Art Knowledge News - Keeping You in Touch with the World of Art... |
- The Tel Aviv Art Museum ~ The World’s Finest Collection Of Israeli Art & International Fine Art
- Irish Museum of Modern Art shows Spanish Artist Ferran Garcia Sevilla
- Dean Project Presents Sculptures by Tim Berg and Rebekah Myers
- Bonhams to offer Royal Pictures by South African Artist ~ Jacob Hendrik Pierneef
- Pablo Picasso's Original Vollard Prints on View at LewAllen Modern
- Manchester Art Gallery to host Recent Works from the Frank Cohen Collection
- The Musée d'Art Moderne Hosts Major Marc Desgrandchamps Retrospective
- 'A New Life' for Dan Baldwin at Signal Gallery in London until 17 July.
- Sotheby's to Offer 400 Items from The Fabius Frères Gallery Collection
- Willie Bester ~ Apartheid Laboratory
- Baltimore Museum of Art presents Rarely Shown British Landscapes
- P.S.1 Contemporary Art Center ( MoMA ) hosts Kathe Burkhart
- The Musée des Augustins Shows French Genre Painting From the Revolution to the Restoration
- This Week in Review in Art Knowledge News
| The Tel Aviv Art Museum ~ The World’s Finest Collection Of Israeli Art & International Fine Art Posted: 28 Apr 2012 09:00 PM PDT  The Tel Aviv Art Museum is Israel's leading museum of modern and contemporary art as well as being home to one of the world's largest collections of Israeli art and a fine selection of Old Masters. Since its founding in 1932, the Museum has served as one of Tel Aviv's major cultural hubs, displaying a vibrant mix of permanent collections and temporary exhibitions in a wide variety of fields. Each year, the Tel Aviv Museum of Art welcomes more than 750,000 visitors annualy. Situated in an impressive architectural complex, the Museum is an integral part of the city's major cultural center (the Golda Meir Cultural and Art Center) home to the Israeli Opera and the Cameri Theater. In addition to its collections, the Museum presents performances of music and dance, film, and lecture series on philosophy and art. The fully computerized art library and its Documentation Center for Art in Israel serve over 15,000 students, scholars and curators each year. The library subscribes to the major art journals and receives the latest catalogues of exhibitions of Israeli art, modern and contemporary art, photography, design and architecture. It is the most comprehensive reference center in the Middle East. The Museum's original building on Rothschild Boulevard was donated by Tel Aviv's first mayor, Meir Dizengoff, who gave his home over to the city to be officially transformed into the Tel Aviv Museum of Art in 1932. It was at this building that Prime Minister David Ben-Gurion proclaimed the establishment of the State of Israel on 14 May 1948. The Helena Rubinstein Pavilion for Contemporary Art opened in 1959 and was fully renovated in 1989 with funds provided by the Helena Rubinstein Foundation and the Municipality of Tel Aviv-Yafo. The museum moved to its current location on King Saul Avenue in 1971. Another wing was added in 1999 and a sculpture garden was established. Each week some 1,500 children, youth and adults from all walks of life attend classes in painting, drawing, ceramics, sculpture, photography, video and computer art, and printmaking at the Museum's Joseph and Rebecca Meyerhoff Art Education Center. The Museum announced, in 2002, a competition for the design of a new building of about 22,000 square meters, enabled by a donation from Herta and Paul Amir. The design competition was won by the Preston Scott Cohen (head of the Harvard University Graduate School of Architecture). His horizontal "radiator" model is currently under construction and due for completion in late 2011. This new wing is simultaneously linear and multi-layered. A vertical "light fall" drains the building's vertical dimension, orientates the visitor, unites all spaces around it, leads from one level to another, and brings natural light to the building's lower level. The building's exterior envelope, an extended "folding" surface that breaks at disparate-angled modules, is a dynamic ornament made of 430 polished cement panels manufactured on location. The Tel Aviv Museum's Art Library serves as a research center for thousands of students, scholars, art critics, authors and curators from Israel and abroad. Known for its comprehensive collection of books, the library is often the sole resource in Israel for background information on modern and contemporary art and design. The museum also contains museum shops and a restaurant. Visit the Tel Aviv Art Museum's website at … http://www.tamuseum.com  The Tel Aviv Museum of Art is Israel's leading museum of modern and contemporary art, and home to one of the world's largest collections of Israeli art. A large part of the Museum's permanent collections (consisting of over 23,000 items) has been generously donated by artists, art patrons and benefactors. The holdings are also complemented and enriched by numerous works and collections entrusted to the Museum, which serve as a testimony to the extraordinary international support this institution receives from dedicated collectors and friends around the world. The collection of modern and contemporary art encompasses works by leading pioneers of Modernism and a representative selection of the diverse postwar and contemporary trends that developed in Europe and the United States. Most major art movements of the late 19th through the mid-20th century are highlighted in the Moshe and Sara Mayer Collection, the Mizne-Blumental Collection, and the Simon and Marie Jaglom Collection. These collections include masterpieces by Monet, Renoir, Degas, Pissarro, Bonnard, Cézanne, Van Gogh, Matisse, Gauguin, Kandinsky, Klimt, Mondrian, Modigliani, Braque and Miró, as well as fine works by Léger and Picasso representing different periods in their art. Important works of Surrealism and Abstract art characterize the significant donation by Peggy Guggenheim in the 1950s with masterpieces by Tanguy, Masson and Nicholson. Of particular note are works representing the beginnings of American Abstract Expressionism, among them paintings by Jackson Pollock. A sculpture collection donated by Helene and Zygfryd Wolloch spans the late 19th century through the 1980s and includes works by Arp, Giacometti, Moore and Calder. Together with works by Jacques Lipchitz, given by the Jacques and Yulla Lipchitz Foundation, they have significantly enriched the Museum's holdings of modern sculpture. Various trends in Geometrical Abstract art from Russian Constructivism through Minimalism are well represented in the important donation of the Riklis Collection of the McCrory Corporation. Postwar European trends such as Nouveau Réalisme, Fluxus and Arte Povera, as well as contemporary art by leading artists such as Boetti, Cucchi, and Paladino, constitute the core of the collection donated by Vera and Arturo Schwarz. Among numerous pieces of European and American art, emblematic works by Francis Bacon and David Salle highlight the gift made to the Museum by Susan and Anton Roland-Rosenberg. The Museum's major assets also include a group of early and unique works by Alexander Archipenko, a selection of paintings by Marc Chagall illustrating the variety of his styles, as well as a large mural in the Museum lobby, which was especially conceived and executed by Roy Lichtenstein as a gift to the Museum.  The Museum is home to one of the most comprehensive collections of Israeli art in the world. This unique collection traces the development of Israeli art from its beginnings and through the 1920s – when the Modernist style of painting in Israel emerged, to contemporary Israeli art. Israeli artists have been particularly concerned with questions of identity and conflict. They explore topics as varied as local landscapes and Mediterranean light, Jewish tradition and its complex attitude toward figurative art, and socio-political as well as urban issues: local versus universal, periphery versus center, or east versus west dialectics. Recently, Israeli artists have become much more present on the international art scene. Often, the Museum has served as a springboard for these artists, by showcasing solo exhibitions accompanied by extensive catalogues and by acquiring some of their major art works. Over the years, the Museum collection of Israeli art has been steadily enlarged through generous gifts from artists, benefactors and acquisition funds, such as the Recanati Fund, the Ettinger-Gilman Fund, the Lily Richmond Fund, the Uzi Zucker Fund, the Nathan Gottesdiener Foundation, the Rappaport Prize, the Isracard Foundation and the support of the America-Israel Cultural Foundation. The Department of Old Masters was established (as an independent department) in 1988. The Museum's Old Masters Collection, which includes about 150 paintings and sculptures and some 50 works on loan, is presented in six galleries: four galleries in the Museum's main building, and two galleries dedicated to decorative art at the Helena Rubinstein Pavilion. The Museum's Old Masters Collection specializes in 16th to 18th century Italian art and 16th to 17th century Flemish and Dutch art, with paintings by Rubens, Van Dyck, Jan Brueghel the Younger, Honthorst, Teniers, Van Goyen, Canaletto, Rigaud and Reynolds. Works by 19th century Jewish artists are also included, among them, Maurycy Gottlieb and Jozef Israëls. Recently, the Danek and Jadzia Gertner Collection of decorative art has enriched the Department's collections. Works of Meissen porcelain and glassware by Emile Gallé are currently on display at the Helena Rubinstein Pavilion in the Danek and Jadzia Gertner Galleries. Helena Rubinsteins' Miniature Rooms is also part of the Department.  The Department of Drawings and Prints houses a collection of 25 thousand works on paper including sketches, drawings, prints, artists' books, and illustrated books of artists from all periods, with a special emphasis on artists of the nineteenth and twentieth centuries. An important and unique component of the collection is the assemblage of drawings and prints representing early twentieth century German Expressionism. The Dr. Karl Schwarz Collection, the Goeritz Collection, and the Hermann Struck Collection which were donated to the Tel Aviv Museum in its early years led to the donation of another important collection, that of Avraham Horodisch from Amsterdam, a collector and publisher of prints from Germany in the 1920s. An important unit of the collection consists of 150 prints by the renowned Norwegian artist Edvard Munch donated in 1986 by Charles and Evelyn Kramer of New York. The Munch Collection at the Tel Aviv Museum of Art, as one of the largest collections in the world of prints by this artist, offers a representative selection of Munch's graphic work including etchings, lithographs, and colored woodcuts, with the earliest of them created in Berlin (1894-95) through to prints made in his last years. An additional component of the collection consists of 300 prints and books by Surrealist artists which were also donated by Charles and Evelyn Kramer of New York in 1990. This collection directs attention to the close collaboration between the artists, writers, and poets who created in the spirit of Surrealism. The Museum's photography collection was begun in 1977 with Israeli photographer Micha Bar Am, and encompasses important pictures of the Middle East taken by 19th and early 20th century European photographers, such as Francis Frith and Félix Bonfils, and a collection of rare glass negatives of E.M. Lilien donated by the Schocken family; works by American photojournalists W. Eugene Smith and Weegee, donated by Michael S. Sachs; as well as photographs by Robert Capa donated by Cornelia and Edith Capa, and other international Modernist and Post-Modernist artists. A collection of Soviet photography from the 1930s to 1970s was donated by Howard Schickler and David LaFaille and an anonymous donor. Courtesy of the Marc Rich Foundation for Education, Cultura and Welfare, the Department has a strong representation of works by Henri Cartier-Bresson. Thanks to donations by Michaela and Leon Constantiner, who initiated the Constantiner Photography Award for an Israeli Artist, the representation of contemporary Israeli photography in the collection has been growing steadily, now including works by internationally renowned photographers Adi Nes, Pavel Wolberg and Barry Frydlender. The exhibitions of the Department of Design and Architecture are cutting edge. In the Department's collection are included works that represent a prospectus of solo exhibitions and thematic exhibitions that were held in the Department, among them: Gaetano Pesce, Ron Arad, Chanan de-Lange, Charles and Ray Eames, Enzo Mari, Konstantin Grcic, Hella Jongerius, Ron Gilad, Yaacov Kaufman, Tal Gur, Ayala Tzarfati, Fernando and Huberto Campanga, Esther Knobel, and Irit Abba.  The Tel Aviv Art Museum hosts more than twenty temporary exhibitions every year, focused both on local and international artists. Amongst the exhibitions currently on show is "More than Canvas", until 27 October 2011 features a fascinating collection of works, showing the diverse range of materials that artists have worked on. It includes works on paper, canvas, wood, leaves glass and computer screens and shows that any surface can serve as support for a painting on which color, lines and forms merge into one whole. This interactive exhibition exposes children and adults to works of art executed on traditional as well as other kinds of support: traffic lights, leaves, stones, walls and the body. Children will have an opportunity to actually feel the various kinds of supports, in order to better understand how the material of the support affects the choice of medium and technique. "Neo-Expressionist Painting From Berlin – Gift of Susan and Martin Sanders" (until 27 March 2011) is held in honor of the generous gift of Susan and Martin Sanders, New York, to the Tel Aviv Museum of Art, that includes important works by some of the prominent Neo-Expressionist artists active in Berlin during the 1970s and 1980s: Karl Horst Hödicke, Rainer Fetting, Salomé, Helmut Middendorf and Peter Chevalier. Their works represent interesting aspects of the "back to painting" trend that had swept over the centers of the western world, in Europe and the USA, as a backlash to the minimal and conceptual art of the 1960s and 1970s. The Neo-Expressionist artists reacted to their complex reality in West Berlin in the shadow of the Cold War, through sensuous, tactile painting that assimilated the colorful intensity and formal elements of German Expressionism of early 20th century and of American Abstract Expressionism. The fresh and lively aesthetic approach of these paintings was characterized by large formats, bold color, narrative, upfront exposure of the self, provocativity, seductiveness and assimilation of images outside the realm of art. "Avi Ganor: RealityTrauma" opens on March 19th 2011. Artist Avi Ganor has been involved in photography since 1975. A Science Studies graduate at the Technion, he studied Business Management at the Hebrew University, Jerusalem; Photography at the San Francisco Art Institute and the Pratt Institute, New York; and Digital Media Studies at the Interdisciplinary Center, Herzliya. He has taught at the Departments of Photography and of Visual Communication at Bezalel, Jerusalem, and held solo exhibitions at the Tel Aviv Museum in 1985 and The Israel Museum in 1990. Alongside his photographic work, Ganor researches theoretical aspects of the medium. His works deal with the necessity of using forced metaphors, and the fluid moderation of the relationships between actuality and physical existence, between trauma and reality. The exhibition presents some 30 works from the series "RealityTrauma" (2003–2010), in direct "close to home" documentary diary style, through an allegorical poetic observation of both concepts and their conversion into a third, unified concept into which they collapse. In their reductive manner, the works offer a way to deal with horror as the concept of trauma escapes an appropriate interpretation, whether literal or visual. Beyond description, they seek to represent the indefinable, conducting a complex, tortuous discourse with the medium and with the way various genres deal with representation.  |
| Irish Museum of Modern Art shows Spanish Artist Ferran Garcia Sevilla Posted: 28 Apr 2012 08:58 PM PDT
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| Dean Project Presents Sculptures by Tim Berg and Rebekah Myers Posted: 28 Apr 2012 08:57 PM PDT  New York City.- Dean Project is thrilled to present, "On the Brink", on view at the gallery from September 15th through October 29th. This is the second solo exhibition with the gallery by the collaborative husband and wife team: Tim Berg & Rebekah Myers. Continuing with their exploration of ideas of material value and the consequences of the actions we take to satisfy our desires, Berg-Myers have created a new body of works. This current exhibition is meant to provide the viewers with objects-situations where our choices are put to the test in how we understand the value of the things we do.Some of the works in the exhibition have titles such as "All that glitters" and "As good as gold" which echo marketing tools employed in our contemporary culture to attract with a promise of guaranteed satisfaction if consumed.  |
| Bonhams to offer Royal Pictures by South African Artist ~ Jacob Hendrik Pierneef Posted: 28 Apr 2012 08:56 PM PDT
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| Pablo Picasso's Original Vollard Prints on View at LewAllen Modern Posted: 28 Apr 2012 08:55 PM PDT  Santa Fe, NM.— The LewAllen Modern gallery is pleased to announce its upcoming exhibition, "Pablo Picasso: Selections from La Suite Vollard", on view at the gallery's Railyard venue from June 10th through July 24th. This rigorously curated presentation of twenty-three original etchings and aquatints by one of Modernism's greatest agitators draws predominantly from the celebrated La Suite Vollard — a salient element of Picasso's (1881-1973) artistic achievement that is now recognized as one of the finest groups of prints produced in the 20th century.  The history of the suite revolves around several key figures in the history of Modern Art. The body of work takes its name from its publisher, Ambroise Vollard (1866-1939), perhaps the most influential Parisian dealer and critic of his time, who had already championed the art of Paul Cézanne, Aristide Maillol, Paul Gauguin, Pierre-Auguste Renoir, Georges Rouault, and Vincent Van Gogh prior to organizing Picasso's inaugural Parisian exhibition in 1901. When Picasso had sought to purchase from Vollard several paintings by Renoir — an artist whom Vollard represented and regarding whom he had published a significant monograph — the dealer had suggested an exchange of these works for one hundred original prints by Picasso. Faithful to his agreement, the artist produced the resulting suite between between 1930 and 1937 and had personally edited its selection to appeal to Vollard's forward-looking sensibilities.By the end of World War I, Picasso's art had evolved through his Blue, Rose, Analytic Cubism, and Synthetic Cubism periods. He had pursued Cubism to its limits and was searching to define a novel artistic direction. In 1917, Picasso accompanied Jean Cocteau to Rome to design scenery and costumes for the ballet Parade, bringing him into focused contact with the classical forms that would inspire and revivify his practice. Rooted in this experience, he developed a new style in which he synthesized his revolutionary past achievements with an over neoclassicism, culminating in the Suite Vollard. A considerable undertaking even for an artist of Picasso's technical and creative capacities, the artist devided the Suite Vollard divided into principal five themes: Battle of Love; Sculptor's Studio; Rembrandt; The Minotaur; and The Blind Minotaur, as well as a further twenty-seven prints of disparate themes. Twenty of the works on view in the present exhibition represent the Sculptor's Studio theme within the suite. They explore the relationship between artist, model, sculpture, and the act of creation itself—offering rare insights into the working process of an often inscrutable artist. In the Sculptor's Studio series, Picasso presents images that depict artists and models considering sculptures, thus generating art from pictures of its spectatorship. By directly addressing the act of viewing and placing his audience's perspective within the studio, the artist transcends the prevailing segregation of the audience from the active development of art's meanings. Migrating the seemingly fixed forms of antiquity into the context of Modernism's conceptual and aesthetic prerogatives, Picasso's canny co-option of Neoclassicism exalted the lived experience of its audience no less than it heroized the sculpted figures depicted. That Picasso executed most of this democratically-spirited series between 1933 and 1934 speaks to his acute sensitivity to the ominous political climate in Europe prefiguring the single most powerful expression of modernity's struggle against the horrors of war: Guernica (1937). Accompanying the work from the Suite Vollard are three works presented here upon one of the rare occasions that they have been available for public exhibition. The etching Baigneuses sur la Plage III consists of a positive and negative impression—the former an edition of twelve and the latter of only four. En la Taberna. Pecheurs Catalans en bordée is from a special edition of 108, half of which are printed in a highly unusuaul brown-black coloration. The richly modulated aquatint Venus et l'amour, d'apres Cranach represents one of fifteen artist proofs; its medium manifests one of printmaking's most complex, sensitive, and time-consuming procedures—producing very few high-quality impressions with the exquisite tonal effects easily perceived in the example on view. As proofs and products of experimentation, these images join the Sculptor's Studio series to provide additional insight into Picasso's sensibilities and techniques.  Prized by contemporary curators, selections from the Suite Vollard have been exhibited within several of the world's most esteemed public collections, including the Metropolitan Museum of Art, the Museum of Modern Art in New York, the National Gallery, the Modern Art Museum of Fort Worth, and the Norton Simon Museum. LewAllen Galleries is one of the oldest and largest galleries of leading contemporary and modern art outside of New York City. Exhibiting in three locations, LewAllen is widely respected as one of the leading fine art venues in Santa Fe, New Mexico, the nation's second largest art market. Operating for more than 35 years on Palace Avenue near the New Mexico Museum of Art, the gallery maintains a robust show schedule each year in its 11,000 square feet of museum-like exhibition space. It has recently completed a stunning 14,000 square foot, architecturally forward new gallery building in the Santa Fe Railyard Arts District. LewAllen also operates a satellite gallery at the luxurious Encantado Resort by Auberge in Tesuque, north of the City of Santa Fe. The Contemporary Division features work in a variety of media and its artists represent many schools of contemporary art, including Realist, Pop, Abstract, Color Field, Minimalist, Op, Geometric Abstraction and Expressionist. Its internationally diverse roster includes such noted artists as Audrey Flack, Woody Gwyn, Judy Chicago, John Fincher, Emily Mason, Bernard Chaet, Robert Natkin, Jaune Quick-to-See Smith, Forrest Moses, Hiroshi Yamano, Janet Fish, Ed Mieczkowski and Bill Barrett, among others. During its history, the gallery has also presented the work of such historically notable artists as Fritz Scholder, Georgia O'Keeffe, Robert Colescott, Luis Jimenez, Ida Kohlmeyer, Thornton Dial, Donald Roller Wilson and Larry Rivers, among many others. The Modern Division is fortunate to represent fine collections, museums, and individuals in assisting placement in the secondary market for American and European Modernist works of distinction and unusual quality. The Department employs professional art historical resources and prides itself on diligence regarding provenance and authentication as well as unusual levels of research, and curatorial attention dedicated to presenting museum-level exhibitions of signal works of the Modern era. Representative works of uncustomary importance to major international collections include those by such Modern masters as Pablo Picasso, Henri Matisse, Renoir, Marc Chagall, Jackson Pollock, Franz Kline, Mark Rothko and Amedeo Modigliani, among numerous others. With collectors from around the world, the gallery utilizes state-of-the-art technology, the Internet and other forms of distance communication in helping clients build important collections. The gallery has a large following among corporations, public art spaces, museums and prominent private collectors in whose collections the works of its represented artists appear. Visit the gallery's website at ... http://www.lewallengalleries.com  |
| Manchester Art Gallery to host Recent Works from the Frank Cohen Collection Posted: 28 Apr 2012 08:53 PM PDT
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| The Musée d'Art Moderne Hosts Major Marc Desgrandchamps Retrospective Posted: 28 Apr 2012 08:52 PM PDT  Paris.- The Musée d'Art Moderne in Paris is devoting a solo exhibition to Marc Desgrandchamps, contemporary French painter from May 13th until September 4th. Consisting of forty large paintings and a large selection of works on paper (watercolors, drawings, collages, lithographs and wash), the exhibition traces the artist's works from 1987 until the present day and will be the largest retrospective of the artists work yet held. This retrospective is an opportunity to discover many new and paintings showcase works already present in many public and private collections. Easily recognizable by his evanescent figures, broken objects and undefined space, Desgrandchamps's work is primarily a visual experience. Despite their architectural compositions, the artist's paintings are comprise layers of differing opacity. Fluid colors that appear to be almost liquid and blurred contours combine to give forms an unlikely materiality. The figurative elements seem more juxtaposed than in communication with each other, as if suspended in the pictorial space. They establish doubt and questions in the viewer's mind, rather than provide any certainty.  |
| 'A New Life' for Dan Baldwin at Signal Gallery in London until 17 July. Posted: 28 Apr 2012 08:51 PM PDT
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| Sotheby's to Offer 400 Items from The Fabius Frères Gallery Collection Posted: 28 Apr 2012 08:49 PM PDT  PARIS.- Sotheby's announce, in association with the auction house PIASA, the sale of the Fabius Frères Gallery collection on the 26th and 27th October 2011 in Paris. The 400 sculptures, pieces of furniture, works of art, drawings and 19th century paintings, estimated to sell in the region of €10 million ($14,5 million), will be on view at the Galerie Charpentier for five days prior to the sale. The Fabius Frères Gallery is known worldwide for the exceptional quality, condition and provenance of the works of art in their collection. The Fabius Frères collection is undoubtedly the most important ensemble of 19th century sculpture ever to be offered at auction. It consists predominantly of works by the most original and significant sculptors of the period: Antoine–Louis Barye (1795–1875) and Jean–Baptiste Carpeaux (1827–75). Carpeaux's important marble group Daphnis & Chloe is a sculptural masterpiece. It was made in 1874 during the sculptor's two–year stay in England, where he took refuge in the turbulent aftermath of the Paris Commune. Alexander Hugh Baring, 4th Baron Ashburton, commissioned Carpeaux to make this large mythological marble group in 1873. It illustrates a passage from Longus' idyll Daphnis & Chloe and was made as a pendant to Canova's famous marble Cupid & Psyche (now in the Louvre), which then adorned Lord Ashburton's London residence at Bath House, in Piccadilly. Carpeaux began modelling the group in plaster in 1873. It was not until July 1874 that Carpeaux began sculpting the marble group. It was delivered to Lord Ashburton on 8 January 1875. Daphnis & Chloe perfectly expresses Carpeaux's virtuoso talent for modelling form and sculpting marble: he brings the stone to life, combining graceful movement with the sensuality of his intimate subject (estimate €1,000,000-1,500,000 / $1,448,000-2,172,000). The collection also includes an autograph plaster version of Carpeaux's Ugolino & His Sons. Carpeaux chose the dramatic episode from Dante's Inferno as the subject for the large-scale composition he was required to make during his time as a student at Rome's Villa Medici in 1860/1. It depicts the moment when Ugolino, condemned to death by starvation, resolves to devour his children (est €50,000-70,000 / $72,400-101,350)  Shortly after Carpeaux's return to Paris, the state commissioned a monumental bronze version of this subject which was exhibited at the Salon of 1863; it was subsequently installed in the Tuileries Gardens as a pendant to the monumental bronze of the Laocoon and is now in the Musée d'Orsay. A full-size marble version, signed and dated Jbte Carpeaux Roma 1860, was made for the 1867 Exposition Universelle, and is now in the Metropolitan Museum, New York. More than six plaster and terracotta versions – composed of three to five figures – exist in public collections, including a terracotta version in the Louvre. In 1865, at the request of architect Charles Garnier (1825-98), Carpeaux produced his most famous monumental group for the façade of the Paris Opera. La Danse was intended to complement three other allegorical sculptures: Lyrical Drama by Jean-Joseph Perraud (1819–76); Music by Eugene Guillaume (1822–1905); and Harmony by François Jouffroy (1806–82). The 2ft-high (61cm) autograph plaster model to be offered here shows the composition at an important point in its evolution: here the Genius of Dance is shown with feminine features; in the final version, the Genius is depicted as a man (est. €80,000-120,000 / $115,850-173,750) Carpeaux's marble bust Candour, was inspired by the features of his wife, Amelie de Montfort. It appeared in the Carpeaux sale on 29 April 1873, when it was bought by Madame Carpeaux herself. This exceptional bust is remarkable for its very sensitive modelling and delicate expression (est. €100,000-150,000). The collection also includes the plaster model for the bust, made by Carpeaux in 1867 (est. €60,000-80,000 / $86,900-115,850). Amelie was 22 at the time of their marriage in 1869, roughly half Carpeaux's age. She lent her features to several of Carpeaux works, notably Temperance, made for the church of La Trinité in Paris in 1865; Hope (1868) – an 1873 marble version of which appears in our auction (est. €70,000-100,000 / $101,350-144,800) La Fiancée (1869), represented by a terracotta version in the Fabius Frères collection (est. €40,000-60,000 / $57,900-86.900). Other busts of exceptional quality include L'Espiègle, a marble from 1865 (est. €70,000-100,000 / $101,350-144,800); and the plaster original of La Rieuse aux Roses from 1872 (est. €50,000-70,000 / $72,400 -101,350). Antoine–Louis Barye, is represented by 51 bronzes, all cast during his lifetime. One of the highlights is Theseus and The Minotaur, a seminal version in bronze with attractive brown patina, stamped Barye and numbered 2. This superb cast belonged to Antoine-Marie d'Orléans, Duc de Montpensier, the Infante of Spain (1824–90), before entering the collections of the King of Portugal (est. €200,000-300,000 / $289,600-434,400). Barye illustrates the story of Theseus and the Minotaur from Ovid's Metamorphoses, a combat symbolizing the battle between Good and Evil. It is a virtuoso rendering of a key moment during this epic confrontation, with the tense, muscular figure of Theseus carefully aiming his sword at the Minotaur. Variants can be found in the Baltimore Museum of Art (U.S.A.) and the Musée Bonnat in Bayonne (south–west France). Another Barye masterpiece in the Fabius Frères Collection is his Charging Elephant, a unique work cast in 1832 by Honoré Gonon & Sons. This was the first major work by Barye to be collected by a member of the ruling House of Orléans. It was acquired by the Duke of Nemours and lent by him to the Salon of 1834 (est. €300,000-500,000 / $434,400-724,000). Elephant Crushing a Tiger hails from the David Weill Collection. This is the chef-modèle cast in Barye's own foundry and is a classic example of Barye's concern for detail (est. €150,000-250,000 / $217,200-362,000 ). The collection also includes an extremely fine cast of Tiger Devouring a Gavial from circa 1845 (est. €50,000-70,000 / $72,400 -101,350). At the Salon of 1831 the plaster model enjoyed unanimous acclaim from the critics and partisans of both of Academic art and Romanticism. It's audacious depiction of the subject demonstrates Barye's vivid imagination and his ability to observe, and transcend, the violence of the animal kingdom. The sale's furniture combines 18th century neo-classicism with 19th century exuberance. The sale includes magnificent neo-classical furniture, dating from Louis XIV to the First Empire. Fabius Frères were advocates of 19th century furniture and that century is represented by works by eminent cabinet-makers such as Grohé and Diehl, as well as Dufin's unusual neo-Renaissance furniture.  The sale includes a Louis XIV ormolu-mounted kingwood- and palissander-veneered commode attributed André-Charles Boulle (c.1710). With its decoration of skilful frieze-work and sumptuous, original gilt-bronze mounts, this counts as one of Boulle's most accomplished commode designs. The sober patterning of alternating concentric motifs to the front-drawers, and heart-shaped motifs to the top and sides, is a departure from the exuberant floral marquetry for which Boulle is best known. The virtuoso stringing and end-cut marquetry lend the veneer a pictorial feel, while the stringing in ebony and light wood around each drawer heightens the impression of relief and creates an illusion of depth (est. €300,000-500,000 / $434,400-724,000). Sumptuous gilt-bronze mounts, typical of Boulle, underline the commode's powerful architecture. he commode, which seems borne aloft by generous scrolls of acanthus leaves, was designed with five feet: an aesthetic, rather than technical, solution, as shown by a preparatory Boulle drawing now in the Paris Musée des Arts Décoratifs. Two Sèvres porcelain Medici vases from 1811 epitomise Napoleonic prestige and the genius of Alexandre Brongniart, who helped give the Sèvres factory a new lease of life at the start of the 19th century. They are of outstanding interest due to their exceptional production quality, rare subject-matter, historic interest, virtuoso tortoiseshell grounds, powerful gold ornament and prestigious provenance (est. €500,000-800,000 / $724,000-1.158.450). The scenes painted by Jean–François Robert on these tortoiseshell-ground Medici vases are particularly accomplished. Although some less prestigious ceramics show the imperial family at leisure or at their various homes, such scenes seldom appear on vases – which were usually decorated with official portraits, military subjects or allegorical scenes. It was doubtless Brongniart who, with an eye on Napoleon's political Public Relations, chose the subjects for these vases, cleverly exploiting Sèvres' latest technical innovations and Robert's outstanding talent as a figure- and landscape-painter. Tortoiseshell grounds first appeared at Sèvres in 1790. They were used in 1800 on the Cordelier vases (now in the Louvre) supplied for the Palace of St-Cloud's Gallery of Apollo in 1802; and then in 1803 for Napoleon's Service Ecaille at the Tuileries Palace (two plates from this service are now in the Palace of Fontainebleau). Glass and ceramics hold pride of place amongst the sale's decorative arts with numerous pieces of richly varied design. Highlights include striking, refined works by Théodore Deck, Eugène Collinot, Maurice Marinot and others. The Fabius Collection also features a fascinating group of 19th century drawings and offers connoisseurs a rare opportunity to acquire works on paper by the sculptors Antoine-Louis Barye and Jean-Baptiste Carpeaux. There will be two Barye watercolours, Lioness Devouring a Gazelle and Study of a Panther Attacking its Prey (est. €30,000-40,000 / $43,400-57,900 apiece); and several portraits by Jean–Baptiste Carpeaux, including his Portrait of Bruno Chérier (est. €15,000-20,000 / $21,700-28,950). A final sale highlight is Jean Béraud's A la Salle Graffard, a spectacular canvas from 1884 showing a political meeting, with an anarchist orator ending his speech to triumphant acclaim from an audience shrouded in tobacco smoke. This is an unusual subject for Béraud, reflecting a little-known aspect of his artistic output. Although best-known for his worldly portrayals of elegant females and scenes from the Belle Epoque, Béraud also painted working-class scenes and episodes from everyday life, invariably imbued with a concern for historical accuracy (est. €350,000-500,000 / $506,800-724,000).  |
| Willie Bester ~ Apartheid Laboratory Posted: 28 Apr 2012 08:47 PM PDT  Cape Town, SA - Regarded as one of South Africa's foremost contemporary artists, Willie Bester is also recognized as having played an important role in bringing about social change as part of an artist collective during the Apartheid years. Despite the reforms of the recent past the narrative of liberation continues for Bester, who asserts that "remaining apolitical is a luxury that South Africans simply cannot afford." We thank the lenders to the exhibition, Jerome and Ellen Stern, New York, and Gilbert and Lila Silverman, Detroit.  |
| Baltimore Museum of Art presents Rarely Shown British Landscapes Posted: 28 Apr 2012 08:46 PM PDT
Baltimore, MD - Majestic settings of the English countryside have inspired writers and artists from the poetry of William Wordsworth to the paintings of J.M.W. Turner. This fall, the BMA focuses on the transforming British landscape in Taking in the View: English Watercolors and Prints. On view through December 7, 2008, this one gallery exhibition features an array of more than 20 prints, watercolors, and books drawn from the Museum's collection.  |
| P.S.1 Contemporary Art Center ( MoMA ) hosts Kathe Burkhart Posted: 28 Apr 2012 08:44 PM PDT
Long Island City, NY – P.S.1 Contemporary Art Center is proud to present Kathe Burkhart's first solo U.S. museum exhibition. The core of this exhibition will be a selection from her signature Liz Taylor Series of paintings, and an installation which incorporates the film stills comprising the source material for this ongoing series. Also featured are works in installation, photography, and video. This exhibition will be on view from October 21, 2007 through January 7, 2008.  |
| The Musée des Augustins Shows French Genre Painting From the Revolution to the Restoration Posted: 28 Apr 2012 08:42 PM PDT  Toulouse, France.- The Musée des Augustins is proud to present "Small Theaters of the Intimate: French genre painting between Revolution and Restoration" on view at the museum until January 22nd 2012. The history of French genre painting from the end of the Ancien Regime to the Restoration of the monarchy reflected changing tastes, fashions and especially foreign influences during this very turbulent period in French history. The story of French painting between the Revolution and the Restoration is one of noise and fury that led gradually from Neoclassicism to Romanticism. But, in actual fact, and despite the upheavals of the time, the majority of paintings exhibited in the Salons were genre paintings, as if the humble activities of women, the elderly and children in the home better illustrated the times than the ancient tragedies and costumes. The greatest artists of the day, such as Jean-Baptiste Greuze, Fragonard, Marguerite Gerard, Louis-Léopold Boilly and Martin Drolling used their talents in a sentimental, humorous, colorful and uplifting portrayal of real life, or at least the image of daily life that they wanted to give. From the first hours of the Revolution, painters had to show that they stood apart from the old tastes and styles predominant under the Old Regime, and turned to other sources of inspiration. They also had to reflect the unprecedented changes that French society was going through, fashion, scientific advancements and a changing clientele meant that the artists had to keep on their toes and try to predict how fashions would change. In the 1770s, artists like Marguerite Gérard and Jean Baptiste Mallet, produced risque scenes in the Dutch vein, but by the time Napoleon was defeated and the monarchy restored, the fashion had changed dramatically, and the same painters were producing pious religious scenes.  Throughout the eighteenth century Dutch paintings from the Golden Age (seventeenth) were achieving astronomical sale prices in Paris. Painters of genre scenes as Gerard Dou or Netscher Mieris were then just as well known as Rembrandt, Frans Hals and Vermeer. Under their influence, many French painters of the late eighteenth century imitated their techniques, Jean-Honoré Fragonard was extremely successful with his paintings in this style during the during the 1770s, his paintings of aristocrats at play selling well to a clientele that would all but disappear when the revolution came. After the revolution, he felt it wisest to leave Paris, and although he never again reached the heights of fame and popularity, his pupil and sister-in-law Marguerite Gerard, thrived by producing similar scenes that featured middle or working class families. The sixty paintings featured in the exhibition have been assembled exclusively from private and public collections within France. The Louvre Museum, the National Museum of the Castle Versailles, the museums of the Ville de Paris, Banque de France and major museums oin the provinces has been particularly generous.  Since 1793, the Augustins museum (the Musée des Beaux-arts de la ville de Toulouse), has been located at the historical heart of the city in a remarkable former convent building characteristic of the southern gothic style. The museum is home to collections of paintings and sculptures dating from the Middle Ages to the beginning of the 20th century. The variety and richness of the works highlight the most important movements in the history of western art. Particularly rich in sculptures, the Augustins museum owns a unique collection of romanesque sculptures and has an equally superb ensemble of masterpieces representing southern gothic sculpture as well as numerous 19th century sculptures, representative of the vitality of artistic life in Toulouse. The painting collections, on a par with the great museums of France, expanded around an initial core of paintings that consisted of works confiscated during the revolution and those sent by the state, and has been enriched ever since. Alongside the masterpieces of the French and European schools of the 16th to the 18th centuries (Perugino, Guerchin, Rubens, Van Dyck, Tournier, Jouvenet, Bourdon, etc.), the museum displays a superb 19th century collection: Hennequin, Delacroix, Ingres, Corot, Courbet, Laurens, Constant. The works are presented in the sumptuous setting of the church and the chapter houses of the old Augustins convent. They can be admired also in a wing, built at the end of the 19th century based on the drawings of the famous architect Viollet-Le-Duc. This wing is composed of a monumental staircase and vast rooms with overhead lighting. Visit the museum's website at ... http://www.augustins.org  |
| This Week in Review in Art Knowledge News Posted: 28 Apr 2012 08:41 PM PDT This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here . When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page. You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article. Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.   |
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