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

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• The Marmottan Monet Museum Shows Henri Edmond Cross and Neo-Impressionism
• A Solo Show by Jordanian artist Hilda Hiary at Ayyam Gallery in Beirut
• Exhibition of Paintings and Sculptures by Gary Hume at White Cube
• Chuck Jones Celebrated with 'The Chuck Jones Experience' at Circus Circus
• New York City's American Folk Art Museum Celebrates its 50th Anniversary
• The New Museum shows "Enrico David: Head Gas" his New Body of Work
• The Deichtorhallen in Hamburg to Feature a Saul Leiter Retrospective
• New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum
• Musée du Louvre features Gabriel de Saint-Aubin
• ‘Samuel Beckett: a passion for paintings’ at National Gallery of Ireland
• Asia Society Museum to present Hanging Fire: Contemporary Art from Pakistan
• The Louvre Launches Journey into the Imaginative World of the Italian Poet Ariosto
• Matisse: Painter as Sculptor at Baltimore Museum of Art
• John Currin to exhibit at Sadie Coles HQ in London
• "New York New York" by Harry Benson and Hilary Geary Ross
• First Book on Collecting Chinese Contemporary Art Published in Chinese
• Museo Franz Mayer in Mexico City opens 300% Spanish Design Exhibition
• Ketterer Kunst German Auction To Offer a Rare Painting by Willem I van de Velde
• Phillips Collection to Display Masterworks from The Allen Memorial Art Museum
• Art Knowledge News Presents "This Week In Review"

The Marmottan Monet Museum Shows Henri Edmond Cross and Neo-Impressionism Posted: 19 Jan 2012 12:08 AM PST Paris.- The Marmottan Monet Museum is pleased to present "Henri Edmond Cross and Neo-Impressionism: Seurat to Matisse", on view until February 19th. The exhibition traces the evolution of the work of Henri Edmond Cross (1856-1910) in the context of work by other members of the Neo-Impressionist movement, highlighting Cross's network of friends, influences and followers from his Paris years with Georges Seurat, Paul Signac and the other 'Neos', to the last 20 years of his life (1892-1910), when he settled in Saint-Clair, near his friend Signac in Saint-Tropez – the rallying point for a new generation of artists, where Henri Matisse and the future Fauves discovered and experimented with the principles of 'divisionism'. The exhibition gathers some one hundred oil paintings and watercolours from private collections and museums worldwide (Germany, Belgium, Japan, the USA), including pivotal works in the history of Neo-impressionism, never before seen in public. The first part of the exhibition presents paintings by members of the first Neo-Impressionist group (Cross, Signac, Albert Dubois-Pillet, Camille Pissarro, Maximilien Luce, Theo Van Rysselberghe), pioneers of the movement's painstaking 'divisionist' technique, based on the optical blending of small strokes of pure prismatic colour, contrasting tones, and the use of colour complementaries. The exhibition continues with an exploration of the parallel careers of Cross, Signac and Van Rysselberghe – and the revelation of colour witnessed in their paintings – as the starting point for the 'second' Neo-Impressionist movement, featuring thicker touches of colour, and a more strident palette. The final section highlights the links between Cross and a younger generation of painters – including Camoin, Manguin and Henri Matisse – establishing him as a unique, essential link between Seurat's Divisionism and the Fauvist movement pioneered by Matisse and Derain. The exhibition also highlights Cross's watercolour paintings, an important feature of his work throughout his career. Organised in association with the Musée Départemental Matisse in Cateau-Cambrésis, part of the exhibition at the Musée Marmottan Monet will transfer to Matisse's home town, from 12 March to 10June, 2012. The partner exhibitions each feature the same core body of work, together with their own selections of paintings, many on public show for the first time, shedding new light on Cross's work and (re)introducing the artist to a wider international audience. By comparing Cross's paintings with those of his contemporaries – Seurat, Signac, Luce, Van Rysselberghe, Camoin, Matisse and others – both exhibitions will highlight the distinctive, poetic quality of his work, and demonstrate his importance and decisive influence in the context of modern art as a whole. The Marmottan Monet Museum, a former hunting lodge of Christophe Edmond Kellermann, Duke of Valmy, was acquired in 1882 by Jules Marmottan. His son Paul made it his home and extended the hunting lodge to accommodate his collection of First Empire art objects and paintings. When he died in 1932, he bequeathed to the Academy of Fine Arts all of his collections and his home became the Marmottan Museum in 1934 and the library of Boulogne. In 1957, the Museum received a significant donation from Victorine Donop de Monchy, inherited from his father, Dr. Georges de Bellio, including works by Édouard Manet, Claude Monet, Pissarro, Alfred Sisley and Renoir, who was one of the first fans of impressionist painting. Michel Monet, the second son of the painter, in 1966 bequeathed to the Academy of Fine Arts his property in Giverny and its collection of paintings inherited from his father for the Marmottan Museum. He endowed the Museum and the largest collection of works by Claude Monet. The architect and curator of the Museum academician Jacques Carlu then built a room inspired by the great decorations of the Orangerie in the Tuileries to receive the collection. The works collected by Henri Duhem and his wife Mary Sergeant come beautifully complement this fund in 1987 Thanks to the generosity of their daughter Nelly Duhem. Painter and comrade of Post-Impressionist, Henri Duhem was also a passionate collector collecting the works of his contemporaries. In 1996, Denis and Annie Rouart Foundation was created in the Marmottan Monet Museum in accordance with the wishes of its benefactor . The Museum then enriches its collections of prestigious works of Berthe Morisot, Edouard Manet, Edgar Degas, Auguste Renoir and Henri Rouart. Daniel Wildenstein provided an exceptional collection of illuminated manuscripts of his father to the Marmottan Museum in 1980. Since then many other bequests, equally important, were added to the museum collections such as those of Emile Bastien Lepage, Vincennes Bouguereau, Henri Le Riche, John Paul Leon, Andre Billecocq, Gaston Schulmann, the Foundation Florence Gould, Roger Hauser, Cila of Dreyfus, or that of Therese Rouart. . Visit the museum's website at ... www.marmottan.com

A Solo Show by Jordanian artist Hilda Hiary at Ayyam Gallery in Beirut Posted: 18 Jan 2012 09:24 PM PST BEIRUT.- Ayyam Gallery in Beirut announces the opening of "Impulses II", the solo show of Jordanian artist Hilda Hiary. This forthcoming event will showcase a new series of works that have been inspired by recent political upheavals in the Middle East and North Africa. Taking the vantage point of what she describes as a "witness of this era," Hiary presents over a dozen new paintings in which figures become templates for raw emotion as they are suspended in non-descript settings that allude to both interior and exterior spaces, or private verses public realms. On exhibition 19th January through 13th February.

Exhibition of Paintings and Sculptures by Gary Hume at White Cube Posted: 18 Jan 2012 09:13 PM PST LONDON.- White Cube announces 'The Indifferent Owl', an exhibition of new paintings and sculptures by Gary Hume. Over the past twenty years, Hume has developed a distinctive visual language of bold, simplified forms to create paintings that engage the viewer with their pleasantly irresolvable quality. The exhibition, his first in London for over four years, brings together a large and varied body of new work that will occupy both the Hoxton Square and Mason's Yard galleries. A painting by Gary Hume is a dynamically ambiguous visual experience. Although each work usually features a recognizable motif - such as a bird or flower - they are often flattened and fractured, and positioned awkwardly in a pictorial space that is brought to life through broad passages of colour that could be repellently acrid or seductively luscious. Negative and positive spaces fluctuate within a painting, stretching figuration to the point that lines, forms and colours start to lose their denotative function. 'Neither literal nor illusionistic,' writes Jennifer Higgie in her catalogue essay, Hume's paintings 'draw you into the depths of something you might have initially assumed was all surface.'

Chuck Jones Celebrated with 'The Chuck Jones Experience' at Circus Circus Posted: 18 Jan 2012 06:36 PM PST LAS VEGAS, NEV.- For generations of animation fans there is no greater legend than Chuck Jones. The creator of the famed Looney Tunes and Merrie Melodies shorts for Warner Bros., Tom & Jerry cartoons, the TV version of Dr. Seuss' How the Grinch Stole Christmas and many other well-known classics, Jones was a pioneer in the art of animation and a fine artist in his own right. His life and legacy will be celebrated on January 19 with the official grand opening of The Chuck Jones Experience at Circus Circus Las Vegas. Many of Jones' family will welcome celebrities, animation aficionados and visitors to the new attraction when they open the attraction in an appropriate and unconventional way at 11 a.m. The Chuck Jones Experience is a nearly 10,000-square-foot destination that provides kids and animation fans of all ages with an extraordinary place to not only learn about the art of animation, but to discover the creativity and magic that's inside us all. Designed to "Educate, Inspire & Entertain"

New York City's American Folk Art Museum Celebrates its 50th Anniversary Posted: 18 Jan 2012 06:24 PM PST NEW YORK CITY - The American Folk Art Museum, long plagued by financial problems, is celebrating its 50th anniversary with a new exhibition, renewed optimism for its future and its collection intact. At a preview of a new exhibition celebrating its anniversary, museum officials discussed its financial status and projection of its future. The museum in September received a $2 million pledge from a longtime trustee and an additional $1 million commitment from other trustees and supporters, said Monty Blanchard Jr., president of the museum board of trustees. Those pledges gave the museum "significant runway to continue the operations of the museum and built it to new heights of artistic greatness," Blanchard said.  In addition, he said, the museum has received $500,000 from the Ford Foundation.

The New Museum shows "Enrico David: Head Gas" his New Body of Work Posted: 18 Jan 2012 06:09 PM PST NEW YORK, NY.- The New Museum presents the second exhibition in its recently inaugurated 'Studio 231' series. "Head Gas" is the first New York exhibition by Italian-born, Berlin-based artist Enrico David . Over the past twenty years, David has produced a body of work encompassing painting, drawing, sculpture, and collage that draws upon a rich variety of sources and expresses a range of complex emotional states. Although his work is highly celebrated throughout Europe the artist was among the nominees for the 2009 Turner Prize , for example—David's work has rarely been exhibited in the United States. The figures populating David's work convey the struggle of adaptation, both physical and psychological, of the self and of the image. In his art, we see haunting, incomplete, and sometimes grotesque characters fighting against and merging into backgrounds comprising a personal lexicon of forms. These patterns are derived from craft, folk art, and twentieth-century design, as well as advertising, techniques of display, fashion, and art historical moments.

The Deichtorhallen in Hamburg to Feature a Saul Leiter Retrospective Posted: 18 Jan 2012 06:08 PM PST Hamburg, Germany.- The Deichtorhallen is proud to present "Saul Leiter: Retrospective", on view from February 3rd through April 15th. This exhibition, the first restrospective of the artist's work to be held includes more than 400 works and includes early black and white and color photography, fashion photography, over-painted nudes, and Leiter's paintings in his never before shown sketchbooks. The last section of the exhibition is devoted to new photographic works by Saul Leiter that he continues to create on the streets of his neighborhood in New York's East Village. Saul Leiter was born in Pittsburgh, Pennsylvania. His father was a well known Talmud scholar and Saul studied to become a Rabbi. His mother gave him a Detrola camera at age 12. At age 23, he left theology school and moved to New York City to become an artist. He had developed an early interest in painting and was fortunate to meet the Abstract Expressionist painter Richard Pousette-Dart. Pousette-Dart and W. Eugene Smith encouraged Saul to pursue photography and he was soon taking black and white pictures with a 35 mm Leica, which he acquired by exchanging a few Eugene Smith prints for it. In 1948, he started taking color photographs. He began associating with other contemporary photographers such as Robert Frank and Diane Arbus and helped form what Jane Livingston has termed The New York School of photographers during the 1940s and 1950s. Leiter's earliest black and white photographs show an extraordinary affinity for the medium, and by 1948 he began to experiment in color. Edward Steichen included Leiter's black and white photographs in the exhibition Always the Young Stranger at the Museum of Modern Art in 1953. In the late 1950s the art director Henry Wolf published Leiter's color fashion work in Esquire and later in Harper's Bazaar. Leiter continued to work as a fashion photographer for the next 20 years and was published in Show, Elle, British Vogue, Queen, and Nova. Leiter has made an enormous and unique contribution to photography. His abstracted forms and radically innovative compositions have a painterly quality that stands out among the work of his New York School contemporaries. Perhaps this is because Leiter has continued through the years to work as both a photographer and painter. His painterly sensibility reaches its fruition in his painted photographs of nudes on which he has actually applied layers of gouache and watercolor. Martin Harrison, editor and author of "Saul Leiter Early Color", writes, "Leiter's sensibility…placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances." Saul Leiter's work is featured prominently in Jane Livingston's "The New York School" and in Martin Harrison's "Appearances: Fashion Photography Since 1945". His work is in the collections many prestigious public and private collections. In 2008, The Foundation Henri Cartier-Bresson in Paris mounted Leiter's first museum exhibition in Europe with an accompanying catalog. Saul Leiter is represented in New York by the Howard Greenberg Gallery. The Deichtorhallen are one of the largest exhibition venues for contemporary art and photography in Europe. The two historic buildings, built in 1911/13 impress with their open steel and glass architecture, and today offer spectacular space for large international exhibitions. Since 2011, the two buildings at the interface of Hamburg's Kunstmeile and Hafencity have been supplemented by a satellite in Hamburg's Harburg district, the Sammlung Falckenberg. The Deichtorhallen were originally constructed between 1911 and 1914 on the grounds of the former Berlin train station, built as the Hamburg counterpart to the "Hamburger Bahnhof" in Berlin, and served as market halls. They are among the few remaining examples of industrial architecture from the period of transition from Art Nouveau to the expressive forms of the 20th Century. The two halls are open steel structures with a combined floor space of 5,600 square meters. Körber-Stiftung gifted the restored Deichtorhallen to the City of Hamburg, which has owned them ever since. In 1989, they were assigned to a limited liability company: Deichtorhallen-Ausstellungs GmbH. On Nov. 9, 1989 Deichtorhallen's international art exhibition program opened with the show "Einleuchten", curated by Harald Szeemann. Down through the years, Deichtorhallen Hamburg has emerged as an exhibition center for photography and contemporary art with three pillars of activities, three institutions under the single Deichtorhallen brand. Since 2009, Dr. Dirk Luckow has been Artistic Director of Deichtorhallen Hamburg. A design shop, the photography bookshop and the award-winning restaurant "Fillet of Soul," complete the picture of the Deichtorhallen. Located at the junction between art district and port city, they offer an ideal starting point for cultural activities. Visit the Deichtorhallen website at ... http://www.deichtorhallen.de

New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum Posted: 18 Jan 2012 05:41 PM PST New Zealand's national museum, Te Papa (Our Place), faces the sea in the national capital, Wellington, at the southeastern end of the North Island. It is one of the world's most comprehensive national museums and presents a vision of New Zealand's past, present and future, the strands of its nationhood, and the spirit that brings the nation together. It traces the flowering of a rich culture, the growth of a people, and the weaving of a tapestry that encompasses not only the past but the future as well. Exhibitions range from historic artifacts to modern interactive displays. A living Nature environment, Bush City, transports the visitor into a recreated habitat island which includes native trees and shrubs, a lagoon, stream and underground caves. Te Papa is on Cable Street on the Wellington waterfront, easily accessible on foot from the city's central business and retail district. The museum was designed by Ivan Mercep for Jasmax Architects. Built on a site the size of three rugby fields, it has a total floor area of 38,000 square meters. The building has its own New Zealand-invented shock absorbers which isolate Te Papa from most ground movement during an earthquake. It took four years to build. Te Papa's first predecessor was the Colonial Museum, which opened in a small wooden building in 1865. The tiny Colonial Museum opened behind Parliament Buildings shortly after Parliament moved to Wellington in 1865. In 1907, the Museum became known as the Dominion Museum. The idea of developing a public art gallery in Wellington was gathering support around this time. In 1913, the Science and Art Act provided for the establishment of the National Art Gallery in the building. But not until 1930 did the idea start to become a reality under the National Gallery and Dominion Museum Act. In 1936, a new building to house the Dominion Museum and new National Art Gallery opened in Buckle Street, Wellington. It incorporated the New Zealand Academy of Fine Arts. They sold their land and donated the proceeds to the new organization. The way the National Museum functioned was also in need of review. The Museum had been much loved for many years but no longer represented its increasingly diverse community. Society had changed, and so had views about New Zealand's history and identity. In 1988, the Government established a Project Development Board to set the scene for a new national museum. This Board consulted people nationwide, including iwi (tribal groups), about their visions for the museum. The goals for the Museum of New Zealand Te Papa Tongarewa (Te Papa) emerged. In 1992, the Museum of New Zealand Te Papa Tongarewa Act was passed. Te Papa would unite the National Museum and National Art Gallery as one entity, unite the collections of the two institutions so that New Zealand's stories could be told in an interdisciplinary way, be a partnership between Tangata Whenua (Māori, the indigenous people of New Zealand) and Tangata Tiriti (people in New Zealand by right of the Treaty of Waitangi), speak with authority, represent and appeal to New Zealand's increasingly diverse society, be a place for discussion, debate, involvement, and celebration and link the past, present, and future. On 14 February 1998, Te Papa opened in Cable Street, Wellington. Since Te Papa opened, more than 17 million people have visited the Museum. The narrative-based, interdisciplinary, and interactive approach has attracted international attention, as has the commitment to biculturalism. The Marae, Rongomaraeroa, reflects Te Papa's bicultural nature and observes Māori customs and values. It is a fully functioning marae, an inclusive place where all New Zealanders can meet, discuss, debate, and celebrate. It is also a place to welcome the living and farewell those who have passed on. The Marae is unique because the kawa (protocols) change according to the iwi (tribal group) in residence. Every few years, a different iwi works with Te Papa to develop an exhibition. Kaumātua (elders) from the iwi are in residence at the Museum throughout. They set and uphold the kawa on The Marae. The idea of the waharoa, or gateway, is particularly meaningful at Te Papa. Two important waharoa are on display , a contemporary one on The Marae and a traditional one in Wellington Foyer. The entire Museum is also a waharoa, a gateway to New Zealand's natural and cultural heritage. As well as significant collections of New Zealand art, the taonga (treasures) looked after by Te Papa comprise the largest Maori collection held by any museum in New Zealand, and number almost 17,000. These cover the broad spectrum of Maori art and culture, from the most highly revered and significant cultural heirlooms through to the most humble of day-to-day items, from very early pre-European times to today. . .Visit the museum's website at … www.tepapa.govt.nz2011-03-25 The development of the national art collection began in about 1905 under the guidance of the New Zealand Academy of Fine Arts and gathered momentum with the establishment of a National Art Gallery, housed with the Museum in a new building in Buckle Street in 1936. Artworks purchased between 1905 and 1936 formed the basis of the collection and included early New Zealand and international works with an emphasis on Britain. The proportion of local art collected by the National Art Gallery increased steadily as confidence in the significance of the art and of the Gallery itself grew. The collection now houses a broad range of predominantly New Zealand, but also international, painting, sculpture, prints, watercolors, drawings, photographs, and archival material. The strengths of the collection of early New Zealand sculpture come from the close connection between the New Zealand Academy of Fine Arts and the National Art Gallery, one of Te Papa's predecessors. Because of this association they have a strong collection of works by New Zealand artist Margaret Butler and some works by early New Zealand sculptors Francis Shurrock and William Wright. In the 1970s, the collection was developed to include New Zealand ceramics. Works by Barry Brickell, Doreen Blumhardt, Len Castle, and Anneke Boren were all purchased at this time. In addition, in 1996, all the works by New Zealand artists that had been commissioned for the 1992 Expo New Zealand in Seville were added. With the 1993 acquisition of works from the Stone Bone Shell exhibition of New Zealand jewelry, decorative arts also began to form a component of this collection. In the early 1980s, efforts were made to acquire works by significant contemporary New Zealand sculptors. As a consequence, we have a strong collection of works by Greer Twiss, Don Driver, Andrew Drummond, Neil Dawson, Christine Hellyar, and Vivian Lynn. In addition, efforts were made at this time to acquire sculptures by modern New Zealand artists who were not represented in the collection, such as Russell Clark. With a growing awareness of the cultural heritage of sculptural forms within New Zealand came a significant recognition of contemporary indigenous artists. With exhibitions specifically dedicated to contemporary Maori art, the collection gathered important examples of contemporary Maori and later Pacific work. Well-known examples here are works by Fred Graham, Para Matchitt, and Michel Tuffery. As the collection of New Zealand sculpture developed so too did the definition of sculptural form, which began to move towards incorporating installation, assemblage, site-specific works, and post-object and new media art. Because of the nature of these forms, there are only a few in the collection. There are good examples by Ralph Hotere, Pauline Rhodes, Derrick Cherrie, Billy Apple, and Jacqueline Fraser. For the opening of the new Museum and exhibition spaces, nine site-specific sculptures were commissioned, some of which now form part of the fabric of the new building. The focus of the New Zealand Prints is in the area of works created after the drawings and watercolors that recorded the eighteenth and early nineteenth century voyages of exploration in the Pacific and those that record first settlement in New Zealand. These include prints after paintings by artists such as Sidney Parkinson, Louis de Sainson, George French Angas, and Charles Decimus Barraud, and appear as both individual prints and in bound volumes. Highlights include a selection of the botanical prints of Banks' Florilegium, early imprints of the Cook folios and D'Urville folios, and lithographs by Edith Halcombe. The New Zealand print collection contains examples of 2oth century artists' prints whose work is also represented in other media, for example, woodcuts by Philip Clairmont, screen prints by Gordon Walters, etchings by Robyn Kahukiwa, and lithographs by Tony Fomison. There are also collections of work by artists whose work is primarily graphic. These include a large collection of etchings by A H McLintock and E Heber Thompson, wood engravings by Mabel Annesley and E Mervyn Taylor, and linocuts by Eileen Mayo and Stewart Maclennan. The work of contemporary printmakers such as John Drawbridge, Gordon Crook, Robin White, Kate Coolahan, Barry Cleavin, Max Hailstone, and Paul Hartigan are strongly represented. New Zealand watercolors and drawings are represented by large collections of works by a diverse group of artists including Maori and military subjects by Horatio Gordon Robley, T J Grant, and W F Gordon; landscape and early settlement works by Nicholas Chevalier, William Swainson, John Gully, and J C Richmond; and New Zealand flora and fauna by John Buchanan, Sarah Featon, and F E Clarke. The work of turn-of-the-century artist Petrus van der Velden is extensively represented by drawings and sketchbooks. Artists of the first half of the century are well represented. These artists include Raymond McIntyre, Jenny Campbell, Roland Hipkins, Mina Arndt, James Nairn, Dorothy Kate Richmond, Christopher Perkins, and John Weeks. More recent acquisitions include major works by John Pule, Tony Schuster, and William Dunning. Highlights of this collection include substantial representation of the works of Rita Angus, Frances Hodgkins, Colin McCahon, Sir Tosswill Woollaston, and John Pule. The emphasis on local, New Zealand artists carries through into the painting collection. Over time, this collection has been shaped by Te Papa's and its predecessor's relationship with the government, the New Zealand Academy of Fine Arts, and the city of Wellington. As a consequence of these relationships, the Paintings Collection shows strengths in the work of particular New Zealand artists, in particular genres of painting (portraiture, for example, because of a quantity of 'national' portraits), and in subject matter relevant to the events and geography of Wellington city. Te Papa's collection has strengths in the work of Petrus van der Velden, in both his New Zealand and his Dutch subjects, and J M Nairn, from his time working in and around Wellington as a professional artist. In portraiture, Te Papa has a number of works by painters such as Mary Tripe, Archibald Nicoll, C F Goldie, and Gottfried Lindauer. Of early modern New Zealand painters, the collection holds good examples of works by John Weeks, Charles Tole, Russell Clark, Sir Tosswill Woollaston, and Lois White. The Rita Angus loan collection, from the Angus Estate, together with Te Papa's collection of this New Zealand painter, forms a body of many excellent works. In the late 1970s and throughout the 1980s, there was a push to strengthen the New Zealand Paintings Collection. As a result, the collection has good examples of works by many artists of this time - in particular, paintings by Jeffrey Harris, Michael Smither, PhilipTrusttum, and Gretchen Albrecht. Te Papa's collection of late modern New Zealand painters (Colin McCahon, Ralph Hotere, Tony Fomison) is a reflection of the perceived need to have a good representation of significant New Zealand painters. Te Papa also has a collection of some 600 international (mainly British) drawings and watercolors. Highlights of this collection are works by Thomas Girtin, John Sell Cotman, David Cox, Samuel Prout, and Thomas Rowlandson and a larger collection of twentieth century British paintings, that includes works by Winifred Knights, Anthony Gross, Paul Nash, David Jones, Edward Burra, and John Tunnard. There is collection of International sculpture in the collection which includes works by British and French artists, including Aime-Jules Dalou, Jacob Epstein, Auguste Rodin, Charles Wheeler, and Barbara Hepworth. This collection was extended significantly in 1983 by the bequest of Judge Julius Isaacs, which included two works by Marcel Duchamp. A small number of sculptures were purchased as illustrative examples of artistic styles and trends in international art. The international print collection includes a strong representation of German, Dutch, and Italian prints from the fifteenth to the eighteenth centuries; French prints of the nineteenth century; and twentieth century British prints. There is also a smaller group of Japanese woodblock prints. Particular highlights are large holdings of engravings and woodcuts by Albrecht Durer and etchings by Rembrandt. English satirical prints of the eighteenth and early nineteenth centuries by William Hogarth and James Gillray are well represented, as are the etchings and aquatints of James McNeill Whistler. A highlight of the collection dating from the early twentieth century is the large number of etchings, including some rare versions of prints, by Australian artist Lionel Lindsay. A large collection of linocuts by artists influenced by English artist Claude Flight, who pioneered a particular kind of linocut print, is also held. These works from the 1930s are a highlight of the extensive and comprehensive collection of twentieth century British prints. There is a collection of early twentieth century European prints by artists such as Pablo Picasso, Eric Heckel, Wassily Kandinsky, Max Ernst, and André Masson. Experimental prints by Pop artists of the 1960s and 1970s form a distinctive group within the collection and feature the work of artists such as Roy Lichtenstein, Eduardo Paolozzi, Richard Hamilton, and Robert Rauschenberg. New directions in printmaking in the 1980s by international artists are represented by, among others, Bea Maddock, William Wiley, Susan Rothenberg, George Baselitz, and Dorothea Rockburne. Photography was first collected as art for the national collection in 1976. The focus since has been primarily on New Zealand contemporary work, with some forays into collecting international photography. There are about 1700 photographs by contemporary New Zealand photographers in the collection. Large groups of work are held by artists including Laurence Aberhart, Mark Adams, Wayne Barrar, Peter Black, Glenn Busch, Anne Noble, Peter Peryer and Ans Westra. The International photography collection includes approximately 130 images by mostly American photographers acquired in the 1980s. Many of the famous names are represented, such as Edward Weston, Minor White, Walker Evans, Lee Friedlander, and Diane Arbus. The other group of international work is by photographers from the famous photo agency Magnum. This was acquired by the gift of the 1989 travelling exhibition "In our time: the world as seen by Magnum photographers". Photographers include Henri Cartier-Bresson, Eugene Smith, Elliot Erwitt, and Marc Riboud. The museum also have large collections of historical artifacts, Māori and Moriori cultural treasures, a collection of Pacific Island artifacts that reflects not only the diversity of Pacific Island cultures but also New Zealand's relationships with Pacific communities at home and abroad and a large natural history collection (that includes the world's largest giant squid). Amongst the interactive features are a virtual bungee jump and an 'earthquake room'. On temporary exhibition at the Te Papa, you can currently see "Brian Brake: Lens On The World" (until 8 May 2011). Brian Brake (1927–1988) was New Zealand's best known photographer from the 1960s to the 1980s, though his career spanned more than 40 years. He first made his name as an international photojournalist, photographing for picture magazines such as Life, National Geographic and Paris Match. His most famous work was on the monsoon rains in India in 1960. This essay yielded the widely reproduced Monsoon girl, an image of a young woman feeling with pleasure the first rains on her face. Brake was also well known in New Zealand for his 1963 best-selling book, New Zealand, gift of the sea and, in the 1980s, for his images associated with the Te Maori exhibition. Brian Brake's early grounding in photography came about in three ways. Each activity shaped Brake's later work. The camera club period fuelled an interest in scenic and spectacular landscapes; studio portraiture influenced the way he lit his later studio photographs of museum objects; and the film experience developed his ability to create a story by assembling individual shots – a valuable skill for a photojournalist. He was involved in camera clubs in Christchurch and Wellington as a teenager, then became an assistant in a Wellington portrait studio. Finally, before going overseas in 1954, he worked as a cameraman at the National Film Unit in Wellington. Brake joined the prestigious Paris-based photo agency Magnum in 1955. This set him on course for the life of a globe-trotting photojournalist through to the early 1960s. The 1950s were the heyday of black and white magazine photojournalism. A host of large-format picture magazines such as Life, Look, Paris Match, and Illustrated provided a window on the wider world. Their success was possible mainly because television was not yet widespread, but also perhaps because relatively few people were able to travel themselves. In the 1960s, Brian Brake moved from small assignments, mostly involving black-and-white photography, to more extended picture stories – usually in color and often taking up to a year or more to shoot. This shift resulted from the close relationship he formed with the international picture magazine Life, then in an era of grand projects and big budgets. It was also a time when magazines were increasingly using color reproduction. This suited Brake well. His study of color cinematography for the National Film Unit in 1951–52 had given him greater expertise and comfort with working in color than most photographers at that time. Although Brian Brake left New Zealand in 1954 and lived overseas for most of the next two decades, he always thought of himself as a New Zealander. He began photographing the New Zealand landscape as a teenager, and returned to this theme in a 1960 photo essay on the land and its people. These photographs became New Zealand, gift of the sea, a best-selling book that struck a chord with New Zealanders looking for a more sophisticated vision of their country. When Brake returned home permanently in 1976, he continued photographing the landscape but became equally known for his images of craft objects and taonga Maori – work that contributed to a growing interest in rethinking New Zealand's collective heritage.

Musée du Louvre features Gabriel de Saint-Aubin Posted: 18 Jan 2012 05:40 PM PST   PARIS - A unique chronicler of bohemian Paris under the reign of Louis XV, Gabriel de Saint-Aubin (1724-1780) was a marginal artist who roamed the streets of the capital his entire life, a sketchbook in his hands. Ever since this artist was rediscovered by the Goncourt brothers, admiration for his keen eye, liveliness of execution, sensuous use of materials and freedom of expression has never waned. On exhibition through 26 May, 2008.

‘Samuel Beckett: a passion for paintings’ at National Gallery of Ireland Posted: 18 Jan 2012 05:39 PM PST Dublin, Ireland - While many contemporary artists have found inspiration in Beckett's drama, the emphasis of this exhibition is to look at the influence that art and artists had on his life and work.  Beginning with his visits to the National Gallery of Ireland as a young student and later lecturer at Trinity College Dublin, the exhibition reveals three key relationships in the writer's life; his relationship with the Gallery where, in the words of biographer James Knowlson, Beckett was 'weaned on the old masters'; with poet, art critic and former Director, Thomas MacGreevy; and with Jack B. Yeats.

Asia Society Museum to present Hanging Fire: Contemporary Art from Pakistan Posted: 18 Jan 2012 05:38 PM PST New York, NY - Hanging Fire is the first U.S. museum exhibition to focus on contemporary art from Pakistan. Representing the current energy, vitality, and range of expression in Pakistan's little-known yet thriving arts scene, the exhibition comprises nearly 50 works by 15 artists, and includes installation art, video, photography, painting, and sculpture. Curated by Salima Hashmi—one of the most influential and well-respected writers and curators in Pakistan—the exhibition presents a comprehensive look at recent and current trends in Pakistani art.

The Louvre Launches Journey into the Imaginative World of the Italian Poet Ariosto Posted: 18 Jan 2012 05:37 PM PST PARIS - In February 2009, with a view to exploring fertile confrontations between art forms, the Louvre  Museum launches an unprecedented journey into the imaginative world of the illustrious Italian poet Ariosto. Ludovico Ariosto (1474–1533), a writer in service of the dukes of Este, published the first edition of Orlando furioso in Ferrara in 1516. This massive glorification of chivalry in all of its elements (nearly 40,000 verses) amply conveys the exuberance, grace and intellectual curiosity of the Italian Renaissance. With its magicians and enchanted forests, its fabulous battles, its extravagant knights and its troubling heroines, this work is a mother lode of images. Ariosto draws inspiration from traditions of courtly love and medieval romance, which he combines with other themes derived from Antiquity as well as literary and visual influences stemming from the culture of his time.

Matisse: Painter as Sculptor at Baltimore Museum of Art Posted: 18 Jan 2012 05:36 PM PST   BALTIMORE, MD - The Baltimore Museum of Art is the last stop on the national tour for Matisse: Painter as Sculptor, the first major exhibition of Henri Matisse's sculpture in the U.S. in nearly 40 years. On view through February 3, 2008, this widely acclaimed exhibition brings together more than 160 sculptures, paintings, and drawings from museums and private collections around the world to reveal for the first time how the insights Matisse gained in one medium led to innovations in another. Matisse's sculptural achievements are also shown in the context of works by his contemporaries and through multimedia presentations that illustrate the production of sculpture and the groundbreaking technology used to uncover the creative process of one of the greatest artists of the 20th century. "This landmark exhibition, which draws on the BMA's world-renowned collection of works by Matisse, is a testimony to the Museum's dedication to shedding new light on this great artist," said BMA Director Doreen Bolger. "This is a once-in-a-lifetime chance to see Matisse's genius represented in bronze, on canvas, and on paper with works from around the world." The exhibition is organized chronologically around nearly 50 of Matisse's great sculptural masterworks created from 1899 to 1950. Early works are presented in an atelier-like setting with large-scale reproductions of archival photographs of Matisse working in his studio. The dynamic relationship between Matisse's two- and three-dimensional objects is revealed as early as 1900 with the Rodin-inspired sculpture The Serf and dramatic Male Model painting. For these works, Matisse hired a well-known Italian model who posed for some of Rodin's most famous sculptures, and worked obsessively on the sculpture for at least three years. The artist's fascination with the female figure in bronze begins with Madeleine I and II (1901–03), two variations bestowed with undulating curves and rippling surfaces that attract light. Matisse also incorporated representations of his own sculptures within paintings, including the celebrated Still Life with Geranium (1906) and Still Life with Plaster Figure (1906). The second half of the exhibition highlights the artist's work in series such as the five portrait busts of Jeannette (1910–1914), three busts of Henriette (1925–29), and four monumental bronze reliefs known as The Backs (1909–30), Matisse's brilliant exploration of the abstraction of the human form. The artist's iconic reclining nudes are represented in bronze with the Large Seated Nude (1922–29) and Reclining Nude I, II, and III (1907–29), and on canvas with Blue Nude: Memory of Biskra (1907), Odalisque with a Tambourine (1925–26), and Large Reclining Nude/The Pink Nude (1935). The exhibition concludes with a selection of cut-outs such as Blue Nude I (1952), Matisse's final treatment of the reclining nude theme, that demonstrate how he transformed his sculptural ideas into brilliantly colored paper on canvas. All of the works in the exhibition are complemented by rarely shown drawings by Matisse that explore similar themes and a selection of works by Constantin Brancusi, Paul Cézanne, Edgar Degas, Alberto Giacometti, Pablo Picasso, Auguste Rodin, and other artists are included to provide a vivid context for Matisse's achievements. The first comprehensive technical examination of Matisse's sculpture was conducted in preparation for the exhibition. With the support of a Samuel Kress Curatorial Fellowship for Research in Conservation and the History of Art and The Pierre and Maria-Gaetana Matisse Foundation, BMA Associate Curator of European Painting & Sculpture Dr. Oliver Shell and BMA Objects Conservator Ann Boulton compared the BMA's bronze casts with other casts by Matisse in the collections of the Musée du Louvre, Musée National d'Art Moderne, Centre Georges Pompidou, and the Musées Matisse in Nice and Cateau-Cambresis in France and the Museum of Modern Art, NY; San Francisco Museum of Modern Art, and Philadelphia Museum of Art in the U.S.  Differences in patina between sand-cast works and those made in lost wax were also identified, contributing to the knowledge of how Matisse created various casts. This project reflects the active research on sculpture techniques and conservation at The Baltimore Museum of Art. The exhibition includes two multimedia presentations that demonstrate how to look at sculpture and show how the three-dimensional laser technology was used to compare multiple casts of the same work and reveal differences unseen by the human eye. The laser scanning was conducted by Direct Dimensions, Inc. of Owings Mills, Maryland, and the multimedia displays were created by the Imaging Research Center of the University of Maryland, Baltimore County, which previously worked with the BMA to create the interactive virtual tour of the Cone Sisters' apartments, on view in the Cone Wing at the Museum. In conjunction with the exhibition, a fully illustrated catalogue co-produced with Yale University Press presents new scholarship through a series of essays that offer insights into Matisse's sculptural work. Dr. Steven Nash discusses Matisse's patronage and the reception of his sculpture in America; Dr. Dorothy Kosinski probes the art historical context of Matisse's sculpture in dialogue with tradition and the avant-garde; Jay Fisher explores the use of drawing in the evolution of Matisse's sculptural ideas, and Dr. Oliver Shell examines the artist's ideas about the viewing of his sculpture, as revealed by his deliberate placement of sculpture in exhibitions. Dr. Shell and BMA Objects Conservator Ann Boulton also summarize technical studies undertaken during a joint fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. The catalogue is available only in hardback at The BMA Shop for $60. Matisse: Painter as Sculptor is co-organized by The Baltimore Museum of Art, Dallas Museum of Art, and the Nasher Sculpture Center. The exhibition tour opened in Dallas at both the DMA and the Nasher (January 21–April 29, 2007), and is presented at the San Francisco Museum of Modern Art in June.

John Currin to exhibit at Sadie Coles HQ in London Posted: 18 Jan 2012 05:35 PM PST LONDON - Sadie Coles HQ is presenting a major new series of paintings by American painter John Currin whose subjects range from the domestic to the overtly erotic. These exceptionally refined and gloriously engaging paintings continue the intense debate within Currin's work that combines art historical technique with contemporary reference. While some of Currin's new paintings are of flowers and exquisite china, most are depictions of hardcore eroticism taken from European pornography.  On view 2 April through 10 May, 2008.

"New York New York" by Harry Benson and Hilary Geary Ross Posted: 18 Jan 2012 05:34 PM PST 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.

First Book on Collecting Chinese Contemporary Art Published in Chinese Posted: 18 Jan 2012 05:33 PM PST NEW YORK, NY.- AW Asia announced the publication of the Chinese-language version of Chinese Contemporary Art: 7 Things You Should Know by Melissa Chiu, director of the Asia Society Museum in New York City and vice president of the Society's global arts program. Chinese contemporary art continues to be a major force in the international art world, and the current economic climate has created a unique opportunity for new and experienced collectors in this field, particularly in China itself. Although art collecting was virtually unknown during the Cultural Revolution of the 1960s and 1970s, it is now widely recognized in China as an activity consistent with the country's rapid economic growth. As the demand for luxury goods among wealthy Chinese continues to rise, it is estimated that within five to ten years, China will have tens of thousands of "new collectors" of contemporary Chinese art. The updated Chinese-language version of Chinese Contemporary Art: 7 Things You Should Know is intended to serve this growing collector base and to satisfy the need for knowledge in this rapidly maturing field. As with the English-language version, which recently sold out its first edition, the Chinese version is expected to become a must-read for collectors and art aficionados throughout Asia. "In this book, Dr. Chiu identifies the first generation of contemporary Chinese artists, focusing on the most important and historically significant artists working in China today," says AW Asia's Larry Warsh. "We're confident that 7 Things will, for years to come, be one of the most important resources for Chinese audiences interested in learning more about contemporary Chinese art." Topics covered in the book include the early history of avant-garde art in contemporary China, the rise of museum culture and collecting there, and the return to China of artists formerly living abroad. Among the artists featured are Cai Guo-Qiang, Zeng Fanzhi, Zhang Xiaogang, Yue Minjun, Cao Fei, Zhan Wang, and Rong Rong. 7 Things includes more than 50 full-color reproductions of key works and background biographies of close to 60 artists. The Chinese-language edition of Chinese Contemporary Art: 7 Things You Should Know is distributed by Today Art Museum in Beijing. It is available exclusively in bookstores throughout China. Over the past two decades, Chinese contemporary art has become a major presence in the international art world. The diversity of work by China's leading artists now commands the attention of curators, critics, collectors, scholars, and the global art community. Yet Chinese contemporary art merely builds on magnificent artistic traditions of China's 5,000-year-old culture. AW Asia's mission is to support and advance this significant field of art. AW Asia is a private organization and exhibition space located in the heart of the Chelsea art district in New York City. AW Asia promotes the field of Chinese contemporary art through institutional loans and acquisitions, curatorial projects, publications, and educational programs. Website : http://www.awasiany.com/ New Chinese Art was established in 1999 as a centre for contemporary Chinese art. The website is a good resource for people worldwide to view art by Chinese artists. New Chinese Art allows Chinese contemporary artists to display their art for free. New Chinese Art aims to make contemporary Chinese art accessible to a global audience. Whether you are just browsing or interested in purchasing, New Chinese Art presents you with portfolios by over 100 contemporary Chinese artists, and we are continually adding Chinese artists' works. Website : http://www.newchineseart.com/

Museo Franz Mayer in Mexico City opens 300% Spanish Design Exhibition Posted: 18 Jan 2012 05:32 PM PST MEXICO CITY.- Through its 300 original pieces (100 chairs, 100 lamps and 100 posters) showing the rich Spanish contribution to the world's creative culture, and with prestigious designer Juli Capella as its curator, the exhibition attempts to reveal the creative potential of Spanish design, widely publicising its best designers, brands and companies. Spanish design includes many disciplines, and has borne excellent fruit in all of them, such as architecture, interior design, handicraft, jewellery, fashion, graphic design, etc. In spite of this, on this occasion, three everyday elements which help us in our daily tasks have been chosen: chairs, lamps and posters. On view through 8 November, 2009  at the  Museo Franz Mayer.

Ketterer Kunst German Auction To Offer a Rare Painting by Willem I van de Velde Posted: 18 Jan 2012 05:31 PM PST MUNICH.- With Willem I van de Velde's grisaille-work "Englische Kriegsschiffe" (English Warships) a masterpiece of marine painting will be called up at Ketterer Kunst in Munich on 27 October. "This means that a painting by the presumably most renowned 17th century marine painter will be offered on the German auction market for the first time*", said company owner Robert Ketterer. Besides the work's rareness - similar works can be found in the Louvre in Paris and in the Rijksmuseum in Amsterdam - it is particularly the grisaille technique, which van de Velde executed with great poise, that makes it so exceptional. Taking the graphic details into account, he attained a high level of plasticity and depth effect by means of subtle hatchures and a soft wash. The estimate for the work from the 1680s is at € 70.000-90.000.

Phillips Collection to Display Masterworks from The Allen Memorial Art Museum Posted: 18 Jan 2012 05:30 PM PST WASHINGTON, DC.- Illustrating its unconventional approach to displaying art, The Phillips Collection will present loosely themed groupings of some of its own masterworks with 25 masterpieces from Oberlin College's Allen Memorial Art Museum. Half of the 24 paintings and one sculpture on loan from the Allen are old masters, dating from the 16th to the 18th centuries. They include rare works by painters of the British, Dutch, Flemish, French, German, Italian, and Spanish schools. The other Allen pieces are important modern works of the 19th and 20th centuries. Oberlin extended the opportunity to display some of its treasures to the Metropolitan Museum of Art and to the Phillips while the Allen is closed for renovations. Side by Side: Oberlin's Masterworks at the Phillips, opens September 11, 2010, and runs through January 16, 2011. Side by Side highlights defining features of The Phillips Collection: displays that combine works of different periods, nationalities, and styles, and constant rearrangement of the collection to reveal new affinities between works of art. This approach started with its founder, Duncan Phillips (1866–1966), who viewed the history of art as a continuing series of conversations between artists and works. "Duncan Phillips was interested in showing modern art's historical roots," says Phillips Director Dorothy Kosinski. "That is why he bought an El Greco, a Goya, and a Giorgione. Early on, he hoped to have examples of work by several other old masters, including Rubens, who is represented in this selection from Oberlin. Having these truly wonderful works from Oberlin is a special opportunity to expand the context of our own collection and modern art in general." The Allen's Rubens, The Finding of Erichthonius (1632–33), illustrating a story from Ovid's Metamorphoses, will be shown with the Phillips's radiant and enchanting Luncheon of the Boating Party (1880–81), Pierre-Auguste Renoir's great impressionist summary of modern life. Renoir is known to have copied works by Peter Paul Rubens, and in the second half of his career, when Renoir turned away from impressionism, he again looked to Rubens for inspiration. Other works in this part of the exhibition are by artists in The Phillips Collection who frequented the Louvre and copied works of art in it, including Berthe Morisot, Edgar Degas, and Ferdinand-Victor-Eugène Delacroix. Other highlights among the old masters in Side by Side include one of the most important examples of northern baroque painting in the United States, Hendrick ter Bruggen's Saint Sebastian Tended by Irene (1625); The Fountain of Life, a superb 16th-century painting probably painted in Spain after a work by Jan van Eyck; and Joseph Wright of Derby's night scene Dovedale by Moonlight (c. 1784–85). Oberlin's modern holdings include works by Alberto Giacometti, Barnett Newman, Pablo Picasso, and Mark Rothko. Landscape is a strong suit at the Phillips, and many works on loan from the Allen play to this strength. Several, like Wright's, show the world at night: Giuseppe Cesari's The Agony in the Garden (Christ on the Mount of Olives) (1597–98) and Pier Francesco Mola's Mercury Putting Argus to Sleep (1645–55). Christ's angelic vision illuminates Cesari's painting, but in the paintings by Mola and Wright, the light source is the moon. These nocturnal scenes find numerous echoes in The Phillips Collection, where silvery moonlight gleams in paintings such as Arthur Dove's Me and the Moon (1937) and George Inness's Moonlight, Tarpon Springs (1892). Joseph Mallord William Turner's shimmering View of Venice: The Ducal Palace, Dogana and Part of San Giorgio (1841) is one of the outstanding landscape offerings from Oberlin. Like his rival John Constable, represented in The Phillips Collection by On the River Stour (1834–37), Turner had a powerful effect on modern landscape painting. Claude Monet, an artist who was profoundly influenced by him, is represented in the Allen's works by Garden of the Princess, Louvre (1867). Painted from a window at the Louvre, with a high vantage point, and a distinctive vertical format, the painting is one of the artist's first views of the city. In a spatially complex composition, looking across an empty expanse of garden, the artist shows a bustling, tree-lined embankment of the Seine, a slice of river, and a cityscape beyond. The painting represents a much earlier stage in Monet's development than The Road to Vétheuil (1879) and Val-Saint-Nicholas, near Dieppe (Morning) (1897), owned by the Phillips. Among other modern landscapes on view in Side by Side, Paul Cézanne's Viaduct at L'Estaque (1882) from the Allen adds another dimension to the rich imagery of the south of France, represented at the Phillips by strong holdings of landscapes by Pierre Bonnard, Cézanne, and Vincent van Gogh, among others. A display of portraits will include one of the most dramatic works in the exhibition, the Allen's Self-Portrait as a Soldier (1915), by Ernst Ludwig Kirchner. Kirchner painted himself in the uniform of his artillery regiment, his eyes vacant and without pupils, a cigarette dangling from his lips, and his right hand horrifyingly amputated. Painted when Kirchner was recuperating from illness and unfit for active duty, this searing portrait expresses the artist's terror in the face of war. The Phillips's uncompromising Cézanne self-portrait of 1878–80 will hang nearby as will Oberlin's Michiel Sweerts's Self-Portrait (1656). Historic New York school works from the Allen will hang immediately outside the Rothko Room: Mark Rothko's The Syrian Bull, Adolph Gottlieb's The Rape of Persephone, and Barnett Newman's Onement IV. In 1943, The Syrian Bull and The Rape of Persephone were exhibited at the Third Annual Exhibition of Modern Painters and Sculptors. In response, Edward Alden Jewell from the New York Times used these paintings to criticize the incomprehensibility of recent modern art. Within five days, Gottlieb, Rothko, and Newman wrote a challenge to Jewell that in turn set the aesthetic and cultural themes for the New York school. Visit The Phillips Collection at : http://www.phillipscollection.org/

Art Knowledge News Presents "This Week In Review" Posted: 18 Jan 2012 05:29 PM PST This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here . When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

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