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[Historic Motor Racing News] Grand Prix de Pau Historique 2012

Historic Racing News has posted a new item;

Grand Prix de Pau Historique 2012
Grand Prix de Pau Historique, an appointment for all motor sport enthusiasts at
this 2.760m street circuit in the city of Béarn,  5 – 6 May 2012. Last year,
 the event was organized by the Peter Auto organisation and was turned into a
success overnight. Peter will now organize the event for the 2nd time [...]

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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 Art Gallery of Ontario ~ The World’s Largest Collection Of Canadian Art ~ Plus International Masterpieces

Posted: 29 Apr 2012 08:04 PM PDT

artwork: The Art Gallery of Ontario in Toronto.  Following substatntial rebuilding and expansion work designed by Pritzker Prize winning architect Frank Gehry, AGO reopened in 2008. The Museum is now one of the finest in North America, and contains the largest collection of Canadian Art in the world.

The Art Gallery of Ontario (AGO) is located in Toronto's downtown Grange Park district. With almost 50,000 square meters of physical space, the AGO is the 10th largest art museum in North America. Its collection includes more than 70,000 works spanning the 1st century to the present-day. The museum was originally founded in 1900 by a group of private citizens, who incorporated the institution as the Art Museum of Toronto. The museum was renamed the Art Gallery of Toronto in 1919, and subsequently the Art Gallery of Ontario in 1966. The current location of the AGO dates to 1910, when the gallery was willed the estate known as the Grange, a historic Georgian manor built in 1817, upon the death of Goldwin Smith. In 1911, the museum leased lands to the south of the manor to the City of Toronto in perpetuity so as to create Grange Park. In 1920, the museum also allowed the Ontario College of Art to construct a building on the grounds. The museum's first formal exhibitions were opened in the Grange in 1913. In 1916, the museum decided to begin construction of a small portion of a planned new gallery building. Designed by Pearson and Darling in the Beaux-Arts style, excavation of the new facility began in 1916, and the first galleries opened in 1918. Expansion throughout the 20th century added various galleries, culminating in 1993, which left the AGO with 38,400 square meters of interior space. Under the direction of its CEO Matthew Teitelbaum, the AGO embarked on a $254 million (later increased to $276 million) redevelopment plan by Pritzker Prize winning architect Frank Gehry in 2004, called Transformation AGO. The new addition would require demolition of the 1992 Post-Modernist wing by Barton Myers and Kuwabara Payne McKenna Blumberg Architects (KPMB). Although Frank Gehry was born in Toronto, and as a child had lived in the same neighborhood as the AGO, the expansion of the gallery represented his first work in Canada. Gehry was commissioned to expand and revitalize the AGO, not to design a new building; as such, one of the challenges he faced was to unite the disparate areas of the building that had become a bit of a "hodgepodge" after six previous expansions dating back to the 1920s. Kenneth Thomson was a major benefactor of Transformation AGO, donating much of his art collection to the gallery as well as providing $50 million towards the renovation. Thomson died in 2006, two years before the project was complete. The AGO reopened in November 2008, with the transformation project having increased the art viewing space by approximately 50%. Notable elements of the expanded building include a new entrance aligned with the gallery's historic Walker Court and the Grange, and a new four-storey south wing, clad in glass and blue titanium, overlooking both the Grange and Grange Park. The most characteristic outward-facing element of the design however is a new glass and wood façade called the Galleria Italia (named in recognition of a $13 million contribution by 26 Italian-Canadian families). The completed expansion received wide acclaim, notably for the restraint of its design. As well as the galleries, AGO contains world-class conservation, research and education facilities as well as a restaurant, café, bar and museum shop. Visit the museum's website at …

artwork: Pablo Picasso - "La Soupe", circa 1902 - Oil on canvas - 38.5 x 46.0 cm. Gift of Margaret Dunlap Crang - © Art Gallery of Ontario, Toronto

The Art Gallery of Ontario includes the world's largest collection of Canadian art, which depicts the development of Canada's heritage from pre-Confederation to the present. The Canadian Collection includes major works from 19th century Canadian artists, with a particular emphasis on the paintings of Cornelius Krieghoff, the Group of Seven and their contemporaries, through strong holdings of the work of Tom Thomson, Lawren S. Harris, J.E.H. Macdonald, David Milne and James Wilson Morrice to significant paintings by post-war artists Paul-Emile Borduas and William Kurelek. The AGO has one of the finest collections of Inuit art in the world. The inaugural exhibition of Inuit art in the Samuel and Esther Sarick Gallery focuses on transformation, which occurs during the traditional spiritual practice of shamanism and when the ancient culture of the North came into contact with Southern newcomers. Over 500 sculptures are also exhibited in the Inuit Visible Storage Gallery on the concourse level. Almost 1,500 works (plus a further 1,000 projectile points) covering 11,000 years of history are on display in the AGO's Canadian galleries. The museum also has an impressive collection of European art, including the most important collection of Medieval and Renaissance decorative arts outside Europe and the United States, featuring major works by Tintoretto, Gian Lorenzo Bernini, Peter Paul Rubens, Rembrandt van Rijn, Thomas Gainsborough, Anthony van Dyck, Emile Antoine Bourdelle, and Frans Hals, and works by other renowned artists such as Pablo Picasso, Auguste Rodin, Vincent Van Gogh, and Edgar Degas. In addition to these, the AGO also has one of the most significant collections of African and Oceanic art in North America, and a contemporary art collection illustrating the evolution of modern artistic movements in Canada, the United States, and Europe, including works by Andy Warhol, Claes Oldenburg, and Jenny Holzer. The AGO is home to the Henry Moore Sculpture Centre, which houses the largest public collection of works by this British sculptor. Moore's bronze work, Two Large Forms (1966–1969) greets visitors at the museum's north façade. The AGO also have significant collections of photographs and prints and drawings. A key component of the collection was newspaper tycoon, Ken Thomson's gift of his art collection, the most significant private art collection in Canada, which added 2,000 outstanding works, including signature works by Canadian artists from the 19th to mid-20th century, with some 300 works from the Group of Seven and Tom Thomson. The collection also includes a remarkable 145 paintings by the 19th century artist Cornelius Krieghoff and 100 works by the early 20th century luminary David Milne, as well as key paintings by Paul Kane, Paul-Emile Borduas and William Kurelek. The gift also includes a compelling collection of 130 mainly British ship models from the 17th century through the Napoleonic era to the 20th century.

artwork: Walter Trier, 1914 - A satirical map of Europe drawn by Walter Trier at the beginning of World War I. Image courtesy of  © Christel Gerstenberg/CORBIS

About The Walter Trier Gallery - Devoted to the work of Walter Trier, this gallery features small rotating exhibitions of the artist's watercolours, drawings, paintings and sculpture along with satirical works on paper by other artists from the AGO collection. Walter Trier was born in Prague, Czechoslovakia in 1890. He moved to Berlin at age 20 where he became known for his caricatures and childrens' book illustrations. Trier fled to England from Nazi Germany in 1936 and eventually immigrated to Canada in 1947. In Toronto he illustrated books and designed posters for Canada Packers Limited. He died in Collingwood, Ontario in 1951. In 1976 the AGO received a gift from the Trier-Fodor Foundation of over 1100 works by Trier and 345 folk toys. The gift was accompanied by an endowment to support the acquisition of humorous, satirical and illustrative art. Trier was born to a middle class German-speaking Jewish family in Prague. In 1905, Trier entered the Industrial School of Fine and Applied Arts; he later moved to the Prague Academy. In 1906, he entered the Royal Academy, Munich, where he studied under Franz Stuck and Erwin Knirr. In 1910, Trier moved to Berlin where he spent most of his career. An anti-fascist, Trier's cartoons were bitterly opposed by the Nazis. In 1936 he emigrated to London. During the Second World War, Trier helped the Ministry of Information produce anti-Nazi leaflets and political propaganda. He and his wife became British citizens in 1947, the same year that they moved to Canada to be near their daughter, who had moved to Toronto with her husband in the late thirties.

artwork: The Maharaja's 1934 Rolls-Royce from 'Maharaja, the Splendour of India's Royal Courts', at the Art Gallery of Ontario until April 3rd 2011.  It was custom-built for His Highness Thakore Sahib Dhamendrasinhji Lakhajiraj of Rajkot.

Among a number of exhibitions currently on show at the AGO, "Black Ice: David Blackwood - Prints of Newfoundland" until June 12th 2011 features one of Canada's leading printmakers and popular artists. This exhibition showcases some iconic works for the first time, revealing the richness of Blackwood's imagination and his working methods. Blackwood has been telling stories about Newfoundland in the form of epic visual narratives for 30 years. To bring this narrative to life, the exhibition will situate Blackwood's prints in time and space by looking at the history of Newfoundland and the people who settled there. Blackwood explores the timeless theme of the struggle for survival between humans and nature in one of the most exposed and hostile environments on earth. He depicts a town and a centuries-old way of life that has disappeared. "Paterson Ewen: Inspiration and/et Influence" until May 22nd 2011 showcases the work of this towering figure in the recent history of Canadian art. Since his death in 2002 there has not been a major showing of his work. When he made the transition from painting on canvas to painting on plywood in the early 1970s he seemed, to many who had followed his work, to have bridged an extraordinary divide: between painting and sculpture, and between representation of images and the actual process of making them. His work subsequently influenced and encouraged many artists – to experiment, to engage with personal subject matter and reintroduce representational appearances. This exhibition highlights the major works in the AGO's authoritative collection of Ewen's work, yet places this collection in a larger context, displaying, for the first time, works by Ewen alongside artwork by the artists and movements that influenced and encouraged him. "Where I was born… : A Photograph, a Clue, and the Discovery of Abel Boulineau", from March 5 to August 21, 2011 features the work of a completely unknown French photographer and his photographs of French regional life at the turn of the 20th century. The group of 1,702 gelatin silver printing out paper prints was acquired by the AGO as the work of Émile Fréchon but recent research has revealed the work to be by Abel Boulineau, a painter and teacher at the Association polytechnique in Paris, not known until now to have made photographs. It is unclear how or why Boulineau learned photography, but every summer from 1897 to 1916, he traveled through different regions of France taking photographs. Many of the photographs he made became the basis for paintings. He was drawn to similar subjects no matter where he traveled: to washerwomen and tradespeople, shopkeepers and children, markets and villages, as well as the landscape. Through a focused selection of more than 70 works in the AGO's Tanenbaum Gallery, visitors will find out how they came to be attributed to Boulineau and will discover Boulineau's gem-like photographs of the regions of Brittany, Aquitaine and the Rhône-Alps. On now until April 3, 2011 "Maharaja: The Splendour of India's Royal Courts" brings to Canada for the first time more than 200 spectacular works of art created for India's great kings, including paintings, furniture, decorative arts, jewelry and even a custom made Rolls Royce. These magnificent objects chronicle the many aspects of royal life and celebrate a legacy of cultural patronage by generations of maharajas, both in India and in Europe.

Cantor Arts Center at Stanford University to display “Pop to Present”

Posted: 29 Apr 2012 08:03 PM PDT

artwork: Roy Lichtenstein (USA, 1923-97) - 'Blue Floor,' 1990 - Lithograph, woodcut, and screenprint on 4-ply paper,25/60 from series Interior. Published by Gemini G.E.L. Corlett 254 - 51 3/4 x 77 1/2 inches - Given in honor of Gerhard Casper, President Stanford University (1992-2000), by Mr. and Mrs. John Freidenrich.  - © Estate of Roy Lichtenstein

Stanford, California - Cantor Arts Center at Stanford University announces "Pop to Present," March 18 through August 16, 2009, the third in a yearlong series of exhibitions highlighting the museum's acquisitions from the past decade. This lively selection of modern and contemporary works — in particular American art made since the 1960s —  is built on pre-existing strengths, such as Bay Area painting, while the pursuit of new collecting arenas includes northern California ceramics and contemporary prints.

Mint Museum of Art Exhibition Explores Identity Theft in Art World . . around 1867

Posted: 29 Apr 2012 08:02 PM PDT

artwork: Jasper Francis Cropsey (American, 1823-1900), "Mount Washington from Lake Sebago," Maine, 1867........ now credited to Sanford Robinson Gifford. /  Courtesy of the Mint Museum of Art Collection

CHARLOTTE, NC.- Love a good mystery? A new exhibition at the Mint Museum of Art contains the elements of an art history whodunit—a carefully crafted forgery, a persistent art scholar and a painting thought to be lost for more than 100 years—while taking the viewer behind the scenes of museum life. Identity Theft centers around one of the Mint's most important Hudson River School paintings, Indian Summer in the White Mountains by Sanford Robinson Gifford. The exhibition, Identity Theft: How a Cropsey Became a Gifford, is on view through March 27, 2010.

High Museum of Art to Explore Salvador Dalí's Late Work

Posted: 29 Apr 2012 08:00 PM PDT

artwork: Salvador Dali - "Assumpta Corpus Cularje La Pislazuling", 1952 - Oil on canvas Collection Masaveu, Ovieda, Spain - Photo: Gonzalo de la Serna
ATLANTA, GA.- The first major exhibition to reevaluate the last half of Salvador Dalí's career will be presented exclusively at the High Museum of Art this August. Beginning in the late 1930s, Dalí went through a radical change in which he embraced Catholicism, developed the concept of nuclear mysticism and, in effect, reinvented himself as an artist. Comprising more than 40 paintings and a related group of drawings, prints and other Dalí ephemera, "Salvador Dalí: The Late Work" will also explore the artist's enduring fascination with science, optical effects and illusionism as well as his connections to such artists of the 1960s and 1970s as Andy Warhol, Roy Lichtenstein and Willem de Kooning. The High will be the sole venue for the exhibition, where it will be on view from August 7, 2010, through January 9, 2011.

J. Paul Getty Museum Surveys the Birth of the Los Angeles Art Scene

Posted: 29 Apr 2012 07:59 PM PDT

artwork: Karl Benjamin - Stage II, 1958 - Oil on canvas. 50 x 70 inches. - Collection of Louis Stern. - © Karl Benjamin, courtesy Louis Stern Fine Arts. © Photography by Gerard Vuilleumier  -  On display at the J. Paul Getty Museum at the Getty Center, Los Angeles, CA

LOS ANGELES, CA.- —In recent decades, Los Angeles has shed its stereotype as the land of sunshine, palm trees, and movie stars to become an artistic powerhouse and an increasingly important international creative capital. This fundamental shift in the cultural landscape of the city dates back to the 1950s and 1960s, a period of critical importance in art history that has never before been fully studied and presented. On view October 1st – February 5th, at the J. Paul Getty Museum at the Getty Center, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950–1970 chronicles the rise of the Los Angeles art scene through a focused examination of painting and sculpture produced in Southern California during this crucial period.

Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture features 79 objects by more than 45 artists including Peter Alexander, John Baldessari, Larry Bell, Billy Al Bengston, Wallace Berman, Vija Celmins, Judy Chicago, Ron Davis, Richard Diebenkorn, Melvin Edwards, Llyn Foulkes, George Herms, David Hockney, Ed Kienholz, John McLaughlin, Ed Moses, Lee Mullican, Bruce Nauman, Helen Pashgian, Ed Ruscha, Betye Saar, and Peter Voulkos, among many others. This landmark survey of the period is a cornerstone of the larger Pacific Standard Time initiative, an unprecedented collaboration of more than sixty cultural institutions across Southern California that highlight different aspects of the region's postwar artistic production.

Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture brings together works from renowned national and international collections to explore the beginnings of a significant indigenous modernism in and around Los Angeles, the important artistic movements that developed over time, and the great diversity of artistic practices that characterized the end of the postwar era. The exhibition has been organized both chronologically and thematically in six sections that convey the diversity of artistic practices happening simultaneously in Los Angeles and the continuities that connected artists throughout this period.

artwork: Billy Al Bengston - Sonny, 1961 - Oil on Masonite. 36 x 36 in. Billy Al Bengston Studio Holdings. -  © Billy Al Bengston Photo by Brian Forrest  -  At the  J. Paul Getty Museum.

artwork: Ken Price - BG Red, 1963 Fired clay with acrylic and lacquer on wooden base. 10 in. high. - Collection of Mr. & Mrs. Gifford - Image by: J. Paul Getty MuseumCentering on movements that began in the 1950s, the first section presents hard-edge painting and ceramic sculpture, practices that, although concurrent, have rarely been presented together. The second section examines assemblage sculpture and collage, juxtaposing the major figures that pioneered this artistic approach in the 1950s with those who continued and re-envisaged the medium throughout the 1960s, particularly African American artists in Los Angeles.

A series of more thematically organized groupings follow, the first of which demonstrates Los Angeles' rise as an important art center and includes a selection of works that convey visions of the city. The following section presents paintings by some of Los Angeles' most celebrated artists, such as Richard Diebenkorn, David Hockney, and Ed Ruscha, demonstrating that Southern California was one of the foremost centers for large scale pop and abstract painting in the 1960s.

The final section of the exhibition explores ways in which artists were—at the very same moment as West Coast painting's rise to prominence—beginning to expand notions of traditional painting and sculpture, foregrounding perceptual phenomena and the material processes of artistic production. This section includes many works that emerged from the meeting of art and technology, such as a De Wain Valentine sculpture that utilizes the industrial material of cast polyester resin, and a Mary Corse canvas that incorporates highly reflective glass microspheres. It also presents a group of artists—many of whom were working with similar industrial materials—whose works retain traces of their own creation, as with the process paintings of Joe Goode, Allan McCollum, and Ed Moses; a poured resin work by Peter Alexander; and a fiberglass sculpture by Bruce Nauman.

As both an introduction to and an historical reassessment of these artists and their artworks, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture provides a thorough and accessible overview of Southern California's postwar art. By situating the history within the broad outlines of modernist art practice, and in conversation with the larger Pacific Standard Time initiative, this show demonstrates the international significance of art produced in Los Angeles during this era. At the same time, the exhibition's focus on the creative innovations specific to Southern California, including the techniques and materials that have come to define the region, distinguish this group of artists from their East Coast and overseas counterparts.

Visit the J. Paul Getty Museum at :

IAP Fine Arts Exhibits "Chris Gollon ~ Love"

Posted: 29 Apr 2012 07:57 PM PDT

artwork: Chris Gollon - "Love (I)", 2011 - Acrylic on canvas - 20" x 24". Image courtesy of IAP Fine Art, London - © the artist. On view as part of "Chris Gollon: Love" at IAP Fine Arts, London

London.- Taking Tamsin Pickeral's recent book, "Chris Gollon: Humanity in Art", as a starting point, Gollon's latest work reflects on his 20-year journey as an artist. Pickeral's illuminating appraisal inspired the artist to pull everything together from the past, including scratching in, scumbling and techniques using printmakers' rollers and experiments with soft matt blacks in what is arguably Gollon's most experimental period to date. Gollon's expressly unique and imaginative approach to painting the human form is still present in these latest works, many addressing the subject of "LOVE" in its many forms, from friendship, to unconditional, unrequited or fulfilled. The exhibition opened from April 15th until June 15th 2011.

William Trost Richards ~ True to Nature: Drawings, Watercolors, & Oil Sketches at Stanford University

Posted: 29 Apr 2012 07:56 PM PDT

artwork: William Trost Richards - Rock Cliffs and Cove  c. 1880s–90s 0 Oil on canvas on board Gift of M. J. and A. E. van Löben Sels, Cantor Arts Center at Stanford University

Stanford, California - Cantor Arts Center at Stanford University presents 75 drawings, watercolors, and small oil studies made during the 50-year career of one of America's most famous landscape artists.  The exhibition "William Trost Richards—True to Nature: Drawings, Watercolors, and Oil Sketches at Stanford University" opened  June 23 and continues through September 26, 2010.  Admission to the museum, the exhibition, and the lecture is free.

The Aldrich Contemporary Art Museum shows Andrea Dezsö ~ Haunted Ridgefield

Posted: 29 Apr 2012 07:54 PM PDT

artwork: Andrea Dezsö - "Sometimes In My Dreams I Fly" -  (partial installation view at Rice Gallery, Houston), 2010. Courtesy of the artist and Frey Norris Contemporary & Modern, San Francisco. -  Photo: Nash Baker.

RIDGEFIELD, CT.- The Aldrich Contemporary Art Museum is pleased to announce the opening of Andrea Dezsö: Haunted Ridgefield—the latest installment of the Museum's popular Main Street Sculpture Project—featuring folklore, fantasies, and fears. The Transylvania-born artist's site-specific exhibition at The Aldrich showcases her skill in traditional, labor intensive, hand-crafted book-making, and will take the form of a diorama, in which a series of cut-out panels will reveal layers of a hallucinatory narrative featuring fantasy worlds and idiosyncratic characters.

Thornton Dial ~ Much More Than Outsider Art ~ Retrospective At The Indianapolis Museum of Art

Posted: 29 Apr 2012 07:51 PM PDT

artwork: Thornton Dial - "Stars of Everything", 2004, - 98 × 101.1/2 × 20.1/2 in. - Characteristic of Dial's work is his use of found objects. Collection of the Souls Grown Deep Foundation. - On exhibit at Indianapolis Museum of Art (IMA) until 18 September, 2011.

Indianapolis (The Indianapolis Star). - It's not every day that a self-taught, 'outsider' artist finds their work on the walls of fine art museums throughout the country. But Thornton Dial isn't your typical outsider artist. The 82-year-old Dial didn't actually begin making art until retirement age, years after working in the industrial town of Bessemer, Alabama, as a welder, carpenter, bricklayer and cement worker. It's those same trades that Dial uses to create his large-scale works of art. Collected by celebrities, including Jane Fonda, and art aficionados alike, Dial's work can be found inside institutions such as the Smithsonian, the Museum of Fine Arts in Houston and the Philadelphia Museum of Art. Now the Indianapolis Museum of Art (IMA) is preparing an exhibit of Dial's work, opening "Hard Truths: The Art of Thornton Dial" on Friday. Seventy-five artworks comprise the exhibit, 25 of which haven't been exhibited before, but then much of his work has never been seen. On view at IMA until 18 September, 2011.

MoMA presents Stage Pictures ~ Drawing for Performance ~ Explores Visual Stage Art

Posted: 29 Apr 2012 07:47 PM PDT

artwork: Marc Chagall. (French, born Belarus. 1887-1985) - Aleko and Zemphira by Moonlight. Study for backdrop for Scene I of the ballet Aleko.1942 - Gouache and pencil on paper, 15 1/8 x 22 1/2 in. - Acquired through the Lillie P. Bliss Bequest. © 2009 Artists Rights Society (ARS), New York / ADAGP, Paris.

NEW YORK, NY - Featuring approximately 150 drawings from The Museum of Modern Art's collection, Stage Pictures: Drawing for Performance investigates the work that results when artists design for theater, dance, and opera. The exhibition highlights set and costume studies, as well as more abstract suggestions of light and mood, from the total theaters of the Ballets Russes and the Bauhaus, to Lincoln Kirstein's formation of the New York City Ballet, to Pop performances and contemporary epic opera. The works, many rarely on view, span a century of visual experimentation on the stage, demonstrating how artists have used drawing strategies to translate texts into dramatic mises-en-scène, articulate illumination and shadow, imagine the form and presentation of character, manipulate bodies in space, and express duration.

"New York New York" by Harry Benson and Hilary Geary Ross

Posted: 29 Apr 2012 07:46 PM PDT

artwork: Harry Benson - The Beatles arriving at JFK airport in New York on 7 February, 1964

NEW YORK, NY.- "New York New York", a new book by powerHouse Books combines the talents of renowned photographer Harry Benson and society columnist Hilary Geary Ross to create a stunning portrait of New York's best-known citizens. From captains of industry, politicians, movie stars, dancers, artists, and best-selling authors to celebrated athletes and society doyennes, New York New York captures the glamour of Manhattan from the early 60's to today in hundreds of black-and-white and color photographs complimented by revealing captions.

The Orchar Collection of Scottish Victorian Art at Broughty Castle Museum

Posted: 29 Apr 2012 07:42 PM PDT

artwork: 'Man and Boy and Boat', 1876 - by William McTaggart - Copyright Dundee Art Galleries and Museums

Dundee, Scotland - One of the most important collections of Scottish Victorian Art in the country is now on display at Broughty Castle Museum in Broughty Ferry near Dundee.  The Orchar Collection was built up by James Guthrie Orchar (1825-1898), a prominent businessman, great patron of the arts and a former Lord Provost of Broughty Ferry. Broughty Castle is owned by Historic Scotland and run as a museum by Dundee City Council, Leisure and Communities Department.

Yoko Ono ~ 'Fly' Opens

Posted: 29 Apr 2012 07:40 PM PDT

artwork: Yoko Ono walks through her installation 'Amaze' in Bielefeld, Germany last week. - Photo: EFE / Bernd Thissen 

Warsaw, Poland - For the past fifty years Yoko Ono has been a leading experimental and avant-garde artist - one of very few women - in an international context. In the course of time she has been associated with Conceptual Art, performances, Fluxus and happenings, but above all she has been an independent artist, a pioneer, who has decisively questioned the concept of art and the art object and has broken down the traditional boundaries between branches of art.

The Orange County Center for Contemporary Art to Display Gothic Artworks

Posted: 29 Apr 2012 07:37 PM PDT

artwork: Kelley Hensing - "Rumination" - Oil over drawing on paper mounted on board - 33" x 27" - Courtesy the Orange County Center for Contemporary Art. On view in "Gothic" from February 2nd until March 24th.

Orange County, CA.- The Orange County Center for Contemporary Art (OCCCA) is pleased to present "Gothic", on view at the center from February 2nd through March 24th. "Gothic" features works from artists evincing a peculiar, perverse, idiosyncratic sensitivity, influenced by literature, movies, television and the tabloids, in painting, drawing, sculpture, illustration, fashion, graphic design, animation, photography, video, digital media, computer-based works, installation and performance. OCCCA's museum of the macabre will display supernatural mutations, bizarre curiosities permeated by fantastic and pathological themes. "Gothic" is a mix of Medievalism, Romanticism, science fiction, Victoriana, punk, the uncanny, the grotesque, and the erotic, inseparable from despair, fear and rapture. "Gothic" reveals the shadow within, the skull beneath the skin.

The exhibition has been curated by Amy V. Grimm, an Independent Curator and Assistant Professor of Art History & Museum Studies at Irvine Valley College. Grimm received her B.A. in Psychology from the State University of New York in New Paltz, New York. She received a Graduate Certificate in Museum Management and a M.A. in Art History from the University of South Carolina, Columbia, South Carolina. Grimm's M.A. Thesis, is titled, Andy Warhol: An Inquiry into Self Identity and Portraiture. Ms. Grimm's area of specialization includes Modern and Contemporary European and American Art. Grimm's museum and academic career spans over fifteen years including work for the Albany Institute of History & Art, the South Carolina State Museum, the El Paso Museum of Art, and the Long Beach Museum of Art. As a museum curator, Grimm has developed and supervised over 40 exhibitions including independent projects and museum collaborations. Notable exhibitions include, Out of Eden: The Sculptural Work of Harry Geffert for the El Paso Museum of Art, and Sweet Subversives: Contemporary California Drawings for the Long Beach Museum of Art. Grimm's scholarship related to exhibition programming and independent critical reviews have been published as museum catalogs and articles in national publications such as Sculpture and Artlies magazines.

artwork: Elyse Hochstadt - "Cloven" - Polymer clay with bronze finish, wood plinth - 9" x 12" x 4 1/2" Courtesy the Orange County Center for Contemporary Art. On view in "Gothic" until Mar. 24th.

Grimm is past president of the Border Museum Association in El Paso, Texas; an organization that sponsors events to promote international arts partnerships. Working for the College Art Association, Grimm has developed annual conference programming in cities such as Seattle, Atlanta, Boston and New York. For the College Art Association's Annual Conference in 2007, in New York City, Grimm chaired the panel Out of the Frame: Creativity and Change. This panel addressed curatorial risk taking in light of controversial topics and technological challenges. Also during the 2007 conference, Grimm curated The Media Lounge, a unique space dedicated to showing contemporary new media, such as the MIT Media Lab, Potter-Belmar Labs and several independent filmmakers and videographers. Grimm continues to lecture extensively on topics such as Andy Warhol, Contemporary Art and Museum Studies. As an Assistant Professor of Art History & Museum Studies, Grimm is developing a new undergraduate program in Applied Museum Studies for Irvine Valley College. Students participating in the program will gain the knowledge and skills necessary for a variety of employment opportunities, in museums and other arts organizations.

Talking of the exhibition, Grimm says: "The Gothic genre is a broad and complex interdisciplinary movement that never ceases to spark my interest. The human desire to experience pleasurable fear is evident in literature, music, film, dance, fashion, design and the visual arts. Creative expression of the fantastic and frightening are not new, but are deeply rooted in the psyche of humankind. In fact one might say that this part of our psyche is an essential part of what makes us human. The understanding and appreciation of opposites such as dark and light, good and evil, life and death are especially relevant to the Gothic genre. My intent as the Juror for GOTHIC is to understand and appreciate the widest range of creative expression within this complex genre. I would expect to see the deadly serious to the silly, from the secular to the non-secular, from the beautiful to the ugly and from the personal to the universal in a wide range of media. As I review the works, I will not only examine the work on its own merits, I will also evaluate them in context to the other entries and how they may work together to create a truly memorable, relevant and exciting exhibition."

artwork: Nancy Caster - "Eighth Monster" - Acrylic on canvas - 48" x 48" Courtesy the Orange County Center for Contemporary Art. On view in "Gothic" from February 2nd until March 24th.

The Orange County Center for Contemporary Art (OCCCA) is an artist operated California non-profit corporation dedicated to the pursuit of professional excellence and freedom of expression in the arts. Since it's inception in 1980, it has provided emerging and established member and guest artists a forum to explore and develop ideas in contemporary art in an atmosphere that promotes experimentation and risk-taking, but without the specter of censorship. In addition, OCCCA develops and actively participates in public educational, outreach and community art services. Located in the heart of Santa Ana's Artist Village, OCCCA presents a variety of free programs: Films, Forums, Eclectic Company concerts and First Saturday artist receptions. OCCCA began through the vision of its five founding members, Richard Aaron, Robert Cunningham, Suvan Geer, Alhena Scott, and Carol Stella. The inaugural exhibition, in September of 1980, featured Slator Barron, George Herms, and Dustin Shuler. OCCCA has continued to function as a nurturing showplace for emerging and mid career member artists from the Orange County area. In addition to members work, OCCCA strives to exhibit a variety of artists work from all media and career levels from emerging through established late career artists. Affiliate members participate in all aspects of professional art practice, including design and installation of exhibitions, public relations/publicity, curatorial, accounting, grant and proposal writing, gallery sitting, facilities maintenance, etc.

In its 30 year history, with a membership roster limited to 40 through its current by-laws, OCCCA has exhibited over 800 guest artists and held numerous solo, group and juried shows that have showcased more than 6,000 participants. Affiliate members have shown in more than 600 one-person shows and 300 group exhibitions. In addition, the organization has a long tradition of mounting non-member exhibition and performance projects, and inviting outside curators to organize shows. Over the years, the scope of OCCCA's programming has expanded to include collaborative and exchange projects with other venues throughout the United States and overseas. With the generous assistance and support of the City of Santa Ana, OCCCA was granted title and moved to its current 6,300 square-foot facility. Ownership and member management and control of our gallery makes OCCCA unique in the world of non-profit arts organizations. In the past six years OCCCA has extended its international reach. The new facility has enabled the planning of more ambitious large-scale projects most notably those in the new media areas. Visit the OCCCA's website at ...

Art Knowledge News Presents "This Week In Review"

Posted: 29 Apr 2012 07:36 PM PDT

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

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

This Week in Review in Art News

Minggu, 29 April 2012

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

Posted: 28 Apr 2012 09:00 PM PDT

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 …

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.

Irish Museum of Modern Art shows Spanish Artist Ferran Garcia Sevilla

Posted: 28 Apr 2012 08:58 PM PDT

artwork: Ferran Garcia Sevilla - "Limbo 12", 2001 - Mixed media on linen, 200 x 270 cm. - Private Collection. Photo © Gasull Fotografia

DUBLIN.- An exhibition by Ferran Garcia Sevilla, a leading Spanish artist whose career has embraced many of the most influential art movements of the past 40 years, opened to the public at the Irish Museum of Modern Art on 10 June 2010. Ferran Garcia Sevilla presents 42 paintings in the artist's characteristically eclectic style, which draws on influences as diverse as his travels in the Middle East, philosophy, Eastern cultures, comic books and urban graffiti. The exhibition comprises works from 1981 to date and includes well-known earlier works, alongside a group of more recent, previously unseen pieces, all illustrating the extraordinary visual richness of Garcia Sevilla's work.

Dean Project Presents Sculptures by Tim Berg and Rebekah Myers

Posted: 28 Apr 2012 08:57 PM PDT

artwork: Tim Berg & Rebekah Myers - "Enjoy it...While it Lasts", 2007 - Laquered wood - 42" x 90" x 7" - Courtesy Dean Project Gallery, New York. On view in "On the Brink" from September 15th until October 29th.

New York City.- Dean Project is thrilled to present, "On the Brink", on view at the gallery from September 15th through October 29th. This is the second solo exhibition with the gallery by the collaborative husband and wife team: Tim Berg & Rebekah Myers. Continuing with their exploration of ideas of material value and the consequences of the actions we take to satisfy our desires, Berg-Myers have created a new body of works.  This current exhibition is meant to provide the viewers with objects-situations where our choices are put to the test in how we understand the value of the things we do.Some of the works in the exhibition have titles such as "All that glitters" and "As good as gold" which echo marketing tools employed in our contemporary culture to attract with a promise of guaranteed satisfaction if consumed.

Bonhams to offer Royal Pictures by South African Artist ~ Jacob Hendrik Pierneef

Posted: 28 Apr 2012 08:56 PM PDT

artwork: Jacob Hendrik Pierneef - A scene of a sleepy town in the Cape, a sun-drenched avenue with typical Cape Dutch cottages and Dutch Reformed Church beyond.  It is estimated to sell for £80,000 to £120,000. It  is signed and dated 1929

LONDON.- Three Pierneef paintings which once belonged to Queen Victoria's granddaughter, Princess Alice, Countess of Athlone, will be sold at Bonhams sale of South African Art on October 14th in New Bond Street, London. Princess Alice accompanied her husband when he served as Governor-General of South Africa from 1924–1931. During their time in South Africa, Lord and Lady Athlone had a coastal beach house constructed at Muizenberg, a beach suburb of Cape Town, which still stands today and is one of South Africa's national monuments. The Cape Town Suburb of Athlone was named in honour of the Governor-General. Princess Alice, Countess of Athlone (1883 – 1981) was the longest lived Princess of the Blood Royal of the British Royal Family and the last surviving grandchild of Queen Victoria.

Pablo Picasso's Original Vollard Prints on View at LewAllen Modern

Posted: 28 Apr 2012 08:55 PM PDT

artwork: Pablo Picasso - "Bloch 168: Sculpteur travaillant sur le Motif avec MarieThérèse posant", 1933 - Etching 19.75 x 15.25 cm. - Courtesy LewAllen Modern, © Estate of Pablo Picasso/Artists Rights Society (ARS) NY. On view in "Pablo Picasso" at LewAllen Modern in Santa Fe from June 10th through July 24th.

Santa Fe, NM.— The LewAllen Modern gallery is pleased to announce its upcoming exhibition, "Pablo Picasso: Selections from La Suite Vollard", on view at the gallery's Railyard venue from June 10th through July 24th. This rigorously curated presentation of twenty-three original etchings and aquatints by one of Modernism's greatest agitators draws predominantly from the celebrated La Suite Vollard — a salient element of Picasso's (1881-1973) artistic achievement that is now recognized as one of the finest groups of prints produced in the 20th century.

artwork: Pablo Picasso - "Bloch 1835: Venus et l'amour, d'après Cranach", 1949 Aquatint - 38.88 x 23.25 cm. Courtesy LewAllen Modern, © Estate of Pablo Picasso/Artists Rights Society (ARS) NY.The history of the suite revolves around several key figures in the history of Modern Art. The body of work takes its name from its publisher, Ambroise Vollard (1866-1939), perhaps the most influential Parisian dealer and critic of his time, who had already championed the art of Paul Cézanne, Aristide Maillol, Paul Gauguin, Pierre-Auguste Renoir, Georges Rouault, and Vincent Van Gogh prior to organizing Picasso's inaugural Parisian exhibition in 1901. When Picasso had sought to purchase from Vollard several paintings by Renoir — an artist whom Vollard represented and regarding whom he had published a significant monograph — the dealer had suggested an exchange of these works for one hundred original prints by Picasso. Faithful to his agreement, the artist produced the resulting suite between between 1930 and 1937 and had personally edited its selection to appeal to Vollard's forward-looking sensibilities.

By the end of World War I, Picasso's art had evolved through his Blue, Rose, Analytic Cubism, and Synthetic Cubism periods. He had pursued Cubism to its limits and was searching to define a novel artistic direction. In 1917, Picasso accompanied Jean Cocteau to Rome to design scenery and costumes for the ballet Parade, bringing him into focused contact with the classical forms that would inspire and revivify his practice. Rooted in this experience, he developed a new style in which he synthesized his revolutionary past achievements with an over neoclassicism, culminating in the Suite Vollard.

A considerable undertaking even for an artist of Picasso's technical and creative capacities, the artist devided the Suite Vollard divided into principal five themes: Battle of Love; Sculptor's Studio; Rembrandt; The Minotaur; and The Blind Minotaur, as well as a further twenty-seven prints of disparate themes. Twenty of the works on view in the present exhibition represent the Sculptor's Studio theme within the suite. They explore the relationship between artist, model, sculpture, and the act of creation itself—offering rare insights into the working process of an often inscrutable artist.

In the Sculptor's Studio series, Picasso presents images that depict artists and models considering sculptures, thus generating art from pictures of its spectatorship. By directly addressing the act of viewing and placing his audience's perspective within the studio, the artist transcends the prevailing segregation of the audience from the active development of art's meanings. Migrating the seemingly fixed forms of antiquity into the context of Modernism's conceptual and aesthetic prerogatives, Picasso's canny co-option of Neoclassicism exalted the lived experience of its audience no less than it heroized the sculpted figures depicted. That Picasso executed most of this democratically-spirited series between 1933 and 1934 speaks to his acute sensitivity to the ominous political climate in Europe prefiguring the single most powerful expression of modernity's struggle against the horrors of war: Guernica (1937).

Accompanying the work from the Suite Vollard are three works presented here upon one of the rare occasions that they have been available for public exhibition. The etching Baigneuses sur la Plage III consists of a positive and negative impression—the former an edition of twelve and the latter of only four. En la Taberna. Pecheurs Catalans en bordée is from a special edition of 108, half of which are printed in a highly unusuaul  brown-black coloration. The richly modulated aquatint Venus et l'amour, d'apres Cranach represents one of fifteen artist proofs; its medium manifests one of printmaking's most complex, sensitive, and time-consuming procedures—producing very few high-quality impressions with the exquisite tonal effects easily perceived in the example on view. As proofs and products of experimentation, these images join the Sculptor's Studio series to provide additional insight into Picasso's sensibilities and techniques.

artwork: Pablo Picasso - "Bloch 286: En la Taberna. Pêcheurs catalans en bordée", 1934 Etching - 13.38 x 17.75 cm. Courtesy LewAllen Modern, © Estate of Pablo Picasso / Artists Rights Society (ARS) NY. - On view from June 10th through July 24th.

Prized by contemporary curators, selections from the Suite Vollard have been exhibited within several of the world's most esteemed public collections, including the Metropolitan Museum of Art, the Museum of Modern Art in New York, the National Gallery, the Modern Art Museum of Fort Worth, and the Norton Simon Museum.

LewAllen Galleries is one of the oldest and largest galleries of leading contemporary and modern art outside of New York City. Exhibiting in three locations, LewAllen is widely respected as one of the leading fine art venues in Santa Fe, New Mexico, the nation's second largest art market. Operating for more than 35 years on Palace Avenue near the New Mexico Museum of Art, the gallery maintains a robust show schedule each year in its 11,000 square feet of museum-like exhibition space. It has recently completed a stunning 14,000 square foot, architecturally forward new gallery building in the Santa Fe Railyard Arts District. LewAllen also operates a satellite gallery at the luxurious Encantado Resort by Auberge in Tesuque, north of the City of Santa Fe.

The Contemporary Division features work in a variety of media and its artists represent many schools of contemporary art, including Realist, Pop, Abstract, Color Field, Minimalist, Op, Geometric Abstraction and Expressionist. Its internationally diverse roster includes such noted artists as Audrey Flack, Woody Gwyn, Judy Chicago, John Fincher, Emily Mason, Bernard Chaet, Robert Natkin, Jaune Quick-to-See Smith, Forrest Moses, Hiroshi Yamano, Janet Fish, Ed Mieczkowski and Bill Barrett, among others. During its history, the gallery has also presented the work of such historically notable artists as Fritz Scholder, Georgia O'Keeffe, Robert Colescott, Luis Jimenez, Ida Kohlmeyer, Thornton Dial, Donald Roller Wilson and Larry Rivers, among many others.

The Modern Division is fortunate to represent fine collections, museums, and individuals in assisting placement in the secondary market for American and European Modernist works of distinction and unusual quality. The Department employs professional art historical resources and prides itself on diligence regarding provenance and authentication as well as unusual levels of research, and curatorial attention dedicated to presenting museum-level exhibitions of signal works of the Modern era. Representative works of uncustomary importance to major international collections include those by such Modern masters as Pablo Picasso, Henri Matisse, Renoir, Marc Chagall, Jackson Pollock, Franz Kline, Mark Rothko and Amedeo Modigliani, among numerous others.

With collectors from around the world, the gallery utilizes state-of-the-art technology, the Internet and other forms of distance communication in helping clients build important collections. The gallery has a large following among corporations, public art spaces, museums and prominent private collectors in whose collections the works of its represented artists appear. Visit the gallery's website at ...

Manchester Art Gallery to host Recent Works from the Frank Cohen Collection

Posted: 28 Apr 2012 08:53 PM PDT

artwork: Bharti Kher - Born London 1969 - Lives and works in New Delhi - Courtesy the Frank Cohen Collection

MANCHESTER, UK - Manchester Art Gallery will present an exhibition of major contemporary works from China, India and Japan from the Frank Cohen Collection. Facing East showcases eleven groundbreaking paintings and sculptures by some of the world's leading artists, many of which have rarely been on public display. Frank Cohen is one of Britain's leading collectors of contemporary art, often referred to as the 'Saatchi of the North'. His collection of contemporary art contains over a thousand works by major international artists, as well as works from emerging contemporary artists.

The Musée d'Art Moderne Hosts Major Marc Desgrandchamps Retrospective

Posted: 28 Apr 2012 08:52 PM PDT

artwork: Marc Desgrandchamps - "Untitled (Three Women)", 2010 - Oil on canvas. Private Collection © Jean-Louis Losi © ADAGP, Paris 2011 Courtesy Galerie Zürcher, Paris - New York. - On view in the Musée d'Art Moderne retrospective of Marc Desgrandchamps' works.

Paris.- The Musée d'Art Moderne in Paris is devoting a solo exhibition to Marc Desgrandchamps, contemporary French painter from May 13th until September 4th. Consisting of forty large paintings and a large selection of works on paper (watercolors, drawings, collages, lithographs and wash), the exhibition traces the artist's works from 1987 until the present day and will be the largest retrospective of the artists work yet held. This retrospective is an opportunity to discover many new and paintings showcase works already present in many public and private collections. Easily recognizable by his evanescent figures, broken objects and undefined space, Desgrandchamps's work is primarily a visual experience. Despite their architectural compositions, the artist's paintings are comprise layers of differing opacity. Fluid colors that appear to be almost liquid and blurred contours combine to give forms an unlikely materiality. The figurative elements seem more juxtaposed than in communication with each other, as if suspended in the pictorial space. They establish doubt and questions in the viewer's mind, rather than provide any certainty.

'A New Life' for Dan Baldwin at Signal Gallery in London until 17 July.

Posted: 28 Apr 2012 08:51 PM PDT

artwork: Dan Baldwin - "Happy Shopper - HO HO HO" - Mixed media on canvas (framed), 100 x 100 cm. Courtesy of Signal Gallery, London

LONDON.- Dan Baldwin's work has attracted so much attention over the past few years that he must be considered to be one of the most talked about artists of his generation. Since his run of sell out solo shows in the mid naughties and the significant success at a Bonhams auction in 2008 ('Apocalypse Wow – The End Of Everything' sold for £25,000) Baldwin has been continually in demand both in the UK and abroad. Important recent solo shows at the Forster Gallery, London and The Carmichael Gallery, Los Angeles, as well as appearances at leading international art fairs such as Scope Basel, London Art Fair and Pulse, have underlined this earlier success. On view 2 through 17 July.

Sotheby's to Offer 400 Items from The Fabius Frères Gallery Collection

Posted: 28 Apr 2012 08:49 PM PDT

artwork: Jean Béraud (1845-1935) - "À la salle Graffard" - Signed and dated 1884, Oil on canvas. - Estimate: €350,000-500,000/ $506,800-724,000. Image :  © Sotheby's / ArtDigital Studio.

PARIS.- Sotheby's announce, in association with the auction house PIASA, the sale of the Fabius Frères Gallery collection on the 26th and 27th October 2011 in Paris. The 400 sculptures, pieces of furniture, works of art, drawings and 19th century paintings, estimated to sell in the region of €10 million ($14,5 million), will be on view at the Galerie Charpentier for five days prior to the sale. The Fabius Frères Gallery is known worldwide for the exceptional quality, condition and provenance of the works of art in their collection. The Fabius Frères collection is undoubtedly the most important ensemble of 19th century sculpture ever to be offered at auction. It consists predominantly of works by the most original and significant sculptors of the period: Antoine–Louis Barye (1795–1875) and Jean–Baptiste Carpeaux (1827–75).

Carpeaux's important marble group Daphnis & Chloe is a sculptural masterpiece. It was made in 1874 during the sculptor's two–year stay in England, where he took refuge in the turbulent aftermath of the Paris Commune. Alexander Hugh Baring, 4th Baron Ashburton, commissioned Carpeaux to make this large mythological marble group in 1873. It illustrates a passage from Longus' idyll Daphnis & Chloe and was made as a pendant to Canova's famous marble Cupid & Psyche (now in the Louvre), which then adorned Lord Ashburton's London residence at Bath House, in Piccadilly. Carpeaux began modelling the group in plaster in 1873. It was not until July 1874 that Carpeaux began sculpting the marble group. It was delivered to Lord Ashburton on 8 January 1875.

Daphnis & Chloe perfectly expresses Carpeaux's virtuoso talent for modelling form and sculpting marble: he brings the stone to life, combining graceful movement with the sensuality of his intimate subject (estimate €1,000,000-1,500,000 / $1,448,000-2,172,000).

The collection also includes an autograph plaster version of Carpeaux's Ugolino & His Sons. Carpeaux chose the dramatic episode from Dante's Inferno as the subject for the large-scale composition he was required to make during his time as a student at Rome's Villa Medici in 1860/1. It depicts the moment when Ugolino, condemned to death by starvation, resolves to devour his children (est €50,000-70,000 / $72,400-101,350)

artwork: Jean-Baptiste Carpeaux La Rieuse aux Roses et Le Rieur aux Pampres Terres cuites - H : 54 cm. Paris, Galerie Fabius Photo: Sotheby's/PiasaShortly after Carpeaux's return to Paris, the state commissioned a monumental bronze version of this subject which was exhibited at the Salon of 1863; it was subsequently installed in the Tuileries Gardens as a pendant to the monumental bronze of the Laocoon and is now in the Musée d'Orsay. A full-size marble version, signed and dated Jbte Carpeaux Roma 1860, was made for the 1867 Exposition Universelle, and is now in the Metropolitan Museum, New York. More than six plaster and terracotta versions – composed of three to five figures – exist in public collections, including a terracotta version in the Louvre.

In 1865, at the request of architect Charles Garnier (1825-98), Carpeaux produced his most famous monumental group for the façade of the Paris Opera. La Danse was intended to complement three other allegorical sculptures: Lyrical Drama by Jean-Joseph Perraud (1819–76); Music by Eugene Guillaume (1822–1905); and Harmony by François Jouffroy (1806–82). The 2ft-high (61cm) autograph plaster model to be offered here shows the composition at an important point in its evolution: here the Genius of Dance is shown with feminine features; in the final version, the Genius is depicted as a man (est. €80,000-120,000 / $115,850-173,750)

Carpeaux's marble bust Candour, was inspired by the features of his wife, Amelie de Montfort. It appeared in the Carpeaux sale on 29 April 1873, when it was bought by Madame Carpeaux herself. This exceptional bust is remarkable for its very sensitive modelling and delicate expression (est. €100,000-150,000). The collection also includes the plaster model for the bust, made by Carpeaux in 1867 (est. €60,000-80,000 / $86,900-115,850).

Amelie was 22 at the time of their marriage in 1869, roughly half Carpeaux's age. She lent her features to several of Carpeaux works, notably Temperance, made for the church of La Trinité in Paris in 1865; Hope (1868) – an 1873 marble version of which appears in our auction (est. €70,000-100,000 / $101,350-144,800) La Fiancée (1869), represented by a terracotta version in the Fabius Frères collection (est. €40,000-60,000 / $57,900-86.900). Other busts of exceptional quality include L'Espiègle, a marble from 1865 (est. €70,000-100,000 / $101,350-144,800); and the plaster original of La Rieuse aux Roses from 1872 (est. €50,000-70,000 / $72,400 -101,350).

Antoine–Louis Barye, is represented by 51 bronzes, all cast during his lifetime. One of the highlights is Theseus and The Minotaur, a seminal version in bronze with attractive brown patina, stamped Barye and numbered 2. This superb cast belonged to Antoine-Marie d'Orléans, Duc de Montpensier, the Infante of Spain (1824–90), before entering the collections of the King of Portugal (est. €200,000-300,000 / $289,600-434,400).

Barye illustrates the story of Theseus and the Minotaur from Ovid's Metamorphoses, a combat symbolizing the battle between Good and Evil. It is a virtuoso rendering of a key moment during this epic confrontation, with the tense, muscular figure of Theseus carefully aiming his sword at the Minotaur. Variants can be found in the Baltimore Museum of Art (U.S.A.) and the Musée Bonnat in Bayonne (south–west France).

Another Barye masterpiece in the Fabius Frères Collection is his Charging Elephant, a unique work cast in 1832 by Honoré Gonon & Sons. This was the first major work by Barye to be collected by a member of the ruling House of Orléans. It was acquired by the Duke of Nemours and lent by him to the Salon of 1834 (est. €300,000-500,000 / $434,400-724,000).

Elephant Crushing a Tiger hails from the David Weill Collection. This is the chef-modèle cast in Barye's own foundry and is a classic example of Barye's concern for detail (est. €150,000-250,000 / $217,200-362,000 ). The collection also includes an extremely fine cast of Tiger Devouring a Gavial from circa 1845 (est. €50,000-70,000 / $72,400 -101,350). At the Salon of 1831 the plaster model enjoyed unanimous acclaim from the critics and partisans of both of Academic art and Romanticism. It's audacious depiction of the subject demonstrates Barye's vivid imagination and his ability to observe, and transcend, the violence of the animal kingdom.

The sale's furniture combines 18th century neo-classicism with 19th century exuberance. The sale includes magnificent neo-classical furniture, dating from Louis XIV to the First Empire. Fabius Frères were advocates of 19th century furniture and that century is represented by works by eminent cabinet-makers such as Grohé and Diehl, as well as Dufin's unusual neo-Renaissance furniture.

artwork: Detail of the collection of  Fabius Frères Courtesy Sotheby'sThe sale includes a Louis XIV ormolu-mounted kingwood- and palissander-veneered commode attributed André-Charles Boulle (c.1710). With its decoration of skilful frieze-work and sumptuous, original gilt-bronze mounts, this counts as one of Boulle's most accomplished commode designs. The sober patterning of alternating concentric motifs to the front-drawers, and heart-shaped motifs to the top and sides, is a departure from the exuberant floral marquetry for which Boulle is best known. The virtuoso stringing and end-cut marquetry lend the veneer a pictorial feel, while the stringing in ebony and light wood around each drawer heightens the impression of relief and creates an illusion of depth (est. €300,000-500,000 / $434,400-724,000).

Sumptuous gilt-bronze mounts, typical of Boulle, underline the commode's powerful architecture. he commode, which seems borne aloft by generous scrolls of acanthus leaves, was designed with five feet: an aesthetic, rather than technical, solution, as shown by a preparatory Boulle drawing now in the Paris Musée des Arts Décoratifs.

Two Sèvres porcelain Medici vases from 1811 epitomise Napoleonic prestige and the genius of Alexandre Brongniart, who helped give the Sèvres factory a new lease of life at the start of the 19th century. They are of outstanding interest due to their exceptional production quality, rare subject-matter, historic interest, virtuoso tortoiseshell grounds, powerful gold ornament and prestigious provenance (est. €500,000-800,000 / $724,000-1.158.450).

The scenes painted by Jean–François Robert on these tortoiseshell-ground Medici vases are particularly accomplished. Although some less prestigious ceramics show the imperial family at leisure or at their various homes, such scenes seldom appear on vases – which were usually decorated with official portraits, military subjects or allegorical scenes. It was doubtless Brongniart who, with an eye on Napoleon's political Public Relations, chose the subjects for these vases, cleverly exploiting Sèvres' latest technical innovations and Robert's outstanding talent as a figure- and landscape-painter.

Tortoiseshell grounds first appeared at Sèvres in 1790. They were used in 1800 on the Cordelier vases (now in the Louvre) supplied for the Palace of St-Cloud's Gallery of Apollo in 1802; and then in 1803 for Napoleon's Service Ecaille at the Tuileries Palace (two plates from this service are now in the Palace of Fontainebleau). 

Glass and ceramics hold pride of place amongst the sale's decorative arts with numerous pieces of richly varied design. Highlights include striking, refined works by Théodore Deck, Eugène Collinot, Maurice Marinot and others.

The Fabius Collection also features a fascinating group of 19th century drawings and offers connoisseurs a rare opportunity to acquire works on paper by the sculptors Antoine-Louis Barye and Jean-Baptiste Carpeaux. There will be two Barye watercolours, Lioness Devouring a Gazelle and Study of a Panther Attacking its Prey (est. €30,000-40,000 / $43,400-57,900 apiece); and several portraits by Jean–Baptiste Carpeaux, including his Portrait of Bruno Chérier (est. €15,000-20,000 / $21,700-28,950).

A final sale highlight is Jean Béraud's A la Salle Graffard, a spectacular canvas from 1884 showing a political meeting, with an anarchist orator ending his speech to triumphant acclaim from an audience shrouded in tobacco smoke. This is an unusual subject for Béraud, reflecting a little-known aspect of his artistic output. Although best-known for his worldly portrayals of elegant females and scenes from the Belle Epoque, Béraud also painted working-class scenes and episodes from everyday life, invariably imbued with a concern for historical accuracy (est. €350,000-500,000 / $506,800-724,000).

Willie Bester ~ Apartheid Laboratory

Posted: 28 Apr 2012 08:47 PM PDT

artwork: Willie Bester Trojan Horse II

Cape Town, SA - Regarded as one of South Africa's foremost contemporary artists, Willie Bester is also recognized as having played an important role in bringing about social change as part of an artist collective during the Apartheid years. Despite the reforms of the recent past the narrative of liberation continues for Bester, who asserts that "remaining apolitical is a luxury that South Africans simply cannot afford." We thank the lenders to the exhibition, Jerome and Ellen Stern, New York, and Gilbert and Lila Silverman, Detroit.

Baltimore Museum of Art presents Rarely Shown British Landscapes

Posted: 28 Apr 2012 08:46 PM PDT

artwork: Joseph Mallord William Turner -  Grenoble Bridge. (c. 1824). - The Baltimore Museum of Art Purchase with exchange funds from Nelson and Juanita Greif Gutman Collection 

Baltimore, MD - Majestic settings of the English countryside have inspired writers and artists from the poetry of William Wordsworth to the paintings of J.M.W. Turner. This fall, the BMA focuses on the transforming British landscape in Taking in the View: English Watercolors and Prints. On view through December 7, 2008, this one gallery exhibition features an array of more than 20 prints, watercolors, and books drawn from the Museum's collection.

P.S.1 Contemporary Art Center ( MoMA ) hosts Kathe Burkhart

Posted: 28 Apr 2012 08:44 PM PDT

artwork: Kathe Burkhart Dominant Woman 

Long Island City, NY – P.S.1 Contemporary Art Center is proud to present Kathe Burkhart's first solo U.S. museum exhibition. The core of this exhibition will be a selection from her signature Liz Taylor Series of paintings, and an installation which incorporates the film stills comprising the source material for this ongoing series. Also featured are works in installation, photography, and video. This exhibition will be on view from October 21, 2007 through January 7, 2008.

The Musée des Augustins Shows French Genre Painting From the Revolution to the Restoration

Posted: 28 Apr 2012 08:42 PM PDT

artwork: Michel Garnier - "Scène de reproches (Scene of Reproach)", 1794 - Oil on canvas 45 x 55 cm. - Collection of the Musée des Beaux-arts, Dijon. - On view at the Musée des    Augustins, Toulouse in "Small Theaters of the Intimate: French genre painting between Revolution & Restoration" on view at the museum until January 22nd 2012.

Toulouse, France.- The Musée des Augustins is proud to present "Small Theaters of the Intimate: French genre painting between Revolution and Restoration" on view at the museum until January 22nd 2012. The history of French genre painting from the end of the Ancien Regime to the Restoration of the monarchy reflected changing tastes, fashions and especially foreign influences during this very turbulent period in French history. The story of French painting between the Revolution and the Restoration is one of noise and fury that led gradually from Neoclassicism to Romanticism. But, in actual fact, and despite the upheavals of the time, the majority of paintings exhibited in the Salons were genre paintings, as if the humble activities of women, the elderly and children in the home better illustrated the times than the ancient tragedies and costumes.

The greatest artists of the day, such as Jean-Baptiste Greuze, Fragonard, Marguerite Gerard, Louis-Léopold Boilly and Martin Drolling used their talents in a sentimental, humorous, colorful and uplifting portrayal of real life, or at least the image of daily life that they wanted to give. From the first hours of the Revolution, painters had to show that they stood apart from the old tastes and styles predominant under the Old Regime, and turned to other sources of inspiration. They also had to reflect the unprecedented changes that French society was going through, fashion, scientific advancements and a changing clientele meant that the artists had to keep on their toes and try to predict how fashions would change. In the 1770s, artists like Marguerite Gérard and Jean Baptiste Mallet, produced risque scenes in the Dutch vein, but by the time Napoleon was defeated and the monarchy restored, the fashion had changed dramatically, and the same painters were producing pious religious scenes.

artwork: Jean Honoré Fragonard & Marguerite Gérard - "L'Élève intéressante" - Oil on canvas - 65 x 55 cm. Private collection. -  On view at the Musée des Augustins, Toulouse until January 22nd 2012.

Throughout the eighteenth century Dutch paintings from the Golden Age (seventeenth) were achieving astronomical sale prices in Paris. Painters of genre scenes as Gerard Dou or Netscher Mieris were then just as well known as Rembrandt, Frans Hals and Vermeer. Under their influence, many French painters of the late eighteenth century imitated their techniques, Jean-Honoré Fragonard was extremely successful with his paintings in this style during the during the 1770s, his paintings of aristocrats at play selling well to a clientele that would all but disappear when the revolution came. After the revolution, he felt it wisest to leave Paris, and although he never again reached the heights of fame and popularity, his pupil and sister-in-law Marguerite Gerard, thrived by producing similar scenes that featured middle or working class families.

The sixty paintings featured in the exhibition have been assembled exclusively from private and public collections within France. The Louvre Museum, the National Museum of the Castle Versailles, the museums of the Ville de Paris, Banque de France and major museums oin the provinces has been particularly generous.

artwork: Jean-Baptiste Greuze - "The Lady of Charity", 1775 - Oil on canvas - 112 x 146 cm. - Collection of the Museum of Fine Arts, Lyon. On view at the Musée des Augustins, Toulouse in "Small Theaters of the Intimate: French genre painting" until January 22nd 2012.

Since 1793, the Augustins museum (the Musée des Beaux-arts de la ville de Toulouse), has been located at the historical heart of the city in a remarkable former convent building characteristic of the southern gothic style. The museum is home to collections of paintings and sculptures dating from the Middle Ages to the beginning of the 20th century.  The variety and richness of the works highlight the most important movements in the history of western art. Particularly rich in sculptures, the Augustins museum owns a unique collection of romanesque sculptures and has an equally superb ensemble of masterpieces representing southern gothic sculpture as well as numerous 19th century sculptures, representative of the vitality of artistic life in Toulouse. The painting collections, on a par with the great museums of France, expanded around an initial core of paintings that consisted of works confiscated during the revolution and those sent by the state, and has been enriched ever since. Alongside the masterpieces of the French and European schools of the 16th to the 18th centuries (Perugino, Guerchin, Rubens, Van Dyck, Tournier, Jouvenet, Bourdon, etc.), the museum displays a superb 19th century collection: Hennequin, Delacroix, Ingres, Corot, Courbet, Laurens, Constant. The works are presented in the sumptuous setting of the church and the chapter houses of the old Augustins convent. They can be admired also in a wing, built at the end of the 19th century based on the drawings of the famous architect Viollet-Le-Duc. This wing is composed of a monumental staircase and vast rooms with overhead lighting. Visit the museum's website at ...

This Week in Review in Art Knowledge News

Posted: 28 Apr 2012 08:41 PM PDT

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