- Famous Sculptor Elizabeth Catlett dies in Mexico where she had lived since 1976
- The High Museum of Art features the Energy, Whimsy and Wit of Bill Traylor
- The Museu Picasso de Barcelona exhibits "A Collage before Collage"
- Exhibition by Urs Fischer opens at Gagosian Gallery in Paris
- Christie's May 1st Evening Sale to highlight a Major Matisse Rediscovery
- Over 70 Galleries to exhibit at the Fourth Annual Dallas Art Fair
- Anthony Caro at Chatsworth House opens in celebration of Britain's greatest living sculptor
- Titian's "The Flight into Egypt" is presented at the National Gallery in London
- Frank Pictures Gallery shows "Hermann Lederle ~ Footprints on Snow"
- The Israel Museum now showcased in Google Art Project
- Seattle Art Museum to Host "Picasso: Masterpieces from the Musée National Picasso, Paris"
- Sotheby's Amsterdam Offers Works by Cornelis Springer and Georg Baselitz
- The McMichael Canadian Art Collection Displays a Retrospective of Marc-Aurèle Fortin's Paintings
- Georg Baselitz Retrospective at the Royal Academy of Arts
- Julius Werner Berlin presents A.R. Penck
- The Pennsylvania Academy of Fine Arts Hosts Emerging Artist Hiro Sakaguchi
- Contemporary Art Museum of Barcelona To Double Exhibition Space For Its Own Collection
- Eli Wilner & Company Celebrates 25th Anniversary & Completion of Over 10,000 Framing Projects
- Montréal Museum of Fine Arts to host Restrospective of Kees Van Dongen
- Art Knowledge News Presents "This Week In Review"
Posted: 05 Apr 2012 01:51 AM PDT
MEXICO CITY (CNN) - Elizabeth Catlett, a leading African-American sculptor, painter and printmaker for much of the last hundred years, died Monday at her home in Cuernavaca, Mexico. Expatriate renowned for her dignified portrayals of African-American and Mexican women and who was barred from her home country for political activism during the McCarthy era. Maria Antonieta Alvarez, Catlett's daughter-in-law, said the artist died Monday in a house in Cuernavaca, Mexico, where she had lived since 1976. Born in Washington, D.C., Catlett moved to Mexico in 1946, became friends with great Mexican muralist Diego Rivera and others in his circle, and married Mexican artist Francisco Mora. She was 96.
"She's had to struggle as a woman, as an artist," said June Kelly, whose New York gallery has represented Catlett's sculpture since 1993. "But she never wavered. That's what I found so marvelous about her - in knowing who she is, and never faltering about how she looked at the world, and women, and how she saw them forging ahead into society and making a place for themselves."
Catlett was 16 when she was accepted with a scholarship to the Carnegie Technical Institute, now Carnegie Mellon University. But when she showed up at the campus in Pittsburgh, they turned her away because she was African-American. Later recognizing its mistake, Carnegie Mellon awarded her an honorary doctorate in 2008. Catlett went on to earn her bachelor's degree in art at Howard University in 1935. When she attended Howard University where she graduated with a bachelor's degree in art and then got her master's at the University of Iowa where she was student of Grant Wood, painter of iconic "American Gothic." Wood told his young student to make art about what she knew best. Five years later, she became the first student to earn a master's degree in sculpture at the University of Iowa, where she was not allowed to live in the university dormitories and instead lived with local African-American families.
Catlett moved to Mexico in 1946 on a fellowship to study woodcarving at the Escuela de Pintura y Escultura. She was invited to join a group of socially conscious Mexico City artists called the Taller de Grafica Popular (People's Graphic Workshop), and produced pamphlets, posters and other art related to anti-war, labor rights and anti-facist causes. The next year she married Mexican artist Francisco Mora and moved permanently to Mexico. She became the first woman to chair the sculpture department at the National Autonomous University of Mexico in 1959.
The grandchild of former slaves, Catlett often addressed themes related to civil rights and African-American culture in her art. Some of her most famous works depict African-American women, like the 1968 linocut "Sharecropper," the 1968 sculpture "Homage to My Young Black Sisters," as well as "Negro Mother and Child," the wooden carving for which she won first prize at the 1940 American Negro Exposition. She was also influenced by Mexican art -- both folk art and that of modern artists like her friends, Diego Rivera and Frida Kahlo.
"She saw it as an amalgamation -- a coming together," Kelly said. "She saw the same kind of struggle, I think, for women -- most of her art was about women, especially African-American women. She used women [as representations] for struggle, for justice, for maternal instinct. She used the beauty of her art to show the world the beauty of what was there."
The smooth, stylized faces she sculpted were less about individual people and more about the dignity and nobility of universal man, woman and child — sculpture that's meant to comfort, uplift and inspire. Her prints expressed her lifelong commitment to use art as a tool for social change, often incorporating the slogans ("Black Is Beautiful") and revolutionary heroes (Angela Davis and Malcolm X) of the civil rights and black power movements.
Catlett is survived by her three sons, Francisco, Juan and David; 10 grandchildren; and six great-grandchildren, according to an obituary in the Los Angeles Times. Her husband Francisco Mora died in 2002.
Posted: 05 Apr 2012 01:36 AM PDT
Atlanta, Georgia.- The High Museum of Art in partnership with the Montgomery Museum of Fine Arts of Montgomery, Alabama, is proud to present "Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts" on view at the High through May 13th. This exhibition will feature some of the best examples of Traylor's work, rarely seen outside of the southeastern United States, with more than 60 works drawn from both collections. After Atlanta, the exhibition will travelto the Frist Center for the Visual Arts in Nashville, Tennessee; the Mingei International Museum in San Diego, California; and other national venues to be announced. "The High is deeply committed to folk and self-taught art. We are the only major museum in North America to have a curatorial department specifically devoted to the field," said Michael E. Shapiro, Nancy and Holcombe T. Green, Jr., Director of the High Museum of Art. "We believe that Traylor's work is sure to excite visitors with its energy, whimsy and wit." "Bill Traylor" features representative works from Traylor's various genres, including human and animal figures and depictions of his memories of plantation life—complex images in which he often combines several figures with abstract constructions.
Although he worked largely in anonymity during his lifetime, Traylor became one of America's most respected self-taught artists after his exposure to a larger public in the groundbreaking 1982 exhibition "Black Folk Art in America, 1930–1980," held at the Corcoran Gallery in Washington, D.C. Traylor began drawing when he was eighty-five years old and, in a prolific decade of art-making, produced more than 1,200 drawings in graphite pencil, colored pencil, poster paint, charcoal and
crayon. Many of his drawings were created on shirt cardboard, cast-off signs or other shaped supports. The unusual forms of these materials often influenced his designs. Unanchored by ground lines, his figures float in space. As early as 1939, the pared-down forms of Traylor's energetic drawings struck a chord with observers accustomed to the formal reductions of modernism. This made him one of the first African American vernacular artists to attract the notice of the art establishment in the 20th century.
The exhibition features 33 Traylor drawings from the High and 30 from the MMFA. The two institutions hold the world's largest museum collections of Traylor's work. Both acquired their first 30 Traylor drawings in 1982 directly from the artist Charles Shannon, a member of the New South cultural center who had befriended Traylor and saved his drawings. The exhibition will also highlight Shannon's efforts to preserve and promote Traylor's legacy, displaying Shannon's preliminary sketch of Traylor for a portrait mural at the New South and an original block- or screen-printed brochure from Traylor's 1940 New South exhibition. "As he sat under the awning near the pool hall on Monroe Avenue, Traylor took the raw material of his origins at the fertile intersection of African and European cultures and worked at shaping his life experiences into a meaningful story," says Susan Crawley, the High's curator of folk art. "And he put them in a form he could look at and hold in his hands." William Traylor was born into slavery in Lowndes County, near Benton, Alabama, sometime between 1852 and 1856, and was freed by emancipation in 1863. For more than 50 years he worked as a field hand on the plantation where he was born. By 1928 he had moved to the nearby city of Montgomery, where he spent his nights in the back room of a funeral parlor and, later, a shoe repair shop. He spent his days sitting on the city sidewalks, where he drew scenes from both his memories of plantation life and the street life around him. In 1939, he met the painter Charles Shannon. Recognizing Traylor's talent, the younger artist and his colleagues from the New South cultural center provided Traylor with art supplies and preserved much of his work. Traylor had a one-man show at New South in 1940 and in 1941 his work was exhibited in New York City. He spent the war years living with his children in the North and returned to Montgomery in 1945, when he resumed drawing. In 1947 he moved in with his daughter in Montgomery, but a decline in health soon forced him into a nursing home, where he died in 1949. Traylor's short career was prolific: he produced more than 1,200 works in graphite, colored pencil, poster paint, charcoal and crayon. In addition to the exhibitions held during his lifetime, Traylor's work has been represented in at least 30 solo exhibitions and 85 group shows since the late 1970s.
The High is distinguished as the only major general museum in North America to have a curatorial department devoted to the field of folk and self-taught art. In 1996 the High's folk art collection expanded in size and scope through the gift of the T. Marshall Hahn Collection. In 2002 and 2003 the collection was further enhanced by Museum patron Judith Alexander's gift of more than 130 works by Atlanta artist Nellie Mae Rowe. With a total of 800 artworks, including in-depth holdings of the work of Thornton Dial and Ulysses Davis and monographic surveys of the art of the Reverend Howard Finster and Bill Traylor, the High's Southern folk art collection is considered to be among the top five in the nation. The High Museum of Art, founded in 1905 as the Atlanta Art Association, is the leading art museum in the southeastern United States. With more than 12,000 works of art in its permanent collection, the High Museum of Art has an extensive anthology of 19th and 20th century American and decorative art; significant holdings of European paintings; a growing collection of African American art; and burgeoning collections of modern and contemporary art, photography and African art. The High is also dedicated to supporting and collecting works by Southern artists. The High's media arts department produces acclaimed annual film series and festivals of foreign, independent and classic cinema. In November 2005 the High opened three new buildings by architect Renzo Piano that more than doubled the Museum's size, creating a vibrant "village for the arts" at the Woodruff Arts Center in Midtown Atlanta. The Woodruff Arts Center is the largest arts center in the Southeast as well as one of the four largest in the nation. The Woodruff is unique in that it combines five visual and performing arts divisions on one campus as one not-for-profit organization. Opened in 1968, the Woodruff Arts Center is home to the Alliance Theatre, the Atlanta Symphony Orchestra, the High Museum of Art, Young Audiences and the 14th Street Playhouse. Visit the museum's website at ... http://www.high.org/
Posted: 05 Apr 2012 01:24 AM PDT
Barcelona.- The Museu Picasso de Barcelona is currently showing "A Collage before Collage", on view at the museum through June 3rd. Pablo Picasso invented the art collage sometime in the spring of 1912; other artists then took it up and enriched it with new perspectives. But long before that, in Barcelona in March 1899, Picasso had pasted a mechanically reproduced image, a photo-portrait of an actress, onto one of his drawings, Man Leaning Against a Wall. We now know that this stuck-on image is a picture card from a box of matches, a popular form of print in those days, which people collected in albums. The image is a collotype, a process for reproducing photographic images that was widely used for magazine illustrations in the 1890s, as well as for other printed materials such as postcards, theatre programs, advertising handbills, picture cards and so on.
Posted: 05 Apr 2012 01:14 AM PDT
PARIS.- Gagosian Gallery Paris announces an exhibition by Urs Fischer. Fischer's uncanny ability to envisage and produce objects on the brink of falling apart or undergoing psychic transformation has resulted in sculptures in a bewildering variety of materials, including unstable substances such as melting wax and rotting vegetables. Continuously searching for new sculptural problems to which he can provide solutions (or other problems), he has built houses out of bread; enlivened empty space with mechanistic jokes; deconstructed objects and then replicated them; and transferred others from three dimensions to two and back again via photographic processes. Compacting the real with the mimetic, the thing with the view, he combines daring formal adventures in space, scale, and material with a mordant sense of humor.
Posted: 04 Apr 2012 10:55 PM PDT
NEW YORK, NY.- Christie's New York announced further highlights of its upcoming Evening Sale of Impressionist and Modern Art on May 1. In keeping with collector demand for blue-chip works of the period offered fresh-to-the market from private collections, Christie's specialists have assembled a superb selection of paintings, sculpture and works on paper by the major artists of the era, including Pablo Picasso, Henri Matisse, Alberto Giacometti, Claude Monet, Salvador Dali, Joan Miró and Henry Moore, among others. The complete sale of 32 works is expected to realize in excess of $100 million. As was previously announced, the star lot of the sale is a rediscovered study for Card Players, Paul Cézanne's seminal masterpiece series of the modern period (estimate: $15-20 million). The meticulously preserved watercolor was last seen in public in 1953 and was assumed lost until its rediscovery this spring in the private collection of the late Dr. Heinz F. Eichenwald, a prominent physician and collector based in Texas.
Posted: 04 Apr 2012 10:44 PM PDT
Dallas, Texas.- The fourth annual Dallas Art Fair, presented by Ruinart Champagne, will return April 12th through April 15th to the Fashion Industry Gallery (f.i.g) located at 1807 Ross Avenue – adjacent to the Dallas Museum of Art in Dallas' dynamic downtown Arts District. This year's fair will showcase over 70 international and national galleries, featuring works by more than 400 modern and contemporary artists. The Dallas Art Fair launches on April 12th with an exclusive preview gala that benefits the Dallas Contemporary and Nasher Sculpture Center. The gala offers patrons and Dallas' top collectors the opportunity to preview and purchase exhibited works prior to the public opening of the fair.
This year's edition is at the center of a week of major exhibition openings and art-related programming in Dallas. Notable exhibitions include Jacob Kassay at Power Station; Erick Swenson at the Nasher Sculpture Center; Adam McEwen at The Goss-Michael Foundation; Erwin Wurm and Zoe Crosher at the Dallas Contemporary and the opening of the first ever Dallas Biennale curated by Florence Ostende. "This year's fair represents another quantum leap forward in the quality of our exhibitors," said DAF Co-Founder, John Sughrue. "The arts are redefining Dallas, and there is a growing demand for access to the best of international contemporary art within the community. The Dallas Art Fair week is becoming a defining week in Dallas and on the advent of our fourth year; I remain incredibly excited about the future of our fair, our arts community and our city."
"We want to present a fair that brings together a number of top national and international dealers with our local and regional galleries," said Chris Byrne, Co-Founder. "By presenting these galleries on an even playing field, the viewer can evaluate the art on its own terms." The 2012 Exhibitor List includes; Alpha Gallery, Andrew Edlin Gallery, Artspace 111, Barry Whistler Gallery, Bill Hodges Gallery, Blythe Projects, Bridgette Mayer Gallery, Callicoon Fine Arts, C. Grimaldis Gallery, Canada, Carrie Secrist Gallery, CB1 Gallery, Charlie James Gallery, Claire Oliver, Conduit Gallery, Cris Worley Fine Art, D'Amelio Gallery, Deborah Colton Gallery, Dittrich & Schlechtriem, Drexel Galeria, Durham Press, Feature, Inc., Feedback, Ltd., Franklin Parrasch Gallery, Galleri Urbane, Gallery Henoch, Gasser Grunert, Gebert Contemporary, The Green Gallery, Hedge Gallery, Horton Gallery, Howard Scott Gallery, James Kelly Contemporary, Jerald Melberg Gallery, Jonathan Viner Gallery, Josee Bienvenu Gallery, Kirk Hopper Fine Art, Kopeikin Gallery, Lennon, Weinberg, Inc., Leo Koenig, Inc., Leslie Sacks Contemporary, Lisa Cooley Fine Art, ltd los angeles, Marc Straus, Martos Gallery, Michael Kohn Gallery, Moody Gallery, Meulensteen, Newzones, Pace Prints, Perry Rubenstein, Peter Fetterman Gallery, Photographs Do Not Bend Gallery, Rosamund Felsen Gallery, Russell Tether Fine Art, Salomon Contemporary, Shoshana Wayne Gallery, Silverman Gallery, Stewart Gallery, Sue Scott Gallery, Talley Dunn Gallery, Tanner-Hill Gallery, Thomas Solomon Gallery, Turner Carroll Gallery, UNTITLED, Valley House Gallery & Sculpture Garden, Wade Wilson Fine Art, Webb Gallery, William Campbell Contemporary Art, William Shearburn Gallery, Zach Feuer Gallery, Zane Bennett Contemporary Art Gallery and ZieherSmith
The exclusive Preview Gala will mark the launch of the Dallas Art Fair on Thursday, April 12th. The Preview Gala, benefiting the Dallas Contemporary and Nasher Sculpture Center, will offer art patrons and Dallas' top collectors the opportunity to preview and purchase exhibited works prior to the public opening of the fair. The Nasher Sculpture Center is home to one of the finest collections of modern and contemporary sculptures in the world, the Raymond and Patsy Nasher Collection, featuring more than 300 masterpieces by Calder, Giacometti, Matisse, Picasso, Rodin, and more. Hailed by the "USA Today" as one of the great sculpture gardens where art enhances nature, the "roofless" museum seamlessly integrates the indoor galleries with the outdoor spaces creating a museum experience unlike any other in the world. On view in the light-filled galleries and amid the landscaped grounds are rotating works from the collection, as well as blockbuster exhibitions and one-of-a-kind installations by the most celebrated artists of our times. The Nasher brings the best of contemporary culture to Dallas through special programs designed to engage visitors, including artist talks, lecture programs, contemporary music concerts, educational classes, and exclusive member events. Dallas Contemporary is a non-collecting art museum presenting new and fresh ideas from regional, national and international artists. Modeled after European art centers and located in an industrial building in the Design District, Dallas Contemporary is one of the only institutions of its kind in the United States, offering temporary exhibitions, important lectures and seminal learning programs. Visit the fair's website at ... http://www.dallasartfair.com
Posted: 04 Apr 2012 10:21 PM PDT
CHATSWORTH, UK - Caro at Chatsworth, the first exhibition devoted to the work of a single artist at Chatsworth House, opened last week, presenting 15 monumental works by Britain's greatest living sculptor Sir Anthony Caro. The exhibition will run through 1 July 2012. The exhibition provides a once in a lifetime chance to see Caro's larger work one of Britain's most famous historic settings. All the sculptures in the exhibition have been lent by the artist and reflect his major concerns over the past four decades. Early examples of Caro's steel sculptures painted in blue, orange and green are shown alongside examples from the renowned 'Flats' series made in Canada in rusted and varnished steel in the 1970s. More recent works from the 1990s reflect Caro's continual experimentation with the surface, form and structure of steel. Sited immediately in front of the south lawn and the Seahorse Fountain will be the monumental 'Goodwood Steps', its striking series of ziggurats echoing the architecture of Chatsworth House itself.
Posted: 04 Apr 2012 09:50 PM PDT
LONDON.- This spring, the National Gallery will present to the public Titian's first major commission, The Flight into Egypt, on loan from the Hermitage Museum, Saint Petersburg. The exhibition will examine the talented young artist's creation of this extraordinarily ambitious work, painted when he was just a teenager. The exhibition will explore Titian's originality in creating one of the first large scale landscape narratives, and will demonstrate how he adapted ideas from the work of other artists in order to create his sophisticated composition. The painting will be exhibited alongside more than 20 works by Titian's Venetian contemporaries including, Bellini, Giorgione, and Sebastiano del Piombo, from the National Gallery's permanent collection, from the Hermitage and from other British institutions. Artists such as Albrecht Dürer, who was in Venice at the time Titian began this work, will also be included in the exhibition that is on view from 4th April through 19th August.
Posted: 04 Apr 2012 09:34 PM PDT
Santa Monica, California.- Frank Pictures Gallery is delighted to present "Hermann Lederle: Footprints on Snow" on view at the gallery through April 27th. there will be an artist reception on Sunday, April 15th, frpm 6-9 pm. Lederle's paintings continue to evolve with dense color expanses woven into heavily textured line structures. The latest series entails a two-stage process, where at first a graduated color is applied with a traditional brush allowing for the distinct qualities of its stroke to emerge. The second stage is executed with a painter's knife often with ostensibly contradictory linear shapes and lines, imbuing it with the properties of rival perceptions taking place within the canvases. "Lederle's work has a 3-D, almost architectural reality", says gallerist Laurie Frank, " achieved without employing geometry. He creates a progression of inner space expanse that the paintings invite you to enter as an explorer evoking the thrilling sensation of stepping on virgin ground."
Posted: 04 Apr 2012 09:21 PM PDT
JERUSALEM, ISRAEL - Until Tuesday, if history buffs wanted a glimpse of the Israel Museum's vast collection — including a 9,000-year-old carved human face found in the Judean Desert — they would have to travel to Jerusalem to see it. Now, through a joint venture with Google Inc., people from around the world can examine the ancient Neolithic artifact, which the museum says is the oldest in the world, in greater detail than ever before with a simple click of a mouse from the comfort of their own home. The mask is just one of 520 objects made available as part of the museum's partnership with the Google Art Project, an online compilation of high-resolution images of artwork from galleries worldwide, as well as a virtual tour of the museums using the high-tech giant's Google Street technology. The project is just the latest in a long line of collaborations between Google and Israel. The tech giant has a large R&D center in Israel, has purchased several Israeli startups.
Posted: 04 Apr 2012 09:13 PM PDT
SEATTLE, WA.- The Seattle Art Museum (SAM) is proud to announce that it will present "Picasso: Masterpieces from the Musée National Picasso, Paris", an extraordinary exhibition of the work of Pablo Picasso (1881-1973). This landmark project is scheduled to be on view at SAM Downtown from October 8, 2010 through January 9, 2011. The exhibition will present iconic works from virtually every phase of Picasso's legendary career. Drawn from the collection of the Musée National Picasso in Paris, the largest and most important repository of the artist's work in the world, the exhibition will feature more than 150 original works of art, including approximately 75 paintings and sculptures, complemented by an important selection of prints, drawings and photographs.
The unparalleled opportunity to present this work is possible at this time because the Musée Picasso has recently closed for renovations, allowing a global tour of this full-scale survey to travel for the first and, very likely, the only time. The presentation at SAM will be the US debut of these works which follows the Atheneum Art Museum in Helsinki, Pushkin Museum of Fine Arts in Moscow and the State Hermitage Museum in St. Petersburg, Russia. SAM has worked closely with Anne Baldassari, Director of the Musée National Picasso and general curator of the exhibition, to create a highly memorable exhibition that not only highlights outstanding works from its collection, but tells a compelling story about the artist's development and undeniable impact on modern art history.
The Musée Picasso's holdings stand apart from any other collections of Picasso's work because they represent the artist's personal collection–works that the highly self-aware artist kept for himself with the intent of shaping his own artistic legacy. Every major period from Picasso's prolific output over eight decades will be represented by iconic works, including the Blue Period's "La Célestina", (1904), the Rose Period's "The Two Brothers", (1906), the African art-inspired "Three Figures Under a Tree", (1907-08), the "Cubist Man with a Guitar", (1911), and the classicizing "Two Women Running on the Beach" (La Course), (1922), to mention only the first quarter of his career.
The exhibition also includes highlights from the period associated with his mistress Marie-Thérèse Walther such as a quintet of Female Bust bronzes from 1931 and the portrait The Reading from 1932. Another muse, Dora Maar, is represented in many guises, from stately beauty in "Portrait of Dora Maar" to emotional wreck in "The Crying Woman", both from 1937.
Picasso's career spanned World Wars I and II, the Spanish Civil War, and the Korean War and each conflict exerted a presence in his work. The impending chaos of World War II, for instance, is reflected in such canvases as "Man in a Straw Hat" with an "Ice Cream Cone" (1938) and "Cat Clutching a Bird" (1939), while his consistent challenges to sculptural tradition are traced with such icons as "Head of a Bull" (1942) and "The Goat" (1950).
Picasso's Long and Productive Career
One reason for Picasso's towering reputation is his long and productive career, which began at a remarkably young age with accomplished works completed as a teen prodigy. His early period, informed by travels and travails in his native Spain and his adopted France, as well as a tumultuous and picaresque personal life, developed at a feverish pace as he devoured influences and spat out innovations one after another. The first portion of the exhibition will document these watershed moments, including his assimilation of Van Gogh in a 1901 deathbed portrait of his close friend Carlos Casagemas, (The Death of Casagemas) whose suicide threw the artist into a melancholy that partly inspired the famous Blue Period. Casagemas' death was fueled by addiction and romantic troubles, and the heady, fin de siècle circles of artists and literary types in the midst of which Picasso too found himself in Paris and Barcelona. The show will also include his masterpiece of the Blue Period, "La Célestine" (1904).
The impoverished but ambitious artist also identified with the downtrodden and outsiders of society at this time, leading to iconic sculptures of circus performers such as the bronze "The Jester" (1905) and the Rose Period painting "The Two Brothers" (1906) made while he was closely following itinerant families of saltimbanques. Dueling influences of African art, the legacy of Paul Cézanne, the early stages of a lifelong friendly rivalry with Henri Matisse, and camaraderie with Andre Dérain and Georges Braque soon thereafter brought Picasso to the rich period in which he made his epochal "Les Demoiselles d'Avignon" (1907) in the collection of the Museum of Modern Art in New York (not included in the show). Numerous studies for this great painting are included in this exhibition, including a rare wood carving, Figure (1907), which also reveals his interest in Paul Gauguin's earlier sculptural forays in Polynesia. Picasso's ability to borrow and synthesize ideas and forms from the past and relate them to pressing realities of his time remains one of his great legacies.
The fragmentation within these works, in which figures were often rendered in sharp planes, or anatomy was skewed in order to attempt new depictions of three-dimensionality, paved the way for one of Picasso's greatest contributions to art history, Cubism. Again fueled by an appreciation of Cézanne and spurred by an
intense dialogue with Braque, Picasso shattered pictorial space in a way that forever changed the path of painting. The exhibition includes classic examples of Analytic Cubism, for example, "Le Sacré-Coeur" (1909-10), or several paintings of figures featuring musical instruments (1911) where subjects are subjected to faceted rendering. In his subsequent development of collage, Synthetic Cubism, images of objects are built up from disparate parts such as paper, wood, and string. Picasso's innovations during this period had farflung influence, inspiring the Italian Futurists, Russian Constructivists, French and American Synchromists, and budding Dadaists and Surrealists.
Often, Picasso's shifts from one stylistic mode to another were dramatic, such as in the ponderous, classicizing figures that populate his work after the conclusion of World War I. This exhibition documents this period with stellar examples such as "Head of a Woman" (1921) but also shows how quickly he moved on. As soon as four years later he entered into his Surrealist period exemplified by the grotesque "The Kiss" from 1925.
By the 1930s and 1940s, Picasso's eclecticism and command of numerous approaches was at full flower and viewers will be treated to ricocheting efforts of virtuosity, innovation, and pathos as the world around him was thrown into turmoil. Examples included in the show range from the sumptuous, seemingly ecstatic nude portrayals of "Marie-Thérèse such as Reclining Nude" (1932) and "Nude in a Garden" (1934), to touching metaphors of war like "Man with a Sheep" (1943).
In his final decades, from the 1950s to the 1970s Picasso's work reflected a more tranquil and ruminative attitude, addressing history, sexuality and the artist's own mortality in numerous ways. Evocative of the style of Matisse, Picasso's depiction of his studio in the south of France, "The Studio at La Californie" (1956), revisits a theme common throughout his career, the artist at work. Paintings from his late period including the sly self-portrait "The Matador" (1970), "Reclining Nude and Man Playing a Guitar" (1970) and "The Musician" (1972) take up concepts that are not only historically loaded, but filled with allegorical and autobiographical associations.
Seattle Celebrates Picasso
Picasso's far-reaching collaborations and inspiration went well beyond the visual arts in his own lifetime, and his work continues to inspire creative minds in a range of fields – from composers, poets and playwrights to dance troupes, political figures and more. In conjunction with the exhibition, SAM is planning the broadest conceivable array of public programs and collaborations in conjunction with a host of institutions and organizations including the Seattle Symphony, Henry Art Gallery, Seattle Arts and Lectures and the Central District Forum for Arts and Ideas, among others. Visit The Seattle Art Museum (SAM) at : http://www.seattleartmuseum.
Posted: 04 Apr 2012 09:12 PM PDT
AMSTERDAM.- In an evening sale on Monday 14 June 2010 Sotheby's Amsterdam will offer both 19th Century European Paintings and Modern & Contemporary Art. Sotheby's has combined these two collecting fields into one sale since there is a demonstrable overlap in interest in Hague School and early 20th century art. From 11 till 13 June, more than 150 works will be on display during the viewing days at Sotheby's Amsterdam. The works to be offered are estimated to realize in excess of €2 – 3 million.
Posted: 04 Apr 2012 09:11 PM PDT
Quebec.- The McMichael Canadian Art Collection presents the first major retrospective of Marc-Aurèle Fortin in more than 45 years. "Marc-Aurèle Fortin: The Experience of Colour" is on view until September 11th. "Marc-Aurèle Fortin: The Experience of Colour", the first major museum exhibition devoted to the artist in more than 45 years, features a hundred or so paintings, prints, drawings and watercolours produced over four decades, between 1909 and 1949. Fortin indelibly marked the Quebec imagination with the compositions of stately elms and colourful rural scenes for which he is best known. The exhibition presents views of Sainte-Rose, Île d'Orléans and the Charlevoix, Gaspé and Saguenay regions, depictions of the Quebec countryside of his day. It also includes a lesser-known but equally important aspect of his work: cityscapes. These urban views prove him a keen observer of the irreversible changes that modernity was bringing to Montreal in the 1920s and 30s.
This exhibition is a tribute to the landscape artist Marc-Aurèle Fortin (1888-1970), who painted for four decades in the rising tide of Quebec and Canadian modernity. The 107 works assembled here testify to his prolific output, from the early paintings done in Chicago, in 1909 and 1910, to the Gaspé and Saguenay region landscapes captured in the late 1940s, before health problems forced him to stop working. While remaining faithful to figurative art as a painter, watercolourist, printmaker and pastelist, he endlessly experimented with colour, the true focus of his inquiry. In the 1920s and 30s, Fortin's career took off with the success of his views of Montreal and its harbour and his depictions of large trees. These works earned him recognition in the art world, and this exhibition honours their outstanding quality. You will discover famous pieces and others less well known, all illustrating steps on a remarkable artistic journey marked by experimentation and freedom.
Early in the last century, Marc-Aurèle Fortin witnessed the industrialization of the Hochelaga district and Montreal's harbour, which was then the world's largest grain port. The urban space was invading the countryside at the city's doors, and the collision of nature and culture inspired him to paint stunning views. Keenly attentive to the profound changes taking place, he was particularly captivated by the construction of the Harbour Bridge, in the late 1920s, renamed Jacques Cartier Bridge in 1934. These themes were among the first to illustrate the artistic modernity of French Canada.
In his paintings and watercolours, Fortin boldly combined the purity of colour with the expressiveness of line drawing, which culminated in his etchings. He was inspired by jumbled buildings, railway tracks and power lines to produce a myriad of graphic motifs. No matter which technique he used, the artist kept the human presence to a minimum. Recent research has shed light on Fortin's early career, which had long been obscure. We now know that after briefly studying at the Art Institute of Chicago (1909-1910), the artist, then in his twenties, worked as a painter in Montreal. He exhibited in the prestigious annual shows of the Royal Canadian Academy of Arts and the Art Association of Montreal (now the Montreal Museum of Fine Arts). His pictures were relatively small at the time, but they already showed good knowledge of painterly techniques and the new issues of painting. In Chicago, the young Fortin had celebrated the architecture of skyscrapers and the industrial landscape. The same themes also inspired him in Montreal, where he painted many views of the city and its harbour. Expressive brushstrokes predominate in these works, which capture atmospheric effects at different times of the day, from dawn until moonrise. This preoccupation with the qualities of light became the subject of exquisite sketches in which Fortin began composing the large trees that brought him success in the 1920s.
Unlike the other arts, painting is defined by colour. Fortin saw his art as "silent poetry," thus as part of the academic tradition, but, paradoxically, his determination to make bright colours sing made him one of the most progressive painters of his generation in the 1920s. The works in this section illustrate the mastery of colour that he often wielded by juxtaposing complementary hues. The red accent of an old woman in a garden of greenery, for example, or the purplish shadows next to shades of orange confirm that, by the late 1910s, Fortin had a good grasp of colour theory, which is fundamental in the history of modern painting.
Fortin depicts these giant trees as symbols of an all-powerful nature and studs their foliage with Impressionist touches. By way of contrast, he represents the peacefulness of everyday life at the foot of the green masses, filling the limited space with brightly coloured Québécois houses, tiny strolling or working figures and, of course, the ever-present hay wagon. These verdant scenes often unfold under blue skies heavy with "fat white rolled clouds, after heat waves," as the painter put it. "The atmosphere in Quebec is a sort of rather warm grey-purple," said Fortin, who roamed the province for a dozen years, from 1936 to 1948. Fleeing Montreal's heat in the summer, he set off on journeys that took him first to Quebec City, then along the Beaupré coast and to Île d'Orléans. Next he went to Baie-Saint-Paul and discovered the Charlevoix region, exploring the villages by bicycle with his material tucked under an arm. Between 1940 and 1945, the rambling artist headed east and discovered the Gaspé Peninsula. He later painted in the Saguenay region, with his friends René Richard, Maurice Le Bel and Albert Rousseau.
The McMichael Canadian Art Collection offers its visitors a unique and truly Canadian experience. From the art within the gallery on its walls to the surrounding landscape, the McMichael is the perfect gallery for an introduction to Canada's art, its peoples, their cultures and their history. Renowned for its devotion to collecting only Canadian art, the McMichael permanent collection consists of almost 6,000 artworks by Tom Thomson, the Group of Seven, their contemporaries, and First Nations, Inuit and other artists who have made a contribution to Canada's artistic heritage. The gallery welcomes on average 100,000 visitors annually. The McMichael Canadian Art Collection is a major public art gallery devoted solely to collecting Canadian art. The gallery offers visitors the unique opportunity to enjoy Canadian landscape paintings in the woodland setting that inspired them. Plus the McMichael brings internationally acclaimed touring exhibitions to its audience, providing a broader context for the collection and also reflecting today's audience's higher demand and interest in art. The McMichael's goal is to bring visitors diverse, creative, high-quality, thought-provoking exhibitions, in order to continually keep its audience engaged and interested. Built of fieldstone and hand-hewn logs, the McMichael houses thirteen exhibition galleries and is situated amid 100 acres of serene conservation land. Floor-to-ceiling windows enable visitors to enjoy marvellous views of the densely wooded Humber River Valley. Through a network of outdoor paths and hiking trails, visitors can discover outdoor sculptures. The McMichael displays a wide range of exhibitions each year, and offers a stimulating array of programs and events for people of all ages. They include curators' lectures, tours, music performances, kids' camps, workshops, school programs and hands-on art activities. Visit the museum's website at ... http://www.mcmichael.com
Posted: 04 Apr 2012 09:10 PM PDT
LONDON - The Royal Academy of Arts will be holding a major retrospective of the distinguished German artist, Georg Baselitz, 22 September – 9 December 2007. Featuring over 60 paintings together with a significant number of his drawings, prints and sculptures, the exhibition will be a comprehensive survey of Baselitz's work that will document a career of his most important works.
Posted: 04 Apr 2012 09:09 PM PDT
Berlin - Julius Werner Berlin presents A.R. Penck "The Eighties", on view through March 27, 2008. Penck comes from a clime which has elapsed. He lives in a present which will not start before the next corner. Certainly he is an European artist. Definetely he is not anymore just a denizen of Dresden.
Posted: 04 Apr 2012 09:08 PM PDT
Philadelphia, PA.- The Pennsylvania Academy of Fine Arts is proud to presents "Hiro Sakaguchi: No Particular Place To Go", on view at the museum until August 28th. The series of exhibitions by emerging artists continues with a presentation of works by Philadelphia artist Hiro Sakaguchi. A 1996 graduate of PAFA, Sakaguchi creates fictional worlds in drawings, paintings, and sculptures where human endeavor and interconnections are juxtaposed with natural forces in images that explore the tension between dreams and reality. In Sakaguchi's world, the violent event is defused and diffused through the miraculous transformations that drawing and painting can effect. The ammunition shot from tanks and planes in "Explosion Flowers" (2010) bursts into a bouquet of colorful blooms, while a volcano erupts in "Secret of Mt. Asama" (2010) like an engine spitting jetliners into the sky and taking passengers to far off places.
And while, at first, Sakaguchi's approach might appear whimsical, it is his deliberate disruption of scale and deployment of faux naïf narratives that allow his works to speak openly to the question of how we live and how we imagine we should live. Blending his rigorous education in Western painting with influences from popular comic strips and animation, Sakaguchi composes a collage of the world from found and seen imagery, as well as from observation and memory." A native of Japan and living in the States, it is as if Hiro Sakaguchi occupies a space between these two places. It can be thought of as a hybrid space that, while it opens onto both east and west, finds its center in his imagination. Bearing this in mind, Sakaguchi's exhibition title, No Particular Place to Go, is not so much a commentary on being excluded from his native or adopted lands but, rather, an acknowledgment of his open fascination with wandering between them and absorbing all their influences.
Like his watercolor The Climber (2007), Sakaguchi is a traveler on the wing of an aircraft overlooking both the Matterhorn and Mount Fuji. However, while he finds his identity in the conjunction of these two signs, his relationship to the two monoliths is suffused with a nonchalance that ties him to neither. Born in Nagano Prefecture, Sakaguchi grew up in Tokyo, Japan, and in his twenties came to the United States to pursue a scholarship in the fine arts. A resident of Philadelphia since 1990, in 1993 he obtained a Bachelor's degree from The University of the Arts and in 1996 he was awarded an MFA from PAFA, where he presently teaches in the Continuing Education Program. Sakaguchi has exhibited extensively in the US, Europe, and Japan and is represented by Seraphin Gallery in Philadelphia.
Through the rare combination of spectacular galleries, an internationally known school of fine arts, and their public programs, the Academy strives to provide students and visitors alike with a unique and thrilling experience. The Pennsylvania Academy of the Fine Arts (PAFA) is a national leader in fine arts education that brings together artists and the public through exceptional teaching programs, a world-class collection of American art, major exhibitions, and widely accessible public programs. A rare combination of a world-class museum and school of fine arts, PAFA will be a defining voice for education in the evolving traditions and cultural diversity of the fine arts in America. PAFA's museum is internationally known for its collections of 19th- and 20th-century American paintings, sculptures, and works on paper. Its archives house important materials for the study of American art history, museums, and art training. Since its founding in 1805, PAFA has been committed to fostering and collecting American art. Scholars have deemed PAFA's one of the world's three best collections of American art for its depth, breadth, and quality.With a collection of nearly 1,800 paintings, PAFA owns some of the most important and recognizable works in American art, including works by Benjamin West, Gilbert Stuart, Charles Willson Peale and Winslow Homer. The paintings collection is renowned for its holdings from the Federal period, including works by the Peale family, numerous portraits by Gilbert Stuart and Thomas Sully, and a fine collection of portrait miniatures. Works from the late 19th century, when American artists began working in a more international style, constitute one of the high points of the Academy's collection. Paintings bv William Merritt Chase, James McNeill Whistler, John Singer Sargent, Mary Cassatt, John Twachtman, Theodore Robinson, Childe Hassam, Henry O. Tanner, Cecilia Beaux and Thomas Eakins are among the most significant examples. In the early 20th century, the Academy collected works by some of its famous alumni, including Robert Henri, John Sloan, William Glackens, Everett Shinn and George Luks, all of whom were connected with the Ashcan School.
Twentieth century developments in abstraction are documented in the collection by artists such as Arthur B. Carles, Florine Stettheimer, Stuart Davis, Georgia O'Keeffe, Ben Shahn, Jack Levine, Mark Rothko, Jacob Lawrence and Richard Diebenkorn. As a school synonymous with the figurative tradition, the Academy's collections also are rich in the works of 20th-century representational artists such as Edward Hopper, Guy Pène du Bois, Reginald Marsh, Isabel Bishop, Thomas Hart Benton, Alfred Leslie, Philip Pearlstein, Andrew Wyeth and Bo Bartlett. PAFA houses more than 12,000 works on paper, including drawings, watercolors, pastels and all media of printmaking. The Academy's collection is highlighted by noteworthy works by some of America's most important artists such as John Singleton Copley, John James Audubon, Winslow Homer, James McNeill Whistler, Mary Cassatt, Maxfield Parrish, John Sloan, George Bellows, John Marin, Charles Demuth, Charles Burchfield, Andrew Wyeth, Claes Oldenburg and Andy Warhol. Sculpture has been an intrinsic part of the Academy since its founding in 1805. With more than 300 works ranging from 1780 to the present, the Academy's sculpture collection is particularly notable for its portrait busts, neoclassical marble sculpture, French-inspired bronze figures, direct carvings in stone and wood and the overall variety of materials and techniques represented. William Rush, one of the three artists connected with the formation of PAFA, was also one of the nation's first sculptors, representative of the American craft tradition aspiring to European fine arts. The Academy holds several notable works by Rush, including a masterful self-portrait. Visit the museum's website at ... http://www.pafa.org/Museum
Posted: 04 Apr 2012 09:07 PM PDT
Barcelona, Spain (ACN).- After recently celebrating its 15th anniversary, the Contemporary Art Museum of Barcelona (MACBA) wanted to underline its own impressive collection, giving it more visibility, strength and identity within the museum facilities. So, from February 2012, the permanent collection will occupy the first floor of the Richard Meir building. The project will double the amount of exhibition space for these pieces of art. However, it will not be a typical 'permanent' collection, but will be displayed as a series of temporary exhibitions. These exhibitions will show different narratives and focus on different themes, using the museum's collection. Despite the 5% budget reduction for 2011, leaving the Museum's yearly budget at 12 million euros, the MACBA faces an intense year. Apart from the permanent collection's redistribution, 2 major projects are being undertaken: 'The International' exhibition, organized with 4 other European museums, and the acquisition of 'Between the Frames: The Forum' a major installation by Antoni Muntadas, and creating its own podcast site . . Radio Web MACBA.
Posted: 04 Apr 2012 09:06 PM PDT
NEW YORK CITY - Founded in 1983, Eli Wilner & Company is celebrating 25 years in business. The gallery, indeed the study, connoisseurship and collecting of American frames, have come a long way from the early days when the business began in a fifth floor walk up and period frames were still being discarded by museums and galleries alike. Since that time, Eli Wilner & Company has worked to promote the study and appreciation of period frames as valuable historical objects as well as works of art in their own right. Gradually frames have risen to the forefront of interest in the art world and museum curators and private collectors alike are far more aware than ever before of the transforming influence that a frame provides to an artwork.
Posted: 04 Apr 2012 09:05 PM PDT
MONTREAL, QUE - The exhibition Van Dongen - A Fauve in the City, presented from January 22 to April 19, 2009 at the Montréal Museum of Fine Arts is the first major retrospective of the work of Kees Van Dongen (1877-1968) in North America. The exhibition, which brings together some 200 works, including over a hundred paintings, forty rare drawings, prints and other archival documents and photographs as well as for the first time, a dozen Fauvist ceramics, will illustrate the influential role Van Dongen played in the early twentieth century as the only portraitist among the Fauves.
His dazzling, shameless paintings, described as "riots of light, heat and color," attest to his distinctive style within modern art alongside his contemporaries Matisse and Picasso. His caustic, urban, scandalous art is very different from the landscape Fauvism that is generally associated with this movement. In light of new research and previously little-known works, the artist's career will be traced from his early days in Holland to the time he settled in Paris and participated in the illustrious Salon d'Automne of 1905, which established Fauvism as a new style in modern art.
Major Works - The Montreal exhibition will present, for the first time in North America, the outstanding collection of works by Van Dongen recently acquired by the Nouveau Musée national de Monaco, including the magisterial Spotted Chimera (1895-1907) and the Tabarin Wrestlers (1907-1908), an astonishing canvas that has not been exhibited for over fifty years, and Tango of the Archangel (1922-1935). The Musée national d'art modern, the Centre Pompidou and the Musée d'art modern de la Ville de Paris have granted many outstanding loans for the exhibition, including the famous Tableau that created a scandal in 1913 and the Self-portrait as Neptune (1922). Many major loans have also been received from public and private collections in Europe and elsewhere, including a number of important works from the Nahmad family. The Montreal exhibition is also presenting works from American collections.
Arresting paintings of nudes and coquettish female figures that nevertheless retain the sumptuous palette and rich impasto of his Fauvist works will be examined through the themes of exoticism, spectacle and Orientalism. During the 1920s, Van Dongen frequented high society, which earned him commissions for portraits of the most celebrated personalities of the era. An impressive selection of these major portraits from the Roaring Twenties and a series of landscapes in saturated colors will illustrate the artist's mature period.
In 1904 van Dongen exhibited some 100 works at the gallery of Ambroise Vollard, a champion of avant-garde art. The catalogue of the show was introduced by the progressive art theorist and critic Félix Fénéon. Van Dongen's neo-Impressionist style of bold color patches and a flattened depth linked him with such artists as Andre Derain and Maurice de Vlaminck and their anti-naturalist palette. In 1905, the same year in which his daughter "Dolly" was born, van Dongen showed pictures at the Salon des Indépendants and Salon d'Automne alongside a loose collection of like-minded painters of which Matisse was the ringleader. The riot of color in their work caused a somewhat hostile critic, Louis Vauxcelles, to dub these artists "les fauves" ("the wild beasts").
The Exhibition Themes - The themes of the exhibition will introduce visitors to Van Dongen's rich and varied oeuvres as they follow his career from Rotterdam to Paris, where he was an active player in the avant-garde scene of the early twentieth century. From North to South, from Symbolism to Neo-impressionism (1885-1904) presents early works executed in Holland, which reflect Van Dongen's inspiration, which ranged from Rembrandt to the Neo-Impressionists; Van Dongen Illustrator (1895-1904) reveals the key role his graphic work played in his art, which was defended by Van Dongen's first, most influential supporter, art critic Félix Fénéon; Van Dongen Fauve (1904-1912) shows his style evolving under the influence of artists of the avant-garde like Matisse and Picasso, as well as how he became notorious after his participation in the Salon d'Automne in 1905, and his growing interest in portraiture, the worlds of the cabaret and the circus and his obsession with women; Exoticism and Orientalism (1910-1917) reveals how his trips to Spain, Morocco and Egypt inspired him to create new harmonies of colors and to explore a new purity of line; The Artist's Studio: A Social Venue (1914-1930). During this period the now famous Van Dongen frequented Paris high society and painted a gallery of portraits that represent a chronicle of the Roaring Twenties; and Landscapes (the 1950s) the final section, presents works, as well as archival documents and photographs, that show the artist revisiting the themes and styles that characterized his early years.
Curators: Nathalie Bondil, Director and Chief Curator of the Montreal Museum of Fine Arts, and Jean-Michel Bouhours, curator at the Musée national d'art moderne, Centre Pompidou, are the exhibition curators. Anne Grace, Curator of Modern Art at the MMFA, is the associate curator. The Curatorial Committee includes Christian Briend, chief curator of prints and drawings, Musée national d'art moderne, Centre Pompidou; Anita Hopmans, chief curator of modern and contemporary art, Netherlands Institute for Art History in the Hague; and Daniel Marchesseau, chief curator for heritage, Direction des musées de France, and director of the Musée de la vie romantique de la Ville de Paris.
The Catalogue: More than just a catalogue, this richly illustrated book will be co-published by the Montréal Museum of Fine Arts, the Nouveau Musée National de Monaco and Hazan, Paris, in separate French and English editions. It includes many previously unpublished documents thanks to the co-operation of the artist's family. The first major work published in English on Van Dongen, it includes essays by a team of internationally renowned experts, including, for the first time, American art historians.
This exhibition is organized by the Montréal Museum of Fine Arts, in partnership with the Nouveau Musée National de Monaco. It has also received support from the artist's family. The exhibition will travel from Monaco to Montréal and subsequently to Barcelona's Picasso Museum. Visit : the Montréal Museum of Fine Arts (www.mmfa.qc.ca ).
Posted: 04 Apr 2012 09:04 PM PDT
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