- The Centro de Arte Contemporáneo de Málaga Shows William Kentridge
- Faith Ringgold's 1960's paintings shown at the Spelman College Museum of Fine Art
- Draíocht Centre Exhibits Selected Works by Caroline Donohue
- The Asia Society Museum Shows Princes & Painters in Mughal Delhi, 1707-1857
- Modernist photography on view at the Currier Museum of Art
- me Collection Room in Berlin showcases Gerhard Richter: Editions 1965-2011
- The Montclair Art Museum Shows Modern & Contemporary Art From Local Collections
- The 12th Annual "Scottish Show" at Panter & Hall and Art at Lloyds Club
- The Montreal Museum Of Fine Arts ~ Superb Collection Of Canadian Artworks ~ Visited By 5 Million Annually
- Louvre Opens a Major Retrospective of the Great Renaissance Master ~ Andrea Mantegna
- Monya Rowe Gallery opens Larissa Bates ~ 'Just Hustle and Muscle'
- The Walker Art Gallery Explores Groundbreaking 1911 Post-Impressionist Exhibition
- Drawings Exhibit at Lady Lever Art Gallery
- Richard Pousette-Dart: Predominantly White Paintings at The Phillips Collection
- Henri Matisse 'One Thousand and One Nights' at Carnegie Museum
- Metropolitan Museum of Art opens Whimsical & Fantastical Victorian Photocollages
- Atlas Gallery hosts Exhibition of Polaroid Photographs / Film Now Expired Forever
- Pop artist Romero Britto To Exhibit Royal Portrait Series at Imitate Modern Gallery
- The Stadel Museum will Show the First Monographic Exhibition on Sandro Botticelli
- This Week in Review in Art Knowledge News
Posted: 14 Feb 2012 10:18 PM PST
Málaga, Spain.- The Centro de Arte Contemporáneo de Málaga presents "William Kentridge: Won't you join the dance?", on view at the museum until May 13th. This is the first exhibition of this South African artist's tapestries to be held in Spain. Mosaics, sculptures, preliminary studies, collages, videos and Kentridge's unique drawings will also be included in this exhibition, which is curated by Fernando Francés. The central work is a tapestry based on a 19th century map of Malaga, which will be shown to the public for the first time at the CAC Málaga. The exhibition offers an overview of the most recent output of one of the most influential and prolific artists working today.
In the work of William Kentridge (born Johannesburg, 1955) we frequently encounter porters who carry objects such as a bed, a lamp or a typewriter, in reference to the fact that his characters "bear the weight of the world on their shoulders". Elsewhere, the shadows in his tapestries suggest the movement and migration of peoples from one place to another and between one idea and another, as has always happened over the course of history. Kentridge's work reflects the transformation of humanity and the evolution of peoples, cities and countries as they move towards their present state of existence. More than twenty tapestries are to be seen in the exhibition now presented by the CAC Málaga, which offers a comprehensive overview of William Kentridge's most recent work, including mosaics, videos, sculpture, collage and the artist's celebrated drawings. In a way comparable to the threads that are knotted together in his tapestries, William Kentridge creates works that express his interpretation of social changes. The new, previously un-exhibited work to be shown in this exhibition is based on a 19th century map by Luis Thuillier. Measuring 315 x 415cm, this tapestry has been specially designed for Malaga. Its large scale will allow visitors to appreciate the artist's detailed, painstaking work, which reproduces every detail of the original map. The tapestries are done in Marguerite Stephens's workshop in Johannesburgo.
William Kentridge studied Politics and African Studies at the University of Witwatersrand then studied at the Art Foundation in Johannesburg. He subsequently moved to Paris to train at the Jacques Lecoq International Theatre School. Kentridge began his career as an actor and as a theatre producer and director. He is still active in these fields, making use of multimedia technology in his productions. His short animation films have earned him numerous international awards. In 2009 Kentridge directed Woyzeck on the Highveld at the Teatro Cánovas in Malaga, a work based on Georg Büchner's play. In March of last year he directed The Magic Flute by Mozart at La Scala in Milan, which was transmitted live to the Albéniz Cinema in Malaga. This June he is invited artist at Documenta XIII in Kassel. Since the 1990s William Kentridge's work has been exhibited in numerous museums and galleries worldwide. Particularly outstanding has been his participation in Documenta in Kassel, Germany (1997 and 2003), the exhibitions held at the MoMA in New York (1998 and 2010), the Albertina in Vienna (2010) and the Jeu de Paume in Paris (2010). His production of Mozart's The Magic Flute was performed at the Théâtre Royal de la Monnaie in Brussels, the Aix-en-Provence festival and at La Scala in Milan (2011). To coincide with the most important exhibition of his work to date, held at the MoMA in New York, William Kentridge directed The Nose by Shostakovich at the Met in New York in 2010 (also performed at the Aix and Lyons festivals in 2011). Again in 2010, this time at the Louvre in Paris, the artist presented Carnets d'Egipte, a project specially designed for the museum's Egyptian gallery. That same year Kentridge was awarded the prestigious Kyoto Prize for his contribution to the arts and philosophy. In 2011 he was elected an honorary member of the American Academy of Arts and Letters.
The CAC Málaga is a cultural initiative of The City Council of Málaga. Its aim is the promotion and dissemination of 20th and 21st century visual art by bringing the most recent trends in contemporary art to the public, expressed through visual and audiovisual means. The project is an innovative one within Spain as it combines models of private management with the aims and ideals of public administration. The CAC Málaga was officially opened on 17 February 2003 by Their Royal Highnesses the Infanta Cristina and her husband, Iñaki Urdangarín, Dukes of Palma. Without forgetting its support for local and national artists, the CAC Málaga opened with a clearly stated mission that was directed towards international art, with the intention of becoming a reference point both on the national as well as the European circuit. A pioneering new project was thus launched, based on the model of the German "Kunsthalle". According to this model, the Centre has been conceived as a "House of Art" which is dynamic and open to new trends and forms of expression in contemporary art and characterised by its dynamic nature, its emphasis on the dissemination of contemporary art and reflection on the issues involved in this field. The result is a wide variety of activities and a permanent reflection on contemporary art, its sources and influences. The Centre is a place which encourages local participation and places great emphasis on teaching and education. The CAC Málaga holds exhibitions and other events of a pioneering nature within the context of Spain, strengthening the presence of artists who have never been exhibited in this country. It also offers seminars and courses with the intention of broadening knowledge and reflecting on different aspects of contemporary art. The opening of the CAC Málaga has opened up new cultural possibilities in the south of Spain and the centre was specifically created with the intention of becoming an international reference point. Since it was inaugurated, CAC Málaga has acquired a total of 57 works by local, Spanish and international artists, an increase of 15% on the total of the collection. Despite its youth and small budget, the Centre is already ranked amongst the 150 most important art centres and museums in the world. Visit the museum's website at ... http://cacmalaga.org
Posted: 14 Feb 2012 09:39 PM PST
ATLANTA, GA.- Although Faith Ringgold is best known as the originator of the African-American story quilt revival that began in the 1970s, it is her pointed political paintings of the 1960's that are the focus of "American People, Black Light: Faith Ringgold's Paintings of the 1960s," on view at the Spelman College Museum of Fine Art through May 19, 2012. This is Ringgold's first solo exhibition in Atlanta since the High Museum presented the nationally-touring exhibition, "Faith Ringgold: A Twenty-Five Year Survey" in 1990. The Ringgold exhibition is in keeping with the Spelman College Museum of Fine Art's mission to emphasize art by and about women of the African Diaspora. "This year, the season of the Museum's 15th anniversary, we have deliberately highlighted works from our permanent collection including Ringgold's quilt 'Groovin' High,' which is one of the College's signature works," said Andrea Barnwell Brownlee, Museum director. "It is a privilege to present a solo exhibition featuring the work of an artist who has salient links to the permanent collection and whose influential efforts and advocacy for women artists made it possible for such a museum to even exist."
Posted: 14 Feb 2012 09:06 PM PST
Dublin.- In its 10th anniversary year, Draiocht Centre is proud to present "Caroline Donohue: Selected Works to Date", presently on view at the center. "This body of work has been inspired by my ongoing exploration of physical, psychological and poetic space. I am interested in the delicate point where man and the natural world co-exist or in some cases collide. I strive to create places for poetic possibility, a space where time can be suspended, I extend to the onlooker a glimpse of intricate private worlds. Each narrative creates a dialogue between these internal and external conflicting worlds, thus providing a place to dream." Caroline Donohue
Posted: 14 Feb 2012 08:48 PM PST
New York City.- The Asia Society Museum is pleased to present "Princes and Painters in Mughal Delhi, 1707-1857", on view through May 6th. The exhibition brings together 100 masterpieces created during an artistically rich period in India's history. This major international loan exhibition provides a new look at an era of significant change during which Delhi shifted from being the heart of the late Mughal Empire to becoming the jewel in the crown of the British Raj. The exhibition includes jewel-like portrait paintings, striking panoramas, and exquisite decorative arts crafted for Mughal emperors and European residents alike, as well as historical photographs.
"Princes and Painters in Mughal Delhi, 1707–1857 is a reappraisal of a transitional era in India that provided unprecedented impetus for artistic innovation and experimentation," says Melissa Chiu, Asia Society Museum Director and Vice President for Global Art Programs. "We're pleased to be taking a new approach to this magnificent and vibrant work with notable author William Dalrymple and art historian Yuthika Sharma as curators." The exhibition is accompanied by a 264-page illustrated book with essays by William Dalrymple, Yuthika Sharma, Jean Marie Lafont, Malini Roy, Sunil Sharma, and J.P. Losty, published by Asia Society Museum in association with Yale University Press, New Haven and London.
The exhibition focuses on the reigns of the last four Mughal emperors: Muhammad Shah (reigned 1719–1748), Shah Alam II (reigned 1759–1806), Akbar Shah II (reigned 1806–1837) and Bahadur Shah II Zafar (reigned 1837–1857). Having lost military, political and economic power to the newly-arrived British in Calcutta, Delhi continued to maintain its extraordinary cultural, literary, and artistic patronage networks. Artists were supported by the Mughal court in Delhi and the city's ascendant European residents, creating an environment of extraordinary interaction and influence between them and the new world of the British East India Company.
As the British took over the reign of a dispersed empire from the Mughals in 1803, they were enamored of its courtly elegance and sought to participate in its culture as patrons and enthusiasts. Company painting, involving artistic commissions undertaken by Indian artists for officers of the British East India Company, was practiced alongside Mughal court painting, with both patrons utilizing the services of a common group of artists. The exhibition looks at recognized works by Delhi-based court artists Nidha Mal and Chitarman, and less familiar works by artists such as Ghulam Murtaza Khan, Ghulam Ali Khan, and Mazhar Ali Khan. In addition to Mughal miniatures produced under later emperors, this exhibition highlights a selection of so-called Company School paintings produced for Delhi-based personalities such as William Fraser, James Skinner, and Thomas Metcalfe. The exhibition also chronicles the rise in genre portraiture during this era, epitomized by character studies of urban and rural residents of Delhi.
The Asia Society Museum presents groundbreaking exhibitions and artworks, many previously unseen in North America. The Museum is known for its permanent collection of masterpiece-quality works gifted to the Society by Mr. and Mrs. John D. Rockefeller 3rd. Through its exhibitions and related public programs, Asia Society provides a forum for the issues and viewpoints reflected in both traditional and contemporary Asian art. Founded in 1956, Asia Society is a nonprofit educational institution with offices in Hong Kong, Houston, Los Angeles, Manila, Melbourne, Mumbai, New York, San Francisco, Seoul, Shanghai and Washington, D.C. The museum is located at 725 Park Avenue (at 70th Street), New York City. Visit the museum's website at ... http://asiasociety.org/arts/asia-society-museum
Posted: 14 Feb 2012 08:19 PM PST
MANCHESTER, NH.- The Currier Museum of Art's latest special exhibition traces the development of the modernist movement from the 1920's to its impact on artists today. Featuring more than 150 works displayed in three expansive galleries, A New Vision: Modernist Photography reflects the international nature of modernism, and includes American photographers such as Ansel Adams, Edward and Brett Weston, Margaret Bourke-White, Man Ray and Charles Sheeler, as well as European artists including Lotte Jacobi, László Moholy-Nagy, Helmar Lerski and Imre Kinszki. On view at the museum through 13th of May.
Posted: 14 Feb 2012 07:58 PM PST
BERLIN.- From 12th February to 13th May, me Collectors Room Berlin presents the exhibition Gerhard Richter – Editions 1965–2011. Gerhard Richter has secured an international reputation as one of the most important and successful German artists of current times. Although most famous for his paintings, over the last few years his editions have also increasingly become the focus of attention. The Olbricht Collection is probably the only private art collection in the world to contain virtually all of Gerhard Richter's editions, spanning a period from 1965 to 2011. The major retrospective of Richter's oil paintings at the Neue Nationalgalerie, held to coincide with his 80th birthday, presents us with a unique opportunity to unveil a parallel exhibition in Berlin that will place the spotlight on his diverse oeuvre of editions.
Posted: 14 Feb 2012 07:49 PM PST
Montclair, New Jersey.- The Montclair Art Museum ( MAM ) is pleased to present "Look Now: Modern and Contemporary Art from Private Collections", on view at the museum until June 17th. This exhibition offers a rare opportunity to view nearly 40 works by 31 20th- and 21st-century artists who have extended the boundaries of art making. The exhibition includes works from 17 lenders, from northern New Jersey and Manhattan. The New Jersey lenders are from Montclair, South Orange, Summit, Verona, Watchung, and West Caldwell. Look Now is co-curated by Gail Stavitsky, chief curator, and Alexandra Schwartz, curator of contemporary art. The exhibition displays a variety of media—including painting, sculpture, video, photography, drawings, and prints—and a diversity of artists in both style and age, demonstrating the range of what is collectible and highlighting the personal visions of the individual collectors.
Posted: 14 Feb 2012 07:48 PM PST
London.- Panter & Hall are pleased to present "The Scottish Show" on view at the gallery until February 24th, and then at Art At Lloyds Club from February 27th through May 18th. This will be the12th annual exhibition of Scottish art showcasing the very best of contemporary Scottish and 20th century painting. The exhibition demonstrates the richness of the national creative vein, the sheer variety and frankly, raw talent that contemporary Scottish painters have to offer at all ages; a wonderful array of styles, techniques and palettes. Panter & Hall specialise in exhibiting paintings by Twentieth Century and contemporary Scottish artists. "The Scottish Show" is the largest exhibition of its type held in London, and showcases the gallery's regular stable of Scottish painters whilst also offering clients an opportunity to discover artists new to the London market.
The show also includes a selection of important works by major Twentieth Century Scottish masters. This year's highlights include paintings by William Crosbie, John Cunningham, Tom Hutcheson and William Russell Flint. New acquisitions by contemporary painters include works by Chris Bushe, Simon Laurie, Christine Woodside, Charles MacQueen, Charles Simpson, Norman Edgar, Sandy Murphy, Donald Provan, Zarina Stewart-Clarke, Graeme Wilcox and James Fullarton. After eight years, and with more than 100 gallery exhibitions behind them, Panter & Hall has continued to grow apace. With an exciting programme of solo and mixed gallery shows throughout the coming year, they will introduce you to work by fresh young talent alongside the most celebrated names in twentieth century art. Panter & Hall undertake valuations, commission bidding at auction and disposal of estates or individual works of art. Our gallery premises are also available for hire for corporate or private functions. Visit the gallery's website at ... http://www.panterandhall.com
Lloyds Club was founded in 1920 and has occupied various premises, moving as buildings were redeveloped. One former address, Duke's Place, is now under the Aldgate Roundabout and in later years the Club was housed in the Minories and at Carlisle Avenue. In 2009 the Club became part of the Hampden Group, which has a strong presence in the Lloyds Market, and moved to 42 Crutched Friars a grade II* Listed Building. Addresses change, but the Club's raison d'etre remains, providing members with a comfortable and elegant environment in which to relax and entertain clients, colleagues, and friends. Lloyds club recently announced the launch of its brand new arts programme. Collaborating with internationally recognised galleries, artists and curators, they are bringing members an exciting series of shows and art events. Carefully curated to cater to the eclectic tastes of our members, the programme will feature rare, traditional pieces and cutting-edge art for connoisseurs and serious collectors alike. The first exhibition to be hosted by the club, "Iconoclasts", curated by Katie Heller in association with Pertwee, Anderson & Gold and Edel Assanti runs until February 23rd. Visit the club's website at ... http://www.lloydsclub.co.uk
Posted: 14 Feb 2012 07:30 PM PST
The Montreal Museum of Fine Arts, started life in 1860 as the Art Association of Montreal. At that time there was no school of art and no museum, nor even any venue at which exhibitions could be mounted. But Montreal was the most important city in British North America at the time, it was the cradle of the Canadian industrial revolution, the hub of waterway, maritime, and railway transport, and the seat of the country's great financial institutions. However, with few funds and a collection that relied on loans to mount even the most basic exhibition, it took a while to develop anything significant. In 1877 Montreal merchant Benaiah Gibb bequeathed the Art Association a plot of land, a sum of money to be used to build a museum, and a modest collection of European paintings and sculptures which formed the nub of the institution's permanent collection. Located in the business quarter of the city, the Art Gallery inaugurated in 1879 was the first building in Canada to be specifically designed to house a collection of works of art. Every year, the Art Association organized two major events in the gallery, an exhibition of works lent by its members and a Spring Exhibition, devoted to living Canadian artists. From the 1880s, the Art Association regularly purchased works exhibited at the Spring Exhibition, and also works produced by the best students at its school of art, thus building up the foundations of its collection of Canadian art. Various bequests to the museum in the 1990s and early 1900s allowed the collection to grow substantially and after considering extending the existing museum in 1909, the members of the Art Association's council decided instead to buy a site on Sherbrooke Street, in the heart of the very smart 'Square Mile' district (later known as the 'Golden Square Mile') where they built a museum consistent with their aspirations. In line with the wishes of the Art Association's council, the new museum, designed by the architects Edward and William S. Maxwell, was sober and imposing in appearance. It had façades in white marble, a high portico with colonnade, a monumental staircase, and discreet decoration in low relief. The building comprised several large exhibition-rooms with overhead lighting, a lecture-hall, a library, and the art-school studios. The new museum opened in December 1912 and in the following year it welcomed some 50,000 visitors. The institution eventually adopted a name that encompassed all the collections, and in 1948 it became the Montreal Museum of Fine Arts. The 1991 Riopelle retrospective was the first exhibition to be held in the Montreal Museum of Fine Arts' new annex, a major expansion project on the south side of Sherbrooke Street, facing the original building. To design it, the museum called upon the renowned international architect Moshe Safdie, creator of the National Gallery of Canada in Ottawa and the Musée de la civilisation in Quebec. In a colorful history, the museum was the subject of Canada's largest art-theft, when in 1972, fifty or so works by, amongst others, Rubens, Rembrandt, Corot, and Delacroix, were stolen and never recovered . From those first 50,000 visitors in 1912, numbers have now risen to well over 5,000,000 every year. Visit the museum's website at … www.mbam.qc.ca
Since 1860, the Montreal Museum of Fine Arts' collection has grown to almost 38,000 objects, including paintings, sculptures, works on paper, prints and drawings, photographs and decorative art objects, from Antiquity to the present day. Year after year, the Museum continues to acquire new works to enrich its collections of Ancient Cultures, European Art, Canadian Art, Inuit and Amerindian Art, Contemporary Art and Decorative Arts. The Museum has a rich collection of paintings by European masters, as well as sculptures and objects from the Middle Ages to the present day, from 14th-century religious scenes to grisaille paintings by Mantegna. Hans Memling's "Portrait of a Young Man" contrasts with the austerity of an El Greco portrait, while the collection of Baroque art features French, Italian, Dutch and Flemish works with paintings by Nicolas Poussin, Salvador Rosa, Rembrandt, Emmanuel de Witte ("Interior with a Woman Playing a Virginal") and Pieter Bruegel the Younger. Works from the 18th century include portraits by Largillière, Hogarth and Gainsborough, with Italian masters represented by Canaletto, Tiepolo and Pellegrini. Most of the works in the 19th-century collection were gifts or bequests from prominent Montreal families and reflect their preference for painters of the Barbizon School such as Corot and Daubigny. A magnificent Daumier ("Nymphs Pursued by Satyrs"), and the striking Tissot painting "October" are included with Impressionist and Post-Impressionist works by Renoir, Sisley, Pissarro, Monet and Cézanne. The collection of early 20th-century art counts major artists such as Pablo Picasso, Henri Matisse, Lyonel Feininger, Georges Rouault, Salvador Dalí and Otto Dix, not to mention a fine collection of small bronzes. The Museum's contemporary pieces range from the clean geometric abstraction of Guido Molinari and the Plasticiens to the magic realism of Alex Colville's "Church and Horse". The collection includes Canadian works by internationally acclaimed Montreal artist Betty Goodwin, as well as minimalist sculpture, installation pieces and other recent art forms. The Museum's collection of international contemporary art includes works by American artists such as Hans Hofmann, Sam Francis, Robert Rauschenberg, Alexander Calder, Louise Nevelson and Leon Golub. European artists are represented by Gerhard Richter, Jorg Immendorff, Rebecca Horn, Barry Flanagan and Stephan Balkenhol. A permanent exhibition at the Montreal Museum of Fine Arts is devoted to Napoleon and the arts of the First Empire, thanks to a major gift (the collection of works assembled by the late Ben Weider). The exhibition includes both relics (clothes worn by Napoleon) alongside art works showing the emperor throughout his life.
Amongst the 4 temporary exhibitions currently on show at the Montreal Museum Of Fine Arts', "19th-Century French Photographs from the National Gallery of Canada" (until 20th March 2011) features approximately eighty works from 1840 to 1900 by some of the major practitioners of photography in France during that time; Édouard Baldus, Maxime du Camp, J. B. Greene, Gustave Le Gray and Nadar as well as several examples of Eugène Atget's work from the early twentieth-century. The exhibition will highlight the variety of techniques that were explored: daguerreotypes, salted paper prints, albumen silver prints and photogravures. All works are drawn from the National Gallery of Canada's extensive collection of nineteenth-century French photography. "The Earth is Blue Like an Orange" is the second presentation of the collection of contemporary art in the reorganized underground galleries of the Montreal Museum of Fine Arts and brings together some thirty works, most of them recently acquired, some on loan, notably from Loto-Quebec, informed with a sense of the marvellous. and soaring into the world of the imagination. These works, paintings, sculptures, photographs, installations and videos by Canadian, American and Japanese artists open vistas in which viewers can suddenly, if briefly, look differently at the world. The exhibition is on view until August 28, 2011. The museum is also showing the travelling exhibition "The Warrior Emperor and China's Terracotta Army" featuring some 300 artefacts, including the famous life-size terracotta soldiers of the first Qin Emperor's army to June 26, 2011.
Posted: 14 Feb 2012 07:29 PM PST
PARIS - Drawing on its remarkable collection of Andrea Mantegna's ( 1431-1506 ) paintings (by far the largest outside Italy), completed by exceptional loans from other French and international collections, the Louvre has mounted France's first major retrospective of this foremost Renaissance artist. The exhibition endeavours to trace the main stages of Mantegna's career, through works in different techniques. It recalls the influences that marked his production and how rapidly his reputation spread. The Louvre's major retrospective of the work of one of great masters of the Italian Renaissance: Andrea Mantegna. On exhibition 26th September through 5th January, 2009.
Posted: 14 Feb 2012 07:28 PM PST
New York City - Monya Rowe Gallery announces a solo exhibition by Larissa Bates featuring painting, installation and video. Taking the title, Just Hustle and Muscle, from a wrestling t-shirt bearing the slogan "No Fat on the Mat, Just Hustle and Muscle, Wrestle", Bates continues her investigation with gender identity and social politics by using the iconic image of a young wrestler to represent both the masculine and feminine characteristics of a male. On view 4 September through 18 October, 2008.
Posted: 14 Feb 2012 07:27 PM PST
Liverpool.- The Walker Art Gallery is proud to present "Art in Revolution: Liverpool 1911", an exploration of a ground-breaking exhibition held in Liverpool in 1911 which displayed international Post-Impressionist artworks alongside local avant-garde artists. Featuring work by van Gogh, Matisse, Gauguin and Signac, "Art in Revolution: Liverpool 1911" looks at the relationship between the pioneering exhibition 100 years ago and Liverpool's radicalism and will be on view from June 24th through September 25th
"Art in Revolution: Liverpool 1911" celebrates the pioneering exhibition; 'The Sandon Studios Society exhibition of Modern Art' including work by the Post-Impressionists, which ran at the Bluecoat (formerly known as the Liberty Buildings), Liverpool, from 4 March to 1 April 1911. Inspired by Manet and the Post-Impressionists, the writer and artist Roger Fry's controversial London exhibition of 1910, The Sandon Studios Society brought about 50 paintings and drawings from the show to Liverpool the following year. The society's exhibition was the first time that such a large number of mainland European Post-Impressionist works were shown in the UK outside London and the first time anywhere alongside their British counterparts.
Highlights include "Sister of Charity" by Paul Gauguin, "Saint-Tropez le sentier de douane" by Paul Signac and "Purple Beech Trees near Melun" by Henri Matisse. It also features two delicate drawings and a watercolour by Vincent van Gogh. The exhibition also considers both the wider socio-political context of the 1911 exhibition and the art establishment's reaction to it. In the summer of 1911 Liverpool was gripped by mass social unrest and strike action which peaked in August, when British troops were dispatched to deal with protesters on the streets and a warship was stationed in the Mersey. The drastic actions of the then home secretary Winston Churchill, which resulted in violent clashes and a number of deaths, have led some historians to conclude that events in Liverpool during 1911 were the nearest the UK has come to a revolution.
"The works by the European Post-Impressionists represent a momentous shift in the Western art world, which served to encourage radical British artists like those of The Sandon Studios Society to champion their work and try and emulate it. The inimitable style of Gauguin continues to fascinate audiences today but in the early 20th century it was a brave and startling sight. The Sandon Studios Society showed considerable foresight in bringing his work and others like him to wider public attention." Art in Revolution: Liverpool 1911 features archival material (photographs, film and ephemera) to illustrate this dramatic period in the city's history and provide a backdrop to The Sandon Studios Society's visionary exhibition.
For the Society, the 1911 exhibition was an opportunity to assert their own artistic values and distance themselves from the 'art establishment' and possibly even be the catalyst for an 'art revolution'. A section of "Art in Revolution: Liverpool 1911" focuses on this radical group; their members and their beliefs. Featuring six of his works, there is a special focus on Albert Lipczinski, a German-born Polish emigrant who was taught by Augustus John at the Liverpool University Art Sheds around 1902. Lipczinski's bohemian lifestyle and political connections make him an interesting member of the group and a reflection of their rebellious nature.
The exhibition also features British artists who the society admired and featured in their exhibition. Highlights include "The Horseshoe Bend of the River" by Philip Wilson Steer, "Portrait of Sir John Brunner" by Augustus John, John Lavery's portrait of the Russian ballerina Anna Pavlova .The rest of the exhibition was composed of works by Sandon members, including and several paintings and prints by James Hamilton Hay. The relationship between the Walker Art Gallery (the 'establishment' of the time) and the society is explored. The gallery hosted the annual Liverpool Autumn Exhibition which set the standard for contemporary art and was often in conflict with the free-thinking society. However by 1911 there were signs of change at the gallery. The exhibition includes photographic prints from the Northern Photographic Exhibition, the Walker's own 1911 exhibition. This relatively new media, which was derided by Gauguin was an interesting choice for such a supposedly traditional institution. It also includes paintings acquired by the Gallery in 1911 such as the impressionist view of St Paul's from the River, Morning Sun by Le Sidaner.
The Walker Art Gallery is an art gallery in Liverpool, which houses one of the largest art collections in England, outside of London. It is part of the National Museums Liverpool group, and is promoted as "the National Gallery of the North" because it is not a local or regional gallery but is part of the national museums and galleries administered directly from central government funds. The Walker Art Gallery's collection dates from 1819 when the Liverpool Royal Institution acquired 37 paintings from the collection of William Roscoe, who had to sell his collection following the failure of his banking business, though it was saved from being broken up by his friends and associates. In 1843 the Royal Institution's collection was displayed in a purpose-built gallery next to the Institution's main premises. The collection grew over the following decades: in 1851 Liverpool Town Council bought Liverpool Academy's diploma collection and further works were acquired from the Liverpool Society for the Fine Arts, founded in 1858. The competition between the Academy and Society eventually led to both collapsing. William Brown Library and Museum opened in 1860, named after a Liverpool merchant whose generosity enabled the Town Council to act upon an 1852 Act of Parliament which allowed the establishment of a public library, museum and art gallery, and in 1871 the council organised the first Liverpool Autumn Exhibition, held at the new library and museum.
The success of the exhibition enabled the Library, Museum and Arts Committee to purchase works for the council's permanent collection, buying around 150 works between 1871 and 1910. Works acquired included "And when did you last see your father?" by WF Yeames and "Dante's Dream" by Dante Gabriel Rossetti. Designed by local architects Cornelius Sherlock and H.H. Vale, the Walker Art Gallery was opened on 6 September 1877 by the 15th Earl of Derby. It is named after its founding benefactor, Sir Andrew Barclay Walker (1824-1893), a former mayor of Liverpool and wealthy brewer. In 1893 the Liverpool Royal Institution placed its collection on long-term loan to the gallery and in 1948 presented William Roscoe's collection and other works. This occurred during post-war reconstruction when the gallery was closed, re-opening in 1951. Extensions to the gallery were opened in 1884 and 1933 (following a two-year closure) when the gallery re-opened with an exhibition including Pablo Picasso and Paul Gauguin. In 2002 the gallery re-opened following a major refurbishment. The Walker Art Gallery houses a collection including Italian and Netherlandish paintings from 1300–1550, European art from 1550–1900, including works by Rembrandt, Nicolas Poussin and Edgar Degas, 18th and 19th century British art, including a major collection of Victorian painting and many Pre-Raphaelite works, a wide collection of prints, drawings and watercolours, 20th century works by artists such as Lucian Freud, David Hockney and Gilbert and George and a major sculpture collection. The first John Moores Contemporary Painting Prize exhibition was held in 1957. Sponsored by Sir John Moores, founder of Littlewoods, the competition has been held every two years ever since and is the biggest painting prize in the UK. Visit the museum's website at ... http://www.liverpoolmuseums.org.uk
Posted: 14 Feb 2012 07:26 PM PST
LIVERPOOL, UK - This exhibition introduces William Hesketh Lever (1851-1925), later the first Viscount Leverhulme, as a notable collector of British watercolours and drawings. It traces Lever's taste and his relationship with some of the most renowned art dealers of his day. The exhibition is in three sections. On view 28 June to 9 November 2008.
Posted: 14 Feb 2012 07:25 PM PST
WASHINGTON, DC.- Pousette-Dart: Predominantly White Paintings, an exhibition of important postwar (1949–1954) paintings by Richard Pousette-Dart (1916–1992), will be on view at The Phillips Collection from June 5 to Sept. 12, 2010. In 1955 at Betty Parsons Gallery, Richard Pousette-Dart exhibited a cycle of paintings that presented a radically innovative approach to the picture plane. Utilizing a restrained palette of graphite drawn on titanium white grounds, he realized an exceptional range of tonality and emotion. Through the variability of the drawn line and the occasional applications of tints of color, the artist achieved both depth and an effect of ethereal luminosity.
Posted: 14 Feb 2012 07:24 PM PST
Pittsburgh, PA - Matisse was 81 when he created the colorful and joyous The Thousand and One Nights, 1950, with its fanciful magic lamps, dancing plant forms, and hearts. The design was inspired by Scheherazade, the heroine of the Arabian Nights, a centuries-old Middle-Eastern epic tale. The large paper cutout, a visitor favorite, is on view for a limited amount of time because of its fragile nature.
Posted: 14 Feb 2012 07:23 PM PST
NEW YORK, NY.- In the 1860s and 1870s, long before the embrace of collage techniques by avant-garde artists of the early 20th century, aristocratic Victorian women were experimenting with photocollage. Playing with Pictures: The Art of Victorian Photocollage, on view at The Metropolitan Museum of Art through May 9, 2010, is the first exhibition to comprehensively examine this little-known phenomenon. Whimsical and fantastical Victorian photocollages, created using a combination of watercolor drawings and cut-and-pasted photographs, reveal the educated minds as well as accomplished hands of their makers.
With subjects as varied as new theories of evolution, the changing role of photography, and the strict conventions of aristocratic society, the photocollages frequently debunked stuffy Victorian clichés with surreal, subversive, and funny images. Featuring 48 works from public and private collections—including many that have rarely or never been exhibited before—Playing with Pictures will provide a fascinating window into the creative possibilities of photography in the 19th century.
"In other recent exhibitions at the Metropolitan, we've shown masterpieces of 19th-century British photography by the period's most prominent professionals and serious amateurs (almost always men), whose works were often displayed at the annual salons of the photographic societies and sold by printsellers throughout England and Europe," commented Malcolm Daniel, Curator in Charge of the Department of Photographs. "What is so exciting about this exhibition is that we see a different type of artist—almost exclusively aristocratic women—using photography in highly imaginative ways, and creating pictures meant for private pleasure rather than public consumption. It is an aspect of photography's history that has rarely been seen or written about."
In England in the 1850s and 1860s, photography became remarkably popular and accessible as people posed for studio portraits and exchanged these pictures on a vast scale. The craze for cartes de visite—photographic portraits the size of a visiting card—led to the widespread hobby of collecting small photographs of family, friends, acquaintances, and celebrities in scrapbooks. Rather than simply gathering such portraits in the standard albums manufactured to hold cartes de visite, the amateur women artists who made the photocollages displayed in Playing with Pictures cut up these photographic portraits and placed them in elaborate watercolor designs in their personal albums.
With sharp wit and dramatic shifts of scale akin to those Alice experienced in Wonderland, Victorian photocollages stand the rather serious conventions of early photography on their heads. Often, the combination of photographs with painted settings inspired dreamlike and even bizarre results: placing human heads on animal bodies; situating people in imaginary landscapes; and morphing faces into common household objects and fashionable accessories. Such albums advertised the artistic accomplishments of the aristocratic women who made them, while also serving as a form of parlor entertainment and an opportunity for conversation and flirtation with the opposite sex.
Playing with Pictures showcases the best Victorian photocollage albums and loose pages of the 1860s and 1870s, on loan from collections across the United States, Europe, and Australia, including the Princess Alexandra Album lent by Her Majesty Queen Elizabeth II. Thirty-four photocollage album pages will be shown in frames on the wall and 11 separate albums will be displayed in cases, open to a single page. These works will be accompanied by "virtual albums" on computer monitors that allow visitors to see the full contents of the albums displayed nearby. As an introduction, the exhibition also includes two carte-de-visite albums of the period and a rare uncut sheet of carte-de-visite portraits from 1859.
The exhibition is accompanied by a catalogue by Elizabeth Siegel, focusing on the themes and social meanings of photocollage, as well as the avant-garde character of the art form. It features essays by Elizabeth Siegel, Patrizia Di Bello, and Marta Weiss; contributions by Miranda Hofelt; and 140 illustrations. The catalogue is published by Yale University Press for The Art Institute of Chicago. It sells for $45, hardcover, and is available in the Museum's bookshops.
Playing with Pictures was on view at The Art Institute of Chicago prior its presentation at the Metropolitan Museum. The exhibition will travel to the Art Gallery of Ontario, Toronto, June 5 - September 5, 2010.
The exhibition will be accompanied by a variety of educational programs, including a Sunday at the Met program on March 7 with talks by Elizabeth Siegel and Ann Bermingham, professor, Department of Art and Architecture, University of California; gallery talks by Malcolm Daniel; film screenings; a teacher workshop; and programs for both English- and Spanish-speaking families; as well as programs for visitors with disabilities.
Playing with Pictures: The Art of Victorian Photocollage is curated by Elizabeth Siegel, Associate Curator of Photography at The Art Institute of Chicago. The exhibition is organized at the Metropolitan Museum by Malcolm Daniel. Visit The Metropolitan Museum at : www.metmuseum.org/
Posted: 14 Feb 2012 07:22 PM PST
LONDON.- Early last year, the Polaroid Corporation ceased producing its iconic film. The 9th October 2009 will see the final "Use by" or Expiration date of the last batch of Polaroid film manufactured. The exhibition at Atlas Gallery features a wide selection of Polaroid prints by photographers who have either worked directly with the Polaroid Corporation as part of their research program or who have become famous for the quality of their Polaroid prints either alongside or independent from their traditional camera-based work. It thus traces the development and use of this unique medium up to the present day.
Posted: 14 Feb 2012 07:21 PM PST
LONDON.- An exhibition of work by celebrated Brazilian-born pop artist Romero Britto will open in the UK this November where the artist will unveil new work including a series of portraits of members of the British Royal family. The renowned Miami-based artist, who counts Elton John, Bill Clinton, Madonna, Whitney Houston, HRH Prince Charles, King Juan Carlos I and Queen Sofia, Lili and Howard Buffet, Carlos Slim, Eileen Guggenheim, Andre Agassi and Hilde and Klaus Schwab as fans and collectors, will fly into London for the opening of the Central London exhibition at Imitate Modern Gallery. Modern Icons will celebrate modern day pop culture icons, including The Duke and Duchess of Cambridge and HM Queen Elizabeth II, alongside portraits of The Pope, Chairman Mao, Henry Matisse, Brigitte Bardot and Jesus. The three-part exhibition will feature four original oil-on-canvas Royal portraits as well as a further series of numbered, limited edition prints and other collectibles including Mixed media fine art sculptures, and collectibles.
Posted: 14 Feb 2012 07:20 PM PST
FRANKFURT.- The Städel Museum will show the first monographic exhibition on Sandro Botticelli (1444/45–1510) in the German-speaking world from 13 November 2009 to 28 February 2010. Taking the artist's monumental Idealized Portrait of a Lady, one of the Städel Museum collection's highlights, as its starting point, the exhibition presents numerous works from all productive periods of this great master of the Renaissance in Italy about 500 years after his day of death (17 May 1510). The exhibition opens with portraits and allegorical paintings that illustrate the degree of sophistication with which Botticelli drew on this highly developed genre and enriched it with new impulses. While the second chapter centers on his famous mythological representations of goddesses and heroines of virtue, the third part is dedicated to his abundant religious oeuvre. With a total of more than forty works by Botticelli and his workshop, the show presents a comprehensive selection of his work surviving worldwide.
Forty further exhibits, among them works by such contemporaries as Andrea del Verrocchio, Filippino Lippi, and Antonio del Pollaiuolo, will allow to understand Botticelli's precious creations in the historical context of their genesis. The presentation is supported by outstanding loans from the most important collections of paintings in Europe and the United States. These include the Uffizi Gallery in Florence, the Louvre in Paris, the National Gallery London, the Gemäldegalerie in Berlin, and the Old Masters Picture Gallery in Dresden, as well as the Metropolitan Museum in New York and the National Gallery of Art in Washington.
Sandro Botticelli's painting has become a landmark of Italian Renaissance. The delicate beauty, elegant grace, and unique charm of his frequently melancholic figures make his work the epitome of Florentine painting in the Golden Age of Medici rule under Lorenzo the Magnificent. Initially trained as a goldsmith and then apprenticed to Fra Filippo Lippi, Sandro Botticelli soon ranked among the most successful painters in Florence in the second half of the quattrocento next to Verrocchio, Ghirlandaio, and the Pollaiuolo brothers. From 1470 on, he received prestigious public commissions and established himself as a painter of large altarpieces. Throughout his life, Botticelli was in the ruling Medici family's and their supporters' good graces. Fulfilling their wishes for innovative decorative paintings, the master could not only rely on his personal knowledge of Florentine traditions and of ancient art, but also on definite suggestions and concepts from the circle of humanists gathered around Lorenzo de' Medici. Held in equally high esteem as both a panel and a fresco painter, Botticelli enjoyed a high standing beyond his native Florence and was thus one of the artists summoned to decorate the walls of the Sistine Chapel in Rome by Pope Sixtus IV in 1481. It was particularly his much-discussed late work that brought out the characteristic features of his original style in an extreme manner. Guided by the art of drawing – the exhibition includes an outstanding selection of preparatory sketches – Botticelli followed his penchant for presenting his figures with sharp contours, strong movements, and abundant gestures, grounding his compositions on textures of lines and surfaces rather than on spaces and volumes. In this respect, his painting had already stood out against his competitors' works and current theoretical demands in his early years. This is one of the reasons why art-historical research, which has devoted a vast number of major monographs and work studies to Botticelli since the beginnings of the twentieth century, still assigns a special position to the artist without fail.
The starting point and center of the cross-genre exhibition is provided by a main work from the collection of the Städel Museum not only very well known in Frankfurt: the master's idealized portrait of a young lady, who is probably to be identified with Simonetta Vespucci, the beloved jousting tournament lady of Lorenzo's brother Giuliano de' Medici. This portrait is less aimed at a true-to-life likeness of the subject than at the ideal of a woman characterized by perfect beauty and equally perfect virtuousness, an ideal also reflected in the poetry of that time. Such an ideal defines itself not least through its rapport with antiquity: thus, the beautiful female wears a piece of jewelry round her neck which is obviously based on an ancient cameo showing Apollo and Marsyas, which will also be on display in the exhibition. In the Städel Museum, Botticelli's famous portrait of Giuliano from the National Gallery of Art in Washington will offer itself for comparison with his beloved Simonetta's likeness. Both paintings make up the center of the first part of the presentation, which is devoted to Botticelli's art of portraiture and, drawing on prominent examples, illustrates the interplay between social norm and artistic form as well as the different genre conventions of the male and the female portrait.
The second chapter of the exhibition deals with Botticelli's mythological pictures, which number among the artist's most original creations. The Uffizi Gallery in Florence, which safeguards the most comprehensive and significant collection of works by the artist in the world, supports the exhibition in Frankfurt with one of its most popular works among others loans: the famous Pallas and the Centaur, one of Botticelli's monumental mythological paintings, to be seen in the context of Medicean self-presentation. Together with Botticelli's Primavera, it once adorned the walls of a bedchamber in a Florentine palace owned by the family of bankers. We see Pallas taming the wild centaur indulging in his passions through her wisdom and virtue. The control and cultivation of emotions was a central issue in ancient philosophy and – combined with Christian thought – of the Renaissance, too; among the painters of the time, Botticelli offered himself as a congenial interpreter for such subjects. The political dimension and the reference to the patron family are symbolically present in the form of two intertwined diamond rings on Pallas's gown, which were an emblem of the Medici family. Another great female figure featuring in the Florentine artist's oeuvre is the goddess Venus. His life-size Venus from the Gemäldegalerie in Berlin is a repetition of the central figure of (the unloanable) Birth of Venus in the Uffizi Gallery, which he isolated from the context of the scene and set off against a black background. This work is one of the first monumental nudes of postancient painting.
The third and last section of the exhibition is devoted to Botticelli's religious pictures. Next to his portraits and mythological works, Botticelli has owed his continuing fame to his Madonnas. According to theological thinking, Mary stands out as the ideal woman among the saints: she is the most virtuous and the most beautiful female, the bride of the Song of Songs. Besides many other works spanning from Botticelli's earliest works still revealing the influence of his teacher Fra Filippo Lippi to examples of his late style, the exhibition in Frankfurt shows one of the artist's most beautiful Madonnas: The Virgin Adoring the Sleeping Christ Child. The Madonna's physiognomy of this painting from the National Gallery of Scotland in Edinburgh, whose brilliant colorfulness has only been uncovered through restorative measures some years ago, is rendered in the vein of the same female model which the painter developed for his idealized portraits and pictures of ancient goddesses. This chapter also includes a number of narrative pictures, such as a removed Annunciation fresco once to be found in the vestibule of the hospital of San Martino alla Scala in Florence and preserved in the Uffizi Gallery today. Not only the enormous size of the fresco (243 x 550 cm), but also its qualities as a painting testify to Botticelli's extraordinary importance in this medium. Four panels depicting scenes from the life of St. Zenobius, an early bishop and patron of Florence, offer a further highlight, with which the exhibition ends. Usually scattered to museums in London, Dresden, and New York, they have been brought together for the first time in Frankfurt again. Ranking not only among his most significant late works, but also among his very last, the panels are to be considered as Botticelli's legacy as an artist.
Posted: 14 Feb 2012 07:19 PM PST
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