Expressionism and Pop Art.

In 1948 the magazine "Look" named him one of America's greatest artists; in 1950 the Whitney Museum dedicated an important retrospective to him, and in 1956 he appeared on the cover of"Time". In 1967, the year of his death, he represented the United States at the prestigious Bienal di São Paulo. Since then Hopper's work has been celebrated in numerous exhibitions and has inspired countless painters, poets and filmmakers. In a 1995 essay the great novelist John Updike paid an eloquent tribute to his "calm, silent, stoic, luminous, classic" works.

artwork: Edward Hopper (1882-1967), Second Story Sunlight, 1960 - Oil on canvas, 101,92 x 127,48 cm. - Acquired by the Friends of the Whitney Museum of American Art 60.54 - © Whitney Museum of American Art, N.Y.-  Photo: Steven Sloman

The exhibition
Edward Hopper's career is closely linked to the Whitney Museum of American Art, which hosted various exhibitions of his works from the first in 1920 at the Whitney Studio Club, to the memorable shows held in the museum in 1960, 1964 and 1980. Since 1968, thanks to the bequest of the artist's widow Josephine, the Whitney has been home to his entire legacy: more than 3,000 works which include paintings, drawings and etchings.

Curated by Carter Foster, the Whitney Museum curator who granted the loan of the largest nucleus of works, the exhibition, realized with the technical coordination of Carol Troyen, also boasts other important loans from the Brooklyn Museum of Art in New York, the Terra Foundation for American Art in Chicago and the Columbus Museum of Art.

Structured in seven sections according to chronological order and theme, the Italian exhibition covers Hopper's entire oeuvre, from his education, to his years as a student in Paris, up to his "classic" and best-known period of the 1930s, 40s and 50s, closing with the large, intense images of his later years. The show explores all of the artist's favorite techniques: oil, watercolor and etching, and devotes special attention to the fascinating relationship between his preparatory drawings and his paintings: a vital aspect of his work that up till now has not been greatly explored in the exhibitions dedicated to him.

The first three sections: "Self Portraits", "Education and Early Works. Hopper the Illustrator" and "Hopper in Paris", present a group of promising self portraits, the works from his academic period and the light-filled sketches and works of his Paris period, such as the well-known painting "Soir Bleu" (1914). The room dedicated to "Defining the Image: Hopper the Etcher", with masterpieces such as "Night Shadows" (1921) and "Evening Wind" (1921), highlights his elegant technique and that "sense of the incredible potential of everyday life" that brought him great success and marked the start of a distinguished career.

artwork: Edward Hopper - Pennsylvania Coal Town (detail), 1947. Oil on canvas, 71,1 x 101,6 cm. Butler Institute of American Art Youngstown, Ohio, Museum purchase 1948.The section entitled "Hopper's Method: from Sketch to Canvas", which celebrates the artist's extraordinary talent for drawing, and explores his modus operandi, presents a significant set of preparatory drawings for paintings such as "Morning Sun" (1952) and the earlier work "New York Movie" (1939), the sketches for which clearly reveal how his female figure takes shape: starting out almost as a portrait of his wife Jo (his only model), the figure gradually evolves into the pensive usherette with film star looks standing in the movie theatre – one of the artist's favorite subjects. This section shows how Hopper's realism is often the result of an amalgamation of several images and situations captured at different times and places, not a simple reproduction from life. The exhibition also exceptionally includes one of his Artist's Ledger Book, the famous ledgers he and his wife compiled, and which contain sketches of many of his oil paintings.

In the rooms dedicated to "Hopper's Eroticism" the exhibition gathers some of his most significant images of women absorbed in contemplation, for the most part nude or partially undressed, alone in interiors. Together with the works in the section "Artist's Essence: Time, Space, Memory" these works are a consummate representation of the artist's aesthetic, his understated form of realism and above all his ability to reveal beauty in the most common subjects, often with a cinematographic slant that was much appreciated by the critics.

Hopper has long been associated with atmospheric images of urban buildings and the people who inhabit them, but rather than skyscrapers – emblems of the aspirations of the jazz age – he preferred the dilapidated red facades of anonymous shops, and lesser-known bridges. Some of his favorite subjects are images of life in tranquil middle class apartments, often glimpsed through a window from a passing train, and settings like diners and movie theatres; images that have acquired iconic status, as in some of the famous masterpieces presented here: "Cape Cod Sunset" (1934), "Second Story Sun­light" (1960) and "A Woman in the Sun" (1961). Hopper also painted some stunning watercolors during summers spent in Gloucester (Massachusetts), in Maine, and in Truro (Cape Cod) as of 1930. The sea rarely features in these paintings, which show sun-baked sand dunes, lighthouses and humble cottages, enlivened by sensuous contrasts of light and shade; paintings which always hint at a story yet leave the motivations of the protagonists unclear.

The exhibition also features an important photographic, biographical and historical component, tracing American history from the 1920s to the 1960s: the Depression, the Kennedys, the boom years. An opportunity for greater insight into today's global recession and Barack Obama's America.

Installation Friday, 29th August 1952, 6 A.M., New York
The Edward Hopper exhibition aims to see people as "active subjects" rather than "consumers", with a view to creating an event that, first and foremost, will be a unique, engaging experience for visitors.

With this objective in mind, for the first time in Italy the exhibition exceptionally hosts an interactive and multimedia installation by Gustav Deutsch, the renowned Austrian film maker and video artist (Vienna 1952), who has produced countless films, videos and performances throughout the world.

Chosen by Arthemisia, in agreement with Palazzo Reale in Milan, the installation entitled "Friday, 29th August 1952, 6 A.M., New York" will enable visitors to physically enter Hopper's world, with a reconstruction of the setting depicted in the painting "Morning Sun" (1952). In this way visitors will be able to appear in the painting, entering the "set" and moving around at will, like actors in a series of brief plays, filmed by a camera and projected onto a screen.  Visit : http://www.comune.milano.it/portale/wps/portal/CDMHome

This Week in Review in Art Knowledge News

Posted: 28 Nov 2011 06:00 PM PST

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