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Over 20 recent and historical works by Claude and François-Xavier Lalanne on view at Paul Kasmin Gallery – New York – 16.03.2017-22.04.2017 – 11513

François-Xavier Lalanne, Hippopotame II (bar), 2007 Edition of 1976. Bronze, stainless steel, copper, and wood, 41 3/8 x 78 3/4 x 16 1/2 inches, 105 x 200 x 42 cm. Edition EA 1 of 4.

Paul Kasmin Gallery presents Les Lalanne, featuring over 20 recent and historical works from the pioneering French sculptors, Claude and François-Xavier Lalanne. The exhibition is on view March 16 to April 22, 2017 at 293 Tenth Avenue.

Since 1956 the husband and wife team, known as Les Lalanne, has forged a course singularly their own with an oeuvre that is inventive, poetic, and surreal. While each has a distinct practice, their sculptures often take on hybrid forms with novel functions inserting the natural world into intimate spaces. Prefacing their first joint exhibition in 1964, American sculptor James Metcalf declared the work of Les Lalanne “as individual and unique as every one of us”.

One such sculpture is François-Xavier’s Hippopotame II (bar), 1976. Cast in bronze, the animal’s jaws and belly open to reveal hidden compartments for its intended purpose of a fully functioning bar. Moutons de Laines (Troupeau de 3), 1974, among his best known and beloved figures, were first introduced in 1965 at the Salon de la Jeune Peinture in Paris. Made of wool and bronze on casters, the sheep double as benches, while playfully suggesting a flock of three sheep, at once bringing joie de vivre and breaking up the monotony of daily life.

Claude, known for seamlessly fusing natural elements from her garden, intertwines branches, leaves, and crocodile skins to create furniture such as gingko benches, croco bureaus and bamboo tables. The iconic Gingko sculpture embodies a surrealist impulse to play with seemingly implausible forms and contexts. In Banc Gingko, 2011, Claude enlarges the tree’s unique fan-shaped leaves to a fantastical size. Rendered in gilt bronze, they entwine with branches to form the back, seat and legs of the bench, while preserving the harmonious asymmetry of its organic form.

Les Lalanne will also feature Yves Saint Laurent’s 1993 commission of Miroir. Standing at 9.5 feet tall, it is the largest, single mirror Claude has ever made. This work along with three new mirrors are a continuation of mirrors that once lined the walls of Yves Saint Laurent and Pierre Bergé’s Rue Bonaparte library.

Claude Lalanne (b. 1924 in Paris) studied architecture at the École des Beaux-Arts before meeting her husband and collaborator François-Xavier Lalanne (b. 1927 in Agen, died 2008 in Ury, France). Claude and François-Xavier developed careers and their idiosyncratic aesthetics in tandem creating a body of work that defied both genre and artistic trends of the era.

In 2010, Les Lalanne were the subject of a major retrospective at Paris’s Musée des Arts Décoratifs, curated by the architect Peter Marino, as well as a public exhibition held at the Fairchild Tropical Botanic Garden in Coral Gables, Florida. Their work was shown on the Park Avenue malls as part of New York City Parks Public Art Program and in the sale of the collection of Yves Saint Laurent. Les Lalanne’s work is part of major collections internationally, including the Cooper Hewitt Museum in New York, the Musée Nationale d’Art Moderne/Centre Georges Pompidou, the Musée d’Histoire Naturelle in Paris, the City of Paris, the City of Santa Monica, and the City of Jerusalem.

Website : Paul Kasmin Gallery
Source : Artdaily

The Hyde Collection exhibits works by American artists who found inspiration overseas – Glens Falls, NY – 28.02.2017-11.06.2017 – 12513

Thomas Moran, (American, b. England, 1837-1926), The Gates of Venice, 1888, 17 3/4 x 31 in,. etching, black ink on wove paper, The Hyde Collection, Glens Falls, New York, Gift of the Hoopes Family, 2008.18.

When Childe Hassam returned to the United States after living in Paris for three years, he brought with him an American form of Impressionism. His Hyde House favorite Geraniums is being exhibited — along with the works of other American artists who found inspiration overseas — in American Artists in Europe: Selections from the Permanent Collection, which opened Tuesday, February 28, in The Hyde Collection’s Whitney-Renz Gallery.

The featured works are drawn from the Museum’s permanent collection, highlighting American artists inspired by their travels. “Americans go as students or as established artists, but they both come back with distinctly American versions of movements they encountered in Europe,” said Jonathan Canning, Curator of The Hyde.

When, for example, Winslow Homer tired of painting Americans, he traveled overseas in 1881 in search of strong-willed women exuding natural beauty. The revered painter found his muses on the rough shores of Cullercoats, England. He came back to the States with the subjects that would come to dominate his later years, fisherfolk and the power of the sea.

Before the Civil War, America lacked the cultural equivalents of artists’ cafes, salons, and the Bohemian lifestyle that made Europe the center of Western culture. “Artists traveled wanting to see Europe’s great cities, art collections, and monuments,” Canning said. “It wasn’t until after the war that Americans started to develop art academies and cultural institutions of their own.”

American Artists in Europe: Selections from the Permanent Collection features works from Hassam; Homer, who traveled to England twice in the mid-1800s; Frank Duveneck, who traveled and taught extensively in Italy and Germany; Elihu Vedder, who found inspiration in Italy and eventually lived there permanently; and Leonard Freed, who traveled in Europe and Africa before settling in Amsterdam to photograph its Jewish community; among others.

American Artists in Europe runs through June 11 in Whitney-Renz Gallery.

Website : Hyde Collection
Source : Artdaily

Exhibition devoted to the partnership between Michelangelo & Sebastiano – London – 15.03.2017-26.06.2017 – 10513

The National Gallery had the honour of welcoming its Royal Patron, HRH The Prince of Wales, to a Private View of The Credit Suisse Exhibition: Michelangelo & Sebastiano.

During his visit The Prince of Wales toured the exhibition with the National Gallery Director, Dr Gabriele Finaldi and Chair of Trustees, Hannah Rothschild, before meeting members of staff and other invited guests at a reception.

The Prince of Wales and the National Gallery have enjoyed a long and beneficial association. The Royal Patronage was announced at a Private View of Delacroix and the Rise of Modern Art in February 2016. The Prince of Wales was previously a Trustee of the National Gallery from 1986 to 1993.

Commenting on the occasion of the Royal visit, Hannah Rothschild, Chair of the National Gallery Trustees, said “We are delighted that our Royal Patron, The Prince of Wales has chosen to open this important exhibition which is a celebration of the friendship between two great artists, Michelangelo and Sebastiano and a demonstration of what can be achieved through a spirit of collaboration and creative exchange.”

The National Gallery Director, Dr Gabriele Finaldi, added: “The Prince of Wales’s friendship with the National Gallery is longstanding and we are very grateful for his ongoing support as we care for the nation’s pictures, exhibiting great works of art which are open to all”.

Michelangelo & Sebastiano explores the complementary talents, yet divergent personalities, of the two artists. It encompasses approximately seventy works – paintings, drawings, sculptures and letters – produced by Michelangelo and Sebastiano before, during and after their association. Examples of their extensive, intimate correspondence offer us a unique insight into their personal and professional lives; their concerns, frustrations and moments of glory.

In 1511, Sebastiano, a young, exceptionally talented Venetian painter, arrived in Rome. He was quickly embroiled in the city’s fiercely competitive art scene. He met Michelangelo, who was working on the Sistine Chapel ceiling, and the two quickly became friends and allies against the prodigious Raphael; another recent arrival whose star was rising with the most influential patrons in Rome. As the only oil painter in the city to rival Raphael, Sebastiano was an ideal collaborator for Michelangelo, who did not care for the medium but wanted to marginalise his younger competitor. For his part, Sebastiano profited immensely from Michelangelo’s drawings and conceptual ideas. Together they created several works of great originality and rare beauty.

Their friendship lasted over twenty-five years, far beyond Michelangelo’s long-term relocation to his native Florence (1516) and Raphael’s death (1520). It ended acrimoniously after Michelangelo’s permanent return to Rome to paint the ‘Last Judgement’ in the Sistine Chapel, apparently with an argument over painting technique. Their partnership unfolded during a remarkably dramatic time for Italy – one of revolution, war and theological schism, but also of great intellectual energy and artistic innovation.

A key loan to the exhibition is the ‘Lamentation over the Dead Christ’, also known as the Viterbo ‘Pietà’ (about 1512–16) after the central Italian town where it resides. This painting is Michelangelo and Sebastiano’s first collaboration and eloquently represents their combined vision. Rarely seen outside of Italy, it is also the first large-scale nocturnal landscape in history, iconographically original for its separation of Christ from his mother’s lap.

In its time, the Viterbo ‘Pietà’ was received with widespread praise, and on its merits Sebastiano garnered his next two major commissions, both of which were completed with Michelangelo’s input – the decoration of the Borgherini Chapel in S. Pietro in Montorio, Rome (1516–24) and The Raising of Lazarus (1517–19). The latter was painted in competition with Raphael’s great ‘Transfiguration’ (now Vatican Museums) for the Cathedral of Narbonne, France, from which it was removed in the 18th century. ‘The Raising of Lazarus’ eventually became part of the foundational group of paintings forming the National Gallery Collection in 1824, where it was given the very first inventory number, NG1.

Recent scientific research conducted at the National Gallery has provided new insights into the two artists’ respective work on ‘The Raising of Lazarus’. Infrared reflectography has revealed Sebastiano’s contribution to be more substantial and independent of Michelangelo’s influence than previously assumed. It is now understood that Michelangelo only intervened at a relatively advanced stage in the painting’s development, revising in drawings the figure of the revived Lazarus, which Sebastiano had already painted.

Among other exhibition highlights is ‘The Risen Christ’ by Michelangelo, a larger-than-life-size marble statue carved by Michelangelo in 1514–15, generously lent by the Church of S. Vincenzo Martire, Bassano Romano (Italy). ‘The Risen Christ’ will be shown with a 19th-century plaster cast after Michelangelo’s second version of the same subject (1519–21), which resides in – and never leaves – the S. Maria sopra Minerva, Rome. Never attempted before, this juxtaposition presents visitors with the first ever opportunity to see these statues side by side.

Sebastiano’s ‘Visitation’ from the Louvre, Paris, and the ‘Lamentation over the Dead Christ’ from the State Hermitage Museum, St Petersburg, also left their collections for the first time to travel to Trafalgar Square. The latter has been united with Sebastiano’s ‘Christ’s Descent into Limbo’ (1516) from the Museo del Prado, Madrid, and Francisco Ribalta’s 17th-century copy of Sebastiano’s lost ‘Christ Appearing to the Apostles’. The three paintings are being presented in their original triptych format for the first time since they were separated in 1646.

To evoke the experience of seeing the works in situ, groundbreaking technology is being used to present a spectacular three-dimensional reproduction of the Borgherini Chapel in S. Pietro in Montorio, Rome. Using the most advanced digital imaging and reconstruction techniques, the National Gallery brings the chapel to London for an immersive experience of the structure much as it was created.

Website : National Gallery
Source : Artdaily

Indianapolis Museum of Art engages architecture & design firm to build sustainable future – 8513

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The plan will serve as a roadmap for the next 30 years.
The Indianapolis Museum of Art announced that it has partnered with the landscape architecture and urban design studio, David Rubin LAND COLLECTIVE, to develop a Master Land Use plan for the IMA’s 152-acre campus.

The plan will serve as a roadmap for the next 30 years, addressing access, infrastructure, connectivity, space and land use needs. A major goal of the plan is to integrate the IMA’s cultural and natural resources to create a holistic campus experience.“The IMA is in the process of defining what it means to be a living museum with a combination of extraordinary assets: a great art collection, stunning gardens, renowned historic sites, a nature preserve, sculpture park, unique performance and event spaces, and even a preschool,” said Dr. Charles L. Venable, the IMA’s Melvin & Bren Simon Director and CEO. “We are almost unique nationally in having such incredible, diverse resources that enable us to deliver a one-of-a-kind experience to our guests. We are thrilled to partner with David Rubin LAND COLLECTIVE to better understand how we can unify these resources to create even more exceptional experiences for the public while building a sustainable financial future for the IMA.”

Based out of Philadelphia, David Rubin LAND COLLECTIVE has extensive experience in Indiana landscapes and has collaborated on projects for Eskenazi Health Hospital – “The Commonground”; the Indianapolis DBU Headquarters Park for Cummins, Inc.; Grand Junction Plaza for the City of Westfield; and the Kitselman Trailhead for the Cardinal Greenway, Inc. and the City of Muncie. The studio also has experience integrating art and architecture—the Eskenzai and Cummins projects both had heavy art components.

“I became a member of the IMA several years ago, long before any professional affiliation connected me to this extraordinary institution,” said David Rubin, principal at LAND COLLECTIVE. “Working on projects in and around Indianapolis, I found the museum assets and expansive gardens to be a welcome place for emotional recharge and intellectual stimulation between project meetings. This is a unique place—like no other I have found in all of my travels— with untapped resources that have the capacity to serve the breadth of the region’s population. I call it a ‘constellation of assets’—a living Jacco Olivier painting—where every citizen can find themselves enriched by ever-changing, stimulating experiences throughout the year. It is my home away from home.”

LAND COLLECTIVE has engaged a team of consultants to collaborate on the project, including the land use planning and architecture firm, Beyer Blinder Belle; historic planning and preservation consultants from PennPraxis; engineering and surveying firm, Nitsch Engineering; public space design and management firm, ETM Associates, L.L.C.; and the Indiana-based construction company, The Hagerman Group. The multifaceted team will examine the IMA’s existing challenges, such as limited parking and navigation across the campus’ diverse landscapes, and determine opportunities for growth in underutilized spaces and resources. The resulting Master Land Use plan will aim to enhance the guest experience and celebrate the landscape’s unique history while creating a sustainable, 21st century campus.

To inform the master planning process, the IMA worked with external consultants over the past year to conduct a series of studies. Studies included identifying and strategizing earned income opportunities, analyzing audience segments in the local market and assessing existing community engagement initiatives.

The project team will utilize the results of these studies, along with their own research, to develop the IMA’s Master Land Use Plan. As part of their analysis, David Rubin LAND COLLECTIVE will meet with various stakeholder groups to gather feedback and better understand their specific needs. A forum for IMA members and the local community will be held on Feb. 5 from 2-4 p.m. in The Toby.

After the research phase, the master planning team will define the vision and framework for the plan, and make their final recommendations to the IMA’s Board of Governors. The process is set to conclude in summer 2017.

Nobel Peace Prize awarded to Alfonso Garcia Robles to highlight Christie’s April auction – New York – 28.04.2017 – 7513

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The Nobel Peace Prize Medal awarded in 1982 to Alfonso Garcia Robles (1911-1991), driving force behind the Treaty of Tlatelolco that made Latin America and the Caribbean a nuclear-free zone. 18 carat gold, 2.5 inches (66 mm.) diameter Estimate: $400,000 to $600,000. © Christie’s Images Limited 2017.
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Christie’s announced that the Nobel Peace Prize awarded to Alfonso Garcia Robles in 1982 for his pioneering work in nuclear disarmament will be offered for auction. Garcia Robles was the driving force behind the Treaty of Tlatelolco, opened for signing 50 years ago on February 14, 1967, and significant for keeping Latin America and the Caribbean nuclear-free to this day. The Nobel Peace Prize medal is 18 carat gold and 2.5 inches diameter, estimated at $400,000 – $600,000, and will be included in The Exceptional Sale on April 28 in New York.“We are thrilled and honored to be offering this tangible symbol of mankind’s struggle for peace,” remarks Becky MacGuire, specialist of The Exceptional Sale. “In 1962 Alfonso Garcia Robles watched the Cuban missile crisis unfold a mere 1,500 miles off Mexico, and he resolved to put an end to the horrific nuclear threat for his beloved country and the entire region. His unwavering dedication to the cause of disarmament resulted in the groundbreaking Treaty that did end that threat. The Nobel Peace Prize honoring Garcia Robles reminds us of the very best in humanity, just as great, transformative works of art do.”

The Treaty of Tlatelolco was the first disarmament agreement covering a populous region of the world, preceded only by a 1962 agreement covering Antarctica. The Treaty remains an influential model to this day with pioneering verification measures and a protocol ratified by the United States, Russia and the other nuclear nations at that time. Known as “Mr. Disarmament”, Garcia Robles was a delegate to the 1945 San Francisco conference that established the UN, a Mexican ambassador to Brazil, Mexico’s ambassador to the UN and Foreign Minister of Mexico before becoming Mexico’s permanent representative to the UN Committee on Disarmament.

Elsene/Brussels – Pierre – Gilles – Clair-obscur – 16.02.2017-14.05.2017 – 4775

Pierre et Gilles embody a highly sophisticated art of the portrait, somewhere between photography and painting. They infuse a touch of humanity to the artificial beauty of celebrity, glorify ordinary people and enchant the world with superheroes plucked from mythology, the Bible and fairy tales. Nourished by art, film and all forms of popular culture, these painted images fit perfectly into the contemporary world.

Few artists are resistant to the test of time. The longevity of Pierre et Gilles on the stage of contemporary creation is exemplary, with a forty-year career nourished by artistic and sentimental complicity. Undoubtedly this is founded on, above all, the sincerity and generosity of the artistic process that has driven them since their beginnings – to honour, glorify and even deify the Human, to extirpate it from villainy, to save it from turpitude and provide a flamboyant world for it to inhabit.

This re-enchantment does not, however, take place by a simplistic dissolution of our world and the naive construction of another dreamed-up world. It arrives by a rather more subtle and clear-sighted balance of these two polarities, as Pierre et Gilles propose a new order, a kind of haunting and comforting alternative to insignificance and even mediocrity. Pierre et Gilles work is constructed by the accomplishment of a skilful equation via the objective of Pierre and the brushwork of Gilles. Portraits can be as seductive as they are repulsive, as licentious as they are modest, as well as current. They can be funny yet serious, candid and defiant, as authentic as they are unreal. Thus the artists succeed in creating the most just and universal homage to the Human, who is as brilliant as s/he is mediocre.

Through iconographic profusion, a wealth of possible approaches and powerful aesthetic harmony, the work of Pierre et Gilles has legitimately fascinated a wide audience for several decades already. However, the exhibition presented at the Museum of Ixelles (Brussels), then at the MuMa (Le Havre), as well as the exhibition catalogue, aims to offer new ways of understanding this duo’s work as unclassifiable as it is unavoidable.

Curator of the exhibition: Sophie Duplaix, Centre Pompidou

Museum van Elsene / Musée d’Ixelles – Pierre – Gilles – Clair-obscur – 16.02.2017-14.05.2017

Website & source : Museum van Elsene / Musée d’Ixelles
Website : Elsene/Ixelles

Vito Schnabel Gallery presents an exhibition of new work by Sterling Ruby – St. Moritz – 12.03.2017-16.04.2017 – 11512

Installation view, Sterling Ruby, MIX PIZ, Vito Schnabel Gallery, St. Moritz, 2017. © Sterling Ruby; Courtesy Sterling Ruby Studio and Vito Schnabel Gallery. Photo by Stefan Altenburger.

Vito Schnabel Gallery is presenting MIX PIZ, an exhibition of new work by Sterling Ruby. The title brings together two aspects of the show: “mix,” representing the mixture of mediums Ruby assembled for the space— bronze, mobile, collage, painting, and ceramic—and “Piz,” which means “peak” in Romansh, one of the official languages of Switzerland spoken in the Engadin region. “Piz” is a common prefix to the names of many Swiss mountains in the area.

Friedrich Nietzsche first developed his idea of the eternal return while on long meandering hikes in the Engadin. While installing his STOVES exhibition last year in St. Moritz, Ruby began reflecting on the intellectual history and the landscape of this region, and it became a catalyst in the creation of his own idyllic vernacular and symbolism. A free association connects hiking in the region to the motions of the planets to the eternal recurrence, across distinct bodies of work in a wide range of materials – from collage to ceramics.

The large bronze Modern Hiker and the jagged stalagmites that line the edges of the DRFTRS collages echo the Engadin’s mountain peaks. MOONRISE/MOONSET, with its silvery nitrate patina, is comprised of two circular moonlike shapes, stacked one on top of the other. The bright yellow round ceramics suggest the sun. A visceral red painting conjures to mind a blood moon. Its title, HALF TETRAD, refers to the astronomical phenomenon of a tetrad– a set of four total lunar eclipses within two years which have been associated with prophecies of the apocalypse.

This exhibition is the second solo show of Ruby’s work presented by Vito Schnabel Gallery. The first, STOVES, was an installation of two of Ruby’s large-scale functioning wood-burning stoves, each measuring 14 to 17 feet in height, set in a garden across from the gallery at the Kulm Hotel from December 2015 – March 2016. Ruby’s work was also recently included in the group exhibition at Vito Schnabel Gallery curated by Bob Colacello, titled The Age of Ambiguity: Abstract Figuration / Figurative Abstraction.

Sterling Ruby is known for his use of a wide range of aesthetic and material strategies, from sculptures made of saturated, glossy, poured polyurethane, bronze and steel, to drawings, collages, richly glazed ceramics, spray-paint paintings, photography and video, as well as textile works that include quilts, tapestries and large stuffed soft sculptures.

Ruby has exhibited at institutions including the Ullens Center for Contemporary Art, Beijing; Museum of Modern Art, New York; Drawing Center, New York; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; Institute of Contemporary Art, Philadelphia; Museum of Contemporary Art, Los Angeles; Musée de la Chasse et de la Nature, Paris, France; FRAC Champagne-Ardenne, Reims, France, Centre d’Art Contemporain, Geneva, Switzerland; and Bonniers Konsthall, Stockholm, Sweden and Museo d’Arte Contemporanea, Rome, Italy; Garage Centre for Contemporary Culture, Moscow and MACRO, Rome. In 2014, Ruby exhibited at the Taipei Biennial, the Gwangju Biennial, and the Whitney Biennial. His work was included in the biennial MADE IN L.A. 2016 at the Hammer Museum, Los Angeles, and he was the subject of a solo exhibition at the Winterpalais, Belvedere Museum, Vienna, Austria in 2016. The Geffen Contemporary at MOCA will present the recently acquired SOFT WORK installation in April 2017.

Website : Vito Schnabel Gallery
Source : Artdaily

Seven centuries from the Woodner Collections celebrated at National Gallery of Art – Washington, DC – 12.03.2017-16.07.2017 – 12512

Simon Bening, The Adoration of the Magi, mid-1520s. Tempera heightened with gold on vellum mounted to wood. Overall: 16.8 x 22.9 cm (6 5/8 x 9 in.). National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner.

Ian Woodner assembled an extraordinary collection of over 1,000 old master and modern drawings, making him one of the 20th century’s most important collectors. More than 150 works from his collection now reside at the National Gallery of Art in Washington. While Ian Woodner gave some works himself in the 1980s, the majority have been donated by his daughters, Dian and Andrea. His daughters have also made other gifts and have pledged works from their personal collections. The Woodner Collections: Master Drawings from Seven Centuries brings together for the first time the best of Ian Woodner’s collection with some of the works given and promised by Dian and Andrea Woodner. More than 100 major works of art are on view in the West Building of the National Gallery of Art from March 12 through July 16, 2017.

“Ian Woodner’s appreciation of a wide range of types and styles of drawings led him to form a collection of extraordinary breadth and depth that spans centuries,” said Earl A. Powell III, director, National Gallery of Art. “The Gallery is deeply grateful for the generosity of the Woodner family and the continued support of Dian and Andrea Woodner.”

The Woodner Collections includes some 100 drawings dating from the 14th to the 20th century executed by outstanding draftsmen such as Leonardo da Vinci, Albrecht Dürer, Raphael, Jean-Auguste-Dominique Ingres, Edgar Degas, and Pablo Picasso, among many others. Two highlights in the exhibition are Ian Woodner’s greatest acquisitions, known as his “crown jewels”: Giorgio Vasari’s Libro de’ Disegni (sheets probably 1480–1504 and after 1524) and A Satyr (1544/1545) by Benvenuto Cellini. Vasari’s Libro de’ Disegni consists of ten drawings by the Renaissance masters Botticelli, Filippino Lippi, and Raffaellino del Garbo arranged harmoniously on both sides of the sheet. It is widely regarded as one of the most beautiful and impressive of the few pages surviving intact. Cellini’s monumental nude is a finished study of a bronze sculpture designed to stand at the entrance to the French royal palace at Fontainebleau.

“Included in the exhibition are many impressive works by well-known artists, all acquired by the Woodner family with an intrepid spirit and exquisite taste. A visit to the exhibition will offer a remarkable journey through many facets of European draftsmanship, revealing the broadly diverse ways the artists responded to their individual worlds and expressed their unique creativity,” said Margaret Morgan Grasselli, curator and head of the department of old master drawings, National Gallery of Art.

The earliest works in the exhibition are two rare sheets from the 14th century: a page from a model book by an unknown Austrian artist, and the other, attributed to the Paduan painter Altichiero da Zevio, shows a band of knights in armor storming a medieval castle. Nearly half of the exhibition is devoted to works from the 15th and 16th centuries, including drawings by Raphael, Leonardo, and Albrecht Dürer. The most important figure in German Renaissance art, Dürer is represented by an outstanding group of five drawings: four figurative works and one vividly colored book illumination, A Pastoral Landscape with Shepherds Playing a Viola and Panpipes (1496/1497). Leonardo’s petite Grotesque Head of an Old Woman (1489/1490) is both touching and comical. The study of Eight Apostles (c. 1514), a fragment of a preparatory drawing for a tapestry cartoon, shows the classical rhythms and expressive qualities that are typical of the “divine” Raphael. By contrast, a rare study by Pieter Bruegel the Elder humorously depicts a musician tipping precariously on a three-legged stool. It combines the artist’s lively pen strokes with a keen eye for pose and expression and captures both the boisterous spirit and the clumsy charm of the peasants that populate so many of Bruegel’s compositions.

Among the small group of works by the 17th-century artists, Rembrandt’s evocative View of Houtewael near the Sint Anthoniespoort (c. 1650) demonstrates his remarkable ability to express space, light, and atmosphere with an economy of means. The 18th century is particularly rich in examples by many French and Venetian artists, including François Boucher, Giovanni Battista Tiepolo, Giovanni Battista Piranesi, and Jean-Honoré Fragonard. A more emotional tone is struck in a drawing of Satan Defying the Powers of Heaven by the Swiss-Anglo artist Henry Fuseli and in two enigmatic compositions by the great Spaniard, Francisco de Goya.

The 19th-century drawings include three elegant works by Jean-Auguste-Dominique Ingres and the eerie, powerful image Cactus Man (1881) by French symbolist Odilon Redon, one of Woodner’s favorite artists. Several works from the 20th century close the exhibition: three masterly drawings by the young Pablo Picasso, Two Fashionable Women (1900), a blue-period Head of a Woman (c. 1903), and a cubist Standing Nude (summer 1910); an imposing study of a female nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal control.

Born in New York City in 1903 to Polish immigrant parents, Ian Woodner studied architecture at the University of Minnesota and continued his studies with a scholarship to the Graduate School of Architecture at Harvard University. By 1944 his architectural success led him to open a real estate development firm: the Jonathan Woodner Company.

Woodner’s prosperous real estate ventures allowed him to pursue his lifelong interest in the arts, evident at an early age by the remarkable watercolors and drawings he produced. During the 1940s Woodner began to buy and sell minor impressionist paintings and Cycladic figurines, and for a short time he owned an art gallery on Madison Avenue in New York. By the mid-1950s he had developed a penchant for old master drawings, and he spent the next several decades, until his death in 1990, collecting them extensively. Woodner took advantage of several unusual opportunities that arose from the sale of important European collections, including 71 drawings from Chatsworth House in England that were auctioned by Christie’s in 1984. Upon his death, the stewardship of the collection, including more than one thousand drawings, passed to his daughters Dian and Andrea Woodner, who placed 145 works on deposit at the National Gallery of Art in 1991. Since then, they have given nearly all of those drawings to the Gallery and continue to make generous gifts of their own. They have also pledged to give works from their personal collections.

The exhibition was organized by Margaret Morgan Grasselli, curator and head of the department of old master drawings, National Gallery of Art.

Website : National Gallery of Art
Source : Artdaily

Major exhibition of Picasso’s portraits opens at Museu Picasso Barcelona – 17.03.2017-25.07.2017 – 10512

Pablo Picasso, Maya in a Sailor Suit 23 January, 1938. Oil on canvas; 1216 x 863 mm. The Museum of Modern Art, New York. Gift of Jacqueline Picasso in honor of the Museum’s continuous commitment to Pablo Picasso’s art, 1985 © The Museum of Modern Art, New York/Scala, Florence/2015 © Succession Pablo Picasso, VEGAP, Madrid 2017.

Picasso Potraits accents the importance of the portrait in Picasso’s work. It brings together more than 80 pieces from public and private collections, revealing the technical media and variety of styles used by Picasso in working in portraiture, which was to always have an important place in his art.

The exhibition explores how Picasso redefined the establish parameters of the portrait throughout his career, and the place of caricature in his portraits as well. Unlike more professional caricaturists, who tend to focus on public personalities, Picasso’s subjects were almost always his personal friends and those close to his family circle. In this regard we find portraits of Dora Maar, Guillaume Apollinaire, Jean Cocteau, Nusch Éluard, Françoise Gilot, Max Jacob, Lee Miller, Fernande Olivier, Jacqueline Roque, Olga Khokhlova, Jaume Sabartés, Erik Satie, Igor Stravinsky, Miguel Utrillo and Marie-Thérèse Walter, amongst others. Given that hardly any of his portraits were done on commission, Picasso felt free to depict and interpret his subjects as he saw fit.

The show was first presented in London in October, 2016. It will be seen in Barcelona from the 17th March to the 25th July, 2017. Painting, sculpture, drawing and printmaking from all Picasso periods feature in a selection with important loans from museums from around the world, accompanied by a generous selection of photographs and documents.

Picasso had an early gift for suggesting a subject’s character in a humorous way, while at the same time faithfully representing those he portrayed. While always original, Picasso was in constant dialogue with the art of the past, using formats and postures with subtle allusions to the work of the great masters. These references are reflected in his personal vision of physical types, the personality in question or the relationship he himself had with those portrayed. The curator of the exhibition is Picasso specialist Elizabeth Cowling, Professor Emeritus in the History of Art at the University of Edinburgh

Website : Museu Picasso Barcelona
Source : Artdaily

Magazzino Italian Art announces official opening and inaugural presentation in June 2017 – New York – 8512

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Margherita “Christian” Stein at her home-gallery mid 1960’s Piazza San Carlo, Turin, Italy. Artworks by Jannis Kounellis, Luciano Fabro, Michelangelo Pistoletto. Photo by Mario Sarotto.

Magazzino, the new private warehouse art space in the Hudson Valley devoted to Postwar and Contemporary Italian art, will be open to the public by appointment only starting June 28, 2017, with an inaugural presentation that will pay homage to Margherita Stein. Founder of the historic Galleria Christian Stein in Turin, Italy, and one of the pioneers of the Arte Povera movement, Magazzino’s premiere presentation will continue Stein’s legacy in the United States by fostering a renewed dialogue around Postwar Italian art. Located along the Hudson River, in Cold Spring, New York, the new space will display works from the Olnick Spanu Collection, with the mission of researching and supporting further recognition of Postwar and Contemporary Italian art in the United States.The inaugural presentation will display a curated selection of works created by artists whose careers Stein fostered. Born and based in Turin, Margherita Stein assumed the alias “Christian Stein”, borrowing her husband’s first and last name in order to gain acceptance as she embarked on a career as one of the leading Italian gallerists of her time. Between 1966, when the gallery first opened, until 1999, Stein was responsible for supporting artists associated with Spatialism, the Zero Group and most significantly, Arte Povera, bringing early recognition to this movement, first in Italy and Europe, and later in the United States. Continuing this mission, Magazzino’s inaugural presentation and programming aims to further the historical dialogue and research on Italian art, both past and present.

Italian art critic and curator, Germano Celant, coined the phrase “Arte Povera” for his celebrated 1967 exhibition in Genova. Meaning “poor art” in Italian, the phrase grew out of the radical stance artists were taking in response to their dissatisfaction with the values established by political, industrial and cultural institutions. The movement features impressive sculptural installations, illustrating artists’ preoccupation with history and myth and their preference for humble, often ephemeral materials. These young Italians opposed the commercialization of the art object and aimed to eradicate the boundaries between media as well as between nature and art. Stein was active in the creation of the movement and participated in the debates these artists held on the changes that were taking place in contemporary art. Her commitment to their vision has proven to be an essential part of the history of Arte Povera. Based on Stein’s legacy, the inaugural display at Magazzino will showcase over four decades of historic works by artists including Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio.

“The inaugural presentation at Magazzino will not only focus on the core group of artists associated with the Arte Povera movement but will also incorporate artists from the following generation, including Marco Bagnoli, Domenico Bianchi and Remo Salvadori,” states Director Vittorio Calabrese. “The aim of the initial presentation is not solely to be a survey of Arte Povera, but rather an homage to the vision of Margherita Stein and her role in shaping and advancing these artists’ careers. Our goal is to always have one gallery dedicated to presenting temporary exhibition of contemporary art.”

Magazzino draws architectural components from an existing structure which has been repurposed within a larger design conceived and led by Spanish architect Miguel Quismondo. Quismondo has doubled the square footage of the former space by completing the original L-shape into a rectangle, leaving a courtyard in the center, and creating a dialogue between the existing and the new addition. The state of the art facility will feature more than 18,000 square feet for art display and a library, which will feature publications on Italian art and will be accessible free of charge, by appointment to residents, students and scholars.

“The project pays tribute to its name by reiterating its integrity as an industrial warehouse,” explains architect Miguel Quismondo. “The existing building has been striped to its basic components, while the addition is built with structural cast-in-place concrete and metal girders, creating a modulated repetition. The balance of natural light, the contrasting shell and versatile height of the new component establishes a harmonious dialogue between the existing and the addition.” Following the completion of Magazzino, a publication will be launched on a photographic project, documenting the construction of Magazzino from start to finish, by photographer Marco Anelli. Anelli’s works portray the workers on site through the realization of the architect’s design that transformed a space originally designed as a farmers’ warehouse—then a dairy distribution center and most recently a rugged computer factory—into a space dedicated to Italian art. Beginning in summer 2017, Magazzino will join the thriving arts scene of Hudson Valley and will feature a range of educational programming for the local community. The new art warehouse space will be available as an academic resource to those who visit, the surrounding schools and members of the local community.

Sotheby’s to sell Gerald Scarfe collection of political cartoons – London – 05.04.2017 – 7512

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Gerald Scarfe, Famous old bag, 336 by 353mm, pen, ink and watercolour drawing. Estimate: £2,000-3,000. Photo: Sotheby’s.
Collectors will have the opportunity to acquire their own piece of political and cultural history in April, when over 130 drawings by the foremost caricaturist and cartoonist of our age, Gerald Scarfe (b. 1936), will be offered for sale at Sotheby’s in London.Continuing a tradition of uncompromising satire dating back to Hogarth and Gillray, Scarfe has pushed the boundaries of caricature for more than five decades, delivering provocative portraits of the foremost politicians and statesmen of our age, from Winston Churchill to Theresa May. Together, they tell the history of over half a century of political intrigue and seismic change.

Scarfe’s no-holds-barred approach in his contributions for Private Eye and The New Yorker, and as The Sunday Times’ political cartoonist for more than 50 years, has secured him a place on the list of the most 40 important newspaper journalists of the modern era.

While many of the drawings included in the auction have been published, a number of works included in the sale are unseen, revealing the most private views of the artist.

Gerald Scarfe said: “I feel it’s the duty of an artist to re-interpret the world and to freshen our stale vision, making us see what we hadn’t realised was there. What I’m trying to do is simply to bring out their essential characteristics. I find a particular delight in taking the caricature as far as I can.

I have always drawn, ever since I could hold a pencil. As a young child I was a chronic asthmatic and spent long periods bedridden either at home or in hospital and I drew. Drawing became my way of communicating. It became my way of exorcising my fears, and that still applies today.

My drawings are of course very personal acts made in the privacy of my own home, but when they leave my hands they escape into hundreds of thousands of copies and may be seen by millions of people. I don’t think about that when I make the drawing – it’s just between my imagination and that piece of paper – but if a drawing is particularly ferocious or overtly sexual and someone looks at it in my presence I have to admit to sometimes feeling shy; I feel so personally about it it’s almost like undressing in public. To me these are not only drawings, they are memories, and mark particular moments in my life.”

The royal family and countless celebrities have not escaped Scarfe’s pen, with portraits of the Queen, the Duke and Duchess of Cambridge, David Beckham and Mick Jagger accompanying over 70 political caricatures in this sale.

The star lot is a historic drawing of Winston Churchill showing the elderly statesman’s final appearance in the House of Commons in 1964. Scarfe had been commissioned by The Times to record the occasion, but his image was deemed too controversial to publish. In the artist’s own words ‘…The Times refused to print my drawing, saying that Churchill’s wife, Clementine, would be upset when the paper dropped through the letter-box in the morning.’ Less than six months later Churchill was dead, and the image appeared on Private Eye’s cover. Until recently, the drawing has been on exhibition at Portcullis House, House of Commons.

There are also examples of Gerald Scarfe’s film work for Disney’s Hercules, for which he was the external design consultant, and for Pink Floyd the Wall – a project that Scarfe happened upon by chance when members of the band saw his work on television and decided “We’ve got to work with this guy, he’s f***ing mad”. Their long-term, highly-acclaimed collaboration on stage shows, album and subsequent film continues to the present day.

Finally, the sale also reveals Scarfe’s theatre work. A serendipitous meeting with director Sir Peter Hall led to an invitation for him to work on a musical, two West End farces and a production of The Magic Flute for Los Angeles opera. Works showing illustrations for The Nutcracker, Fantastic Mr Fox and The Magic Flute are all included in the sale.

Dr Philip W. Errington, Sotheby’s Specialist in Books and Manuscripts said: “Over the past months, spent working alongside Gerald preparing for this sale, I’ve been struck by his consummate skill and artistry. Sometimes he treats his subjects with gentle amusement, at other times he presents a full-blown, biting critique. These drawings pack a significant punch. The works selected range from Disney to Pink Floyd, from Thatcher to May, Reagan to Obama, and Yes Minister to The Magic Flute. There is truly an eclectic mix, spanning his entire half-century career. The sharp, steel-nib of our greatest living caricaturist demonstrates time and time again his pedigree with Hogarth, Cruikshank and Gillray.”

The auction, “Scarfe at Sotheby’s” will take place on 5 April 2017. The sale will be preceded by an exhibition at Sotheby’s, 34-35 New Bond Street, London, from Saturday 1 April – Tuesday 4 April.

Sweeping survey of Mexican modern art at the Dallas Museum of Art – 12.03.2017-16.07.2017 – 12511

Diego Rivera, Juchitán River (Río Juchitán) Panel 4, 1953–1955. Oil on canvas on wood. Overall: 60 x 99 in. (151 x 250.8 cm) Mexico, INBA, Museo Nacional de Arte © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

This March, the Dallas Museum of Art, in collaboration with the Mexican Secretariat of Culture, opened the exclusive U.S. presentation of México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, a sweeping survey featuring almost 200 works of painting, sculpture, photography, drawings, and films that document the country’s artistic Renaissance during the first half of the 20th century. Curated by Agustín Arteaga, the DMA’s new Eugene McDermott Director, and the result of a combined cultural endeavor between Mexico and France, this major traveling exhibition showcases the work of titans of Mexican Modernism alongside that of lesser-known pioneers, including a number of rarely seen works by female artists, to reveal the history and development of modern Mexico and its cultural identity.

On view from March 12 through July 16, 2017, México 1900–1950 has been enhanced in Dallas by the inclusion of key works from the Museum’s own exquisite collection of Mexican art, encompassing over 1,000 works that span across three millennia. The exhibition, which premiered in October 2016 at the Grand Palais in Paris to both popular and critical acclaim, is organized by the Secretaría de Cultura/Instituto Nacional de Bellas Artes/Museo Nacional de Arte, México (MUNAL) and the Réunion des musées nationaux – Grand Palais (Rmn-GP) of France.

“The DMA has a rich history of collecting and presenting Mexican art, and this exhibition offers our visitors the opportunity to explore in-depth the diverse and vibrant voices that distinguish Mexican art during the first half of the 20th century,” said Arteaga. “México 1900–1950 showcases not only the greats of Mexican art but also those who may have been eclipsed on the international level by names like Rivera and Kahlo. The exhibition helps broaden our understanding of what modern Mexican art means, and diversify the artistic narratives attributed to the country.”

Organized thematically and presented in both English and Spanish, México 1900–1950 reveals how Mexican 20th-century art is both directly linked to the international avant-garde and distinguished by an incredible singularity, forged in part by the upheaval and transformation caused by the Mexican Revolution in the early 1900s. The exhibition begins with an introduction to the 19th-century imagery and traditions that pre-dated and, in turn, inspired Mexican Modernism, and includes work produced by Mexican artists living and working in Paris at the turn of the century. It then examines how the Revolution helped cement both a new national identity and a visual culture in Mexico, as embodied most famously by the murals of Rivera, Orozco and David Alfaro Siqueiros.

At the same time, México 1900–1950 goes beyond these mythic artists to reveal alternative narratives in Mexican art, including a significant emphasis on the work of female artists, who were supported by patrons like Dolores Olmedo and María Izquierdo. The thematic section “Strong Women” includes work by Frida Kahlo and her lesser-known but equally distinguished compatriots, including artists like Nahui Olin, photographer Tina Modotti, multidisciplinary artist Rosa Rolanda, and photographer Lola Álvarez Bravo, among others. Representing the response of Mexican artists to art movements from around the world with a cosmopolitan vision, the exhibition also features the artwork of abstract sculptor German Cueto, Manuel Rodríguez Lozano, Abraham Ángel, Roberto Montenegro and Rufino Tamayo. A final section reveals the cross-pollination specifically between American and Mexican artists and the resulting profound effect this had on art production in both countries.

The Dallas presentation, in partnership with the Latino Center for Leadership Development and with support from Patrón Tequila, gathers perhaps for the first time in decades mural-sized works by Diego Rivera, José Clemente Orozco, Rufino Tamayo, Saturnino Herrán, Miguel Covarrubias, and Roberto Montenegro. Other exhibition highlights include:

• La futbolista (The Footballer) (1926) by Ángel Zárraga

• Las soldaderas (1926) by José Clemente Orozco

• Autorretrato (el Coronelazo) (Self-Portrait (el Coronelazo)) (1945) by David Alfaro Siqueiros

• La vendedora de frutas (The Fruit Vendor) (1951) by Olga Costa

• Río Juchitán (Juchitán River) (1953–1955) by Diego Rivera

• Guitarra, canana y boz (Guitar, bandolier, and sickle) (1929) by Tina Modotti

• Las dos Fridas (The Two Fridas) )(1939) by Frida Kahlo

• La pasarela (The Walkway) (n.d.) by Gabriel Fernández Ledesma

• La Dame ovale (Green Tea) (1942) by Leonora Carrington

• El Sueño de la Malinche (The Dream of La Malinche) (1939) by Antonio Ruiz

As part of the exhibition, highlights from the DMA collection include, among others:

• Perro Itzcuintli conmigo (Itzcuintli Dog with Me) (1933) by Frida Kahlo, an oil-on-canvas self-portrait of the artist with a hairless dog, a long-term loan to the Museum, was likely painted at the artist’s home in Mexico City and completed immediately before her solo debut in New York
• Adam y Eve Mexicanos (Mexican Adam & Eve) by Alfredo Ramos Martinez, the 1933 painting by the acknowledged “Father of Mexican Modernism” combines Ramos Martinez’s nationalist technical ability with an active response to a folkloric vision of Mexico shared by Mexican artists living in Southern California;

• El Hombre (Man) by Rufino Tamayo, a portable mural of a man reaching toward a shooting star that was commissioned by the DMA in 1953 reflects the Museum’s early interest in and dedication to expanding its collection of Latin American paintings; and

• Génesis, el Don de la Vida (Genesis, the Gift of Life), the iconic 60-foot-long glass mosaic mural by Miguel Covarrubias on permanent view at the DMA; originally created for another building in Dallas in 1954, the work is based on an ancient Mexican myth that four worlds preceded the world we currently live in, and incorporates imagery from numerous historic cultures in Central and North America.

Website : Dallas Museum of Art
Source : Artdaily

Van Doren Waxter presents exhibition of paintings from crucial figure of late-era American abstraction – New York – 22.02.2017-28.04.2017 – 11511

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Harvey Quaytman, Vital Attractions, 1990. Acrylic and crushed glass on canvas, 60 x 60 inches. (152.4 x 152.4 cm) Signed, titled, dated on reverse.

Van Doren Waxter presents Harvey Quaytman: Hone, an exhibition of paintings from this crucial figure of late-era American abstraction. Opening February 22, 2017 and remaining on view through April 28, 2017, Harvey Quaytman: Hone marks the gallery’s first exhibition of Quaytman’s work since representation of the artist’s estate in 2016. A fully illustrated catalogue will accompany this exhibition with an essay by Steven Henry Madoff.Harvey Quaytman came of age in the 70s and 80s when the art world was focused on Neo-Expressionism, Minimalism, Conceptualism and the Pictures Generation. Counter to these movements, Quaytman’s work developed in response to Abstract Expressionism in an attempt to develop a more personal approach to abstraction. Harvey Quaytman: Hone features nine paintings made between 1982 and 1990, a period in which the artist favored paintings with a palette of white, black, blues, yellows, vermillion, and rust which, at times, were incorporated with crushed glass. Predicating his use of color on the basis of attraction, Quaytman noted, “I have no specific meanings, but a color must mean something to me before I use it. I must love that color and it must strike me.”

Harvey Quaytman (1937-2002) is best known for his large scale, hard-edged modernist paintings. Originally steeped in the vernacular of 60s American abstraction reminiscent of Arshile Gorky and Willem de Kooning, Quaytman found his distinctive style of abstraction in the 70s by creating unconventionally shaped paintings dominated by one or two colors. Harvey Quaytman: Hone features work from the 80s when the artist began a new chapter working within a rectangular format distinguished by bold, assertive colors. A rich palette dominates his paintings of this period, often with a cruciform as the central compositional anchor, a form that he later isolated evoking painting as object.

One of the earliest works in the show is Untitled (1983), a rectangular painting characterized by a black window on a white ground. The window hovers toward the outer border of the picture with a curved edge at the lower corner—a line that replicated his pendulum shaped works from the mid-70s. Here, the curve is incorporated within the window, taking what was outside and bringing it in. From 1985–1988, Quaytman experimented with form and perspective as the window is covered by the cruciform.

The act of looking is paramount to understand Quaytman’s choices of composition, medium and color. Close inspection reveals the richness of surface and nuanced color which brings a sensuous quality to hard edge shapes. Though an admirer of artists such as Malevich and Mondrian, Quaytman was moved more by the spirit of optimism in Suprematist painting than its physical properties.

Harvey Quaytman: Hone is the first exhibition of Quaytman’s work since 2014 and the closing of the McKee Gallery, who had been the artist’s dealer for 41 years. A retrospective planned for 2018 at The Berkeley Museum and Pacific Film Archive will be organized by Apsara DiQuinzio, BAMPFA Curator of Modern and Contemporary Art and Phyllis C. Wattis, MATRIX Curator.

Exhibition presents a unique series of insider photographs of Romanov family life – The Hague – 04.02.2017-17.09.2017 – 10511

 

Romanov family 1913

On the hundredth anniversary of the Russian Revolution, the Hague Museum of Photography presents a unique series of insider photographs of Romanov family life, taken by the Swiss writer and academic Pierre Gilliard (1879-1962). As private tutor to the tsar’s children, he built up a close relationship with them over a period of thirteen years. His intimate, disarming and sometimes surprising pictures of boat trips and games show the still apparently carefree years before Russia’s last tsar met his fateful end.

On 8 March 1917, Tsar Nicholas II was forced to abdicate when his army joined the revolution. Years of war and famine had led to demonstrations and strikes. Once the armed forces joined the uprising, the days of the imperial Romanov family were numbered. After months of house arrest and being moved to a ‘safer place’, Nicholas II, his wife Alexandra and their five children – Olga, Tatiana, Maria, Anastasia and Alexei – were executed by Bolshevik troops. Their gruesome death, the rare bleeding disorder suffered by the little heir to the throne, Alexei, and the murky role of faith healer Rasputin give the story of the Romanovs a lasting fascination. For example, a host of books have been written and films made about just one small facet of it: the life of Anastasia and the uncertainty surrounding her death.

Pierre Gilliard began photographing the family in around 1911 and remained with them until shortly before their death. Over that period he recorded both official occasions and domestic scenes, went on holiday with them and snapped the children as they ‘played at war’ and pursued other leisure activities. The exhibition features over seventy modern gelatin silver prints made from his original negatives.

An exhibition produced by the Musée de l’Elysée, Lausanne, presented in The Netherlands in collaboration with The Hague Museum of Photography. This exhibition is curated by Daniel Girardin, Musée de l’Elysée, with Frouke van Dijke, associate curator for the presentation in The Netherlands.

Another exhibition on the Romanovs is on show from 4 February to 17 September at Hermitage Amsterdam

 

$12M gift to support Welcome Center for Denver Art Museum’s revitalization of Gio Ponti building – 8511

 

Model View from North.
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The Denver Art Museum announced that Anna and John J. Sie have pledged $12 million to support the construction of a new Welcome Center as part of its North Building revitalization project. The new space will be named the Anna and John J. Sie Welcome Center. Its transparent exterior will serve as a welcoming beacon to visitors and the neighborhood, while creating a clear and accessible point of entry to the North Building.

The DAM’s North Building project was announced in December 2016 and aims to unify the museum’s campus and make key improvements to sustain its operation and relevance into the future. Designed by world-renowned Italian architect Gio Ponti and Denver-based James Sudler Associates, the North Building opened to the public in 1971 and houses the majority of the DAM’s permanent collection galleries. Its seven-story silhouette is celebrated as one of the first-ever high-rise art museums, and is the only completed building in North America designed by the Italian modernist.The new Anna and John J. Sie Welcome Center takes its inspiration from shapes and volumes originally designed by Ponti for the North Building. The elliptical two-story facility, collaboratively conceived by Fentress Architects of Denver and Machado Silvetti of Boston, will visually connect the campus. The design pays clear homage to the original Ponti architecture while taking into account the unique landscape of the Golden Triangle Neighborhood in the heart of the city. At 50,000 square feet, it will be a significant feature for the museum and will include visitor-centric amenities such as a restaurant, quick-service café, improved ticketing and orientation capabilities, as well as dynamic and flexible program spaces, state-of-the-art event space and below-grade space for art storage and the Museum’s primary conservation lab.

“Anna and I are grateful to have been part of the pioneering cable industry in this country. Having lived the American dream, we are now fortunate to be able to give back to our great state of Colorado and the city of Denver,” said John Sie. “For us, the Welcome Center sends an important message of belonging to all visitors, while also uniting the campus and giving the North Building the entrance it deserves—providing a launch pad for visitors to have a great museum experience.”

John Sie is a longtime supporter of the DAM, serving on the museum’s Board of Trustees since 2002. John and Anna Sie both emigrated to the United States—John from Shanghai, China, when he was 14 years old, and Anna from Naples, Italy, at age 11. They met in New Jersey where they raised their five children together. John was recruited to Colorado by Dr. John C. Malone in 1984 to help build Tele-Communications Inc., and with Malone’s backing John later established the Starz and Encore networks. The Sie family and its foundation have generously contributed to many important museum initiatives, most notably the Frederic C. Hamilton Building Capital Campaign, the Annual Fund Leadership Campaign, the multi-year fund to support the exhibitions and programs of the museum, and the 2011 Xu Beihong: Pioneer of Modern Chinese Painting exhibition, which brought more than 60 works by the iconic artist from China to Denver.

“We are honored and grateful to have Anna and John Sie’s generous support for this new space that provides a more welcoming connection for the campus and an open invitation for all who pass through the Golden Triangle Neighborhood each day,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “John has tirelessly worked to help guide the museum in his role as a trustee, and was instrumental in ensuring the North Building continued to be vital by encouraging the breezeway across 13th Avenue to connect it with the newer Hamilton Building during that design process. We are now excited to take the next important step in the North Building’s revitalization and the completion of our campus with this support.”

The goals of the North Building project include stewardship of the building, connecting the campus and the neighborhood, and celebrating museum learning and engagement. In addition to constructing the Anna and John J. Sie Welcome Center, other projects include expanding gallery spaces for growing collections for design and Western American art, completing Ponti’s original vision for visitor access to stunning 7th-floor views, exterior site improvements, and updating DAM’s environmental spaces and technology. The North Building project is currently in the design phase. Plans call for construction to begin by the end of 2017, with project completion by the building’s 50th anniversary in 2021. More details on the design will be released as the project develops.

A Dogon masterpiece to be offered at Christie’s Paris – 20170404 – 7511

 

The Rasmussen-de Havenon Dogon mask, Mali, 17th-18th century. Estimate: €2,500,000-3,500,000. © Christie’s Images Limited 2017.

Christie’s France will offer at auction on 4th April, the Rasmussen-de Havenon Dogon mask which stayed in private hands for more than twenty years. This exceptional mask was discovered in the 1950s through a network of African merchants, including Mamadou Sylla in Bamako, one of the most important amongst them. In the mid-1950s, Sylla sold it to one of the most significant merchant of the Parisian marketplace: René Rasmussen. His friend Gaston de Havenon became as passionate of African Art thanks to his several business trips to Paris, which enabled him to discover the famous Parisian art galleries including those of René Rasmussen and Robert Duperrier. It was only a few years later, in the early 1960s, that Gaston de Havenon managed to acquire the famous mask that he will keep in his collection throughout his life. One year after his death, in 1994, his fabulous collection was sold at Drouot. At that time, the Dogon mask appeared on both sides of the sale catalogue celebrating this masterpiece beautifully. It was acquired by a private American collector and stayed in the same family until this day.Susan Kloman, International Director of the department: “This is an incredibly exciting moment for the art market and Paris to witness the return of this iconic masterpiece. This archaic mask in a unique style by a master sculptor of the 18th century Dogon, who could rival his Western contemporaries Bernini or later Rodin in originality and quiet power. It is an indelible work appearing in all of the major references on African art. Our offering this April represents only the second time in a century the work has been available at auction”.

The Primordial Couple
The Rasmussen – de Havenon mask has always impressed by its exceptional iconography: unlike the satimbe masks whose female figure on top is generally standing the woman in the present case is laying on her knees while striding a male face. The subject of the kneeling woman is very common in Dogon art and has its origin in a ritual posture that has been photographed and documented by Griaule during funerals where the widow and the sisters of the deceased would kneel down in front of his house (M. Griaule, Masques Dogon, 1938, p. 291, ill. 50). “It is a sacred gesture to be found throughout Kagoro art and in terracotta statuary from the inland Niger delta” (de Grunne, 1994; for a detailed discussion B. de Grunne, Ancient Sculpture of the Inland Niger Delta and Its Influence on Dogon Art, African Arts, vol. 21, 4, 1988). In reference to the motif of Yasigine, the primordial woman, it is clear that the duality femalemale of the present mask can be interpreted as the primordial couple, a concept so central in Dogon cosmogony: “The celestial powers themselves were two, and in their earthly manifestations they would act as a couple: the Lébé and the Seventh Nommo formed a living couple; the ancestors of the great mask and the seat-of-the-mask were an ancestral couple.”(Griaule, 1948, p. 188).

As de Grunne remarks though, “this object remains unique in its style in the known corpus of Dogon masks” (de Grunne, idem). This uniqueness is due mainly to the great age of this mask – this mask is considered the “last object witnessing a type of mask for which today no other illustration survives.”

In Dogon art sacred objects, to which the permanent masks of the Dama and Sigi belong, were hidden in the caves of the cliff to be protected against the intrusion of the non-initiated. They were preserved in sacred spaces where sacrifices and libations were regularly poured upon them. The black and thick patina of this mask indicates a long ritual use for several generations.

Gaston de Havenon (1904 – 1993)
Born in Tunisia he emigrated to the United States at the age of twenty. He was an important businessman and founder of a major cosmetics and perfumes company. As a friend of many artists of the prewar period such as Soutine, Gorky or Noguchi he became passionate about their art and collected their works. Later on, as the eclectic and enthusiastic collector of unquenched curiosity he was, and thanks to his friend Eliot Elisofon, he fell passionately in love with African art. During his business trips to Paris he discovered the galleries of René Rasmussen and Robert Duperrier in Saint-Germain-des-Près.

Both gentleman-dealers quickly became friends and both proved indispensable in allowing him to build a fantastic collection. His collection was sold one year after his death. On that occasion, now remembered as a mythical event of the time, the Dogon mask, prominent on both the front and back of the sale catalogue, was celebrated as its absolute highlight and star.

The Dalí Foundation acquires Salvador Dali’s ‘Figura de perfil’ – 8510

Salvador Dali’s Figura de perfil (La Hermana Ana María)
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Salvador Dali’s Figura de perfil (La Hermana Ana María) made £1,805,000 at Bonhams Impressionist and Modern Art sale on Thursday 2 March at London, New Bond Street. The work, a portrait of Dali’s sister, given to her by the artist before their relationship descended into turmoil, had been estimated at £800,000-1,200,000.

Bonhams Head of Modern and Impressionist Art, India Phillips, said, “This was an important and rare work from a pivotal period in Dali’s life and career. The painting had never appeared at auction before and I am not surprised it was so keenly fought over nor that it achieved such an impressive price.”

Figura de perfil (1925) combines two of Dali’s favoured subjects, his sister Ana María and the Cadaqués coastline that he referred to as “by far the most beautiful place in the world”. Dali painted Ana María regularly through the 1920s. She later recalled his painting ‘countless portraits of me’, noting that he ‘invariably painted me at the window’. Of those many portraits Dali chose this painting, Figura de perfil, to give to his sister.

Although Dali and his sister were on good terms when Figura de perfil was painted, they fell out over the publication of Dali’s autobiographical The Secret Life of Dali in 1942. Believing his account to be an unfair depiction of Dali family life, Ana María published a rival work: Salvador Dali as Seen by his Sister (1949).

By 1925, having already flown through Impressionism, Pointillism, Fauvism and Cubism, Dali was on the verge of entering the Surrealist phase for which he is best known. One of only a few works painted at this turning point in his career, Figura de perfil has been out of public view for nearly a century. Given by the artist to his sister, it was, in turn, presented by Ana María to the family of the present owners.

‘What I Loved: Selected Works from the ’90s’ at Regen Projects – Los Angeles – 04.03.2017-13.04.2017 – 11510

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Installation view of What I Loved: Selected Works from the ‘90s at Regen Projects. Photo: Jeff McClane, Courtesy Regen Projects, Los Angeles.

Regen Projects is presenting a group exhibition entitled What I Loved: Selected Works from the ‘90s.The 1990s marked a pivotal moment in American history and contemporary art. It was a time of economic recession, the first Gulf War, the Los Angeles riots, 24-hour news, the advent of the Internet and the dot-com bubble, and the fall of Communism. Regen Projects, which opened in 1989, developed alongside and in response to these events and established a roster of artists whose work expressed the zeitgeist of the times. What I Loved takes its name from Siri Hustvedt’s 2003 novel, which looks back at the constellation of relationships and events in the New York art world circa 1975 to 2000 through the eyes of an art historian and critic. Similarly, this exhibition revisits these formative years and brings together a group of artists who came of age during this time, and whose work became part of the critical discourse for addressing issues of race, gender, sexuality, identity politics, globalization, and the AIDS crisis, among others.

Artists featured in the exhibition include Matthew Barney, Philip-Lorca diCorcia, Felix Gonzalez-Torres, Rachel Harrison, Mike Kelley, Toba Khedoori, Karen Kilimnik, Byron Kim, Liz Larner, Glenn Ligon, Robert Mapplethorpe, Marilyn Minter, Catherine Opie, Raymond Pettibon, Elizabeth Peyton, Jack Pierson, Lari Pittman, Richard Prince, Cindy Sherman, Gary Simmons, Wolfgang Tillmans, Kara Walker, Gillian Wearing, Lawrence Weiner, Sue Williams, and Andrea Zittel.

“Hot, Hotter, Hottest: 300 Years of New Jersey Ceramics” on view at the Newark Museum – 22.10.2016-31.12.2017 – 12510

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Vase. Greenwood Art Pottery Company, Trenton, 1880-90. Slip-cast porcelain with carved, gold paste and enamel. Gift of Emma and Jay Lewis, 2011 2011.12.2, 13”H x 6 ½”Di.

On October 22, the Newark Museum opened its first-ever permanent gallery celebrating the extraordinary history of ceramics production in the state of New Jersey. Installed within the “House & Home” galleries in the National Historic Landmark Ballantine House, Hot, Hotter, Hottest : 300 years of New Jersey Ceramics provides audiences with a greater understanding of how New Jersey’s natural resources shaped its ceramics industry; the influence of New Jersey ceramics manufacturers and the production techniques they used; how pottery was used in different time periods and across social strata; and how, in the 21st century, contemporary makers continue to build upon New Jersey’s pottery tradition.No other institution is better suited to tell the story of New Jersey’s ceramics history than the Newark Museum. The museum’s New Jersey ceramics collection began in 1910 with an exhibition entitled Modern American Pottery, which included both art pottery from Newark’s Clifton Pottery, and porcelain from Trenton’s Lenox China. In 1915, the institution became the first museum in the country to produce an exhibition focused on a regional industry when it presented The Clay Products of New Jersey. Hot, Hotter, Hottest directly builds upon this institutional history while putting to good use the Museum’s remarkable collection of historical New Jersey ceramics—one of the most important such collections in the United States.

The Museum’s Chief Curator and Curator of Decorative Arts, Ulysses Grant Dietz, has created a checklist of 101 objects for inclusion in New Jersey Clay, to mark the 101st anniversary since the landmark exhibition of 1915. Ceramics high and low create a broad material perspective, including stonewares, yellowwares and Rockingham wares produced in the Amboys, Flemington and, Trenton, which became known in the 19th century as the “Staffordshire of the New World.” The development of refined whitewares and, ultimately, porcelain, is an important part of the story. So admired was the state capital’s output of ceramics that, in 1918, President Woodrow Wilson and his wife Edith commissioned Lenox, the Trenton-based manufacturer, to create the White House dining service.

Of course, it was a long road to the White House. In addition to showcasing the state’s achievement in ceramics, Hot, Hotter, Hottest traces the chronology of the industry in New Jersey, beginning with the geographic distribution of the clay pits and their influence on early settlement patterns. The earliest of New Jersey’s clay products were “redwares”—functional terracotta pieces that proved impractical to ship. A dish produced by Phillip Durell in Elizabethtown in 1793 is on display as an early example. Large yellow and gray clay beds in the Amboys yielded a great deal of raw material, enabling the early growth of the ceramics industry in the state. A stoneware beer mug helps tell this story, as does a rare Greek Revival coffee pot made by Jersey City’s D. J. Henderson Pottery ca. 1829-33; a mid-19th century Shaving Mug made by Charles Coxon & Company in South Amboy; and approximately 20 other functional items such as crocks, jugs and pitchers.

As time progressed and New Jersey potteries grew more technologically adept, stonewares and earthenwares were joined by more artful products. Majolica (earthenware with brightly colored glazes) grew popular in the late 19th century, and Trenton’s output of quality pieces helped put it on the map as the center of America’s ceramics industry. Several Trenton-made majolica objects are on display in the exhibition, including a unique potpourri jar made by Trenton’s Eureka Pottery and an exhibition vase produced by J.S. Mayer of the Arsenal Pottery for the New Orleans Cotton Centennial Exhibition of 1884.

By the mid-1800s, New Jersey makers began importing kaolin from nearby Pennsylvania, supplement the state’s own kaolin beds, that allowed them to produce refined whitewares and the translucent porcelain goods that enabled America to compete for the first time with European manufacturers in the luxury market. Hot, Hotter, Hottest includes rare examples of early porcelain, including parian wares by William Bloor and porcelain by William Young from the 1850s.

Trenton-born Walter Scott Lenox opened his Ceramic Art Company in 1889, a first-of-its-kind art studio (as opposed to factory) ceramics production facility. This was reflective of the industry in Trenton, where ceramics had indeed progressed to an art form. Alongside the production of utilitarian pieces, artists created ceramic figures, vases and other decorative items designed to be admired, not used. Roughly half of the objects on display in Hot, Hotter, Hottest are such objects of beauty, including the anchor piece of the exhibition: a porcelain and enamel “Grecian Vase” created for the 1904 Louisiana Purchase Exhibition, or St. Louis World’s Fair, by the Trenton Potteries Company. Having been separated for some time, the vase has been reunited with its original base for the first time in this exhibition.

Kunstmuseum Liechtenstein presents exhibition of works from the Hilti Art Foundation – Vaduz – 16.12.2016-08.10.2017 – 10510

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Exhibition view Hilti Art Foundation, photo: Roland Tännler © Hilti Art Foundation.
The second exhibition of the Hilti Art Foundation has opened in Vaduz. The show focuses on classical modernism and includes works by Gauguin, Picasso, Kirchner, Beckmann and Klee. Contemporary art is prominently featured, with artworks by Imi Knoebel, Gotthard Graubner and Sean Scully amongst others. The exhibition presents 36 selected paintings and sculptures from the internationally renowned private art collection.

After its exceptionally successful exhibition premiere in its own gallery, which is an extension of Kunstmuseum Liechtenstein, the Hilti Art Foundation is proud to present the next instalment, titled “Kirchner, Léger, Scully & more”. Visitors will recognise some of the paintings and sculptures presented on the three levels of the building: 16 of these artworks were featured in the first exhibition. Curator Uwe Wieczorek has picked them again to enable visitors to view them in a new context. Another objective is to keep specific key artworks on display over a longer period of time.“The outstanding works of the pioneers of modernism and of the important representatives of the avantgardes of the first half of the 20th century are a huge benefit for the public. And in regard to art after 1950, there are a lot of links between the collections of the Kunstmuseum and the Hilti Art Foundation”, says Dr. Friedemann Malsch, Director of Kunstmuseum Liechtenstein.

The exhibition starts on the lower ground level of the building with a French touch; this part of the show is devoted to an exploration of the human form, and more specifically the female form. The depictions of women by Lehmbruck, Hodler, Picasso, Léger and Laurens show life in full bloom and at its most beautiful. In contrast, Giacometti’s Quatre femmes sur socle (1950) sculpture conveys a sense of tangible sensuality withdrawing into aloof immateriality.

Paintings, and particularly ones by German artists, define the character of the first floor. This part of the exhibition includes four paintings by Ernst Ludwig Kirchner, the key representative of the artist group “Brücke”. Another focal point is set with paintings by Max Beckmann, such as Selbstbildnis mit Glaskugel (Self-Portrait with Crystal Ball), which is now surrounded by other Beckmann paintings from the 1920s, 30s and 40s.

The upper floor is devoted to paintings from 1980 to the present day. This section includes works by Imi Knoebel, Gotthard Graubner and Sean Scully, three artists who applied completely different approaches and techniques, but who all represent abstract art in its most mature form.

Michael Hilti, President of the Hilti Art Foundation, is very pleased about the solely positive response to the exhibition. “I have been approached by people who wanted to express their gratitude for the allocation of the artworks and the building itself. It is very satisfying to know that the Hilti Art Foundation is so well received by the public.”

PIASA announces 20th century, works on paper sale – Paris – 28.03.2017 – 7510

Gustav Klimt (1862-1918), Sitzende mit gerafftem Rock, circa 1910. Lead and colour pencil on paper – 56 x 37 cm. Provenance : Georg Klimt Collection, Wien; Private collection (Acquired from Georg Klimt in 1927); Private collection, Paris. Estimate: 90 000 / 120 000 €.
On 28 March 2017 PIASA will hold the first of three auctions devoted to modern and contemporary art entitled Pop, Artists’ Ceramics & 20th Century Works on Paper. To coincide with Paris ‘Drawings Week,’ with its Salon du Dessin and the fair Drawing Now, PIASA’s sale of works on paper will include nearly 200 drawings, led by two bewitching works by Henri Matisse and Gustav Klimt.Henri Matisse: Nadia
The young Nadia Sednaoui was presented to Henri Matisse in 1948 by his son-in-law Georges Duthuit, who had spotted her in the street. She was born in Egypt and physically inspiring, with a perfect oval face and bright eyes that lit up her copper complexion. A special affection developed between the artist and his model over the course of their weekly encounters during Matisse’s final years. His portraits of Nadia count among his most famous graphic works, with several of his ink drawings of her giving rise to series of aquatints. The model was often tenderly described in the title as possessing a ‘sharp profile,’ ‘pointed chin’ or ‘serious look.’This is one of the two Matisse drawings of Nadia in charcoal, and is later than most of his drawings of her, which date from 1948/9. This one, in a way, sums them all up: Nadia is shown in three-quarter profile, with a cheeky nose and fleshy lips. Above all, Matisse brings to life her burning pupils – not round, but outlined with assertive hatching that resembles bolts of lightning spearing off the paper into the viewer’s eyes.Gustav Klimt, Sitzende mit gerafftem Rock
The presence of women is preponderant in the works of Gustav Klimt. The majority of his iconic paintings and drawings are veritable odes to femininity.When we think of the Vienna Secession in terms of eroticism, his friend Egon Schiele springs more readily to mind. Yet Klimt was in the habit of first painting his models as nudes before adding clothes. In his drawings, especially, Klimt liked to feature women in a state of abandon, offering up their most intimate nudity to artist and viewer in a moment of absence or forgetfulness – invariably with their eyes closed and their head thrown back or, as in this drawing, to one side.

This exciting alternative version of Klimt’s famous Sitzende mit Gerafftem Rock (‘Nude in Silk Stockings on a Stool’), now in Vienna’s Leopold Museum, showcases his graphic vocabulary: sophisticated pose, insistent verticality, Oriental-patterned fabric…. But a key difference, compared to the drawing in Vienna, is the position of the model – shown with her legs folded back under her arms, on which she rests her face, thereby offering even more of her intimacy to the artist’s implacable pencil.

In 2012 the Leopold Museum – which holds one of the largest collections of works by Klimt – marked the 150th anniversary of his birth with an exhibition of his ‘intimate works.’ Nude in Silk Stockings on a Stool was one of the talking-points.

Guggenheim celebrates 80 years of innovation with presentation of 170 modern works – New York – 10.02.2017-06.09.2017 – 12509

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Director of the Solomon R. Guggenheim Museum and Foundation Richard Armstrong and Trustee of the Solomon R. Guggenheim Foundation and Member of the Board of the Lavazza Group Francesca Lavazza attend ‘Visionaries: Creating a Modern Guggenheim’ sponsored by Lavazza at the Guggenheim New York on February 9, 2017 in New York City. Ilya S. Savenok/Getty Images for Lavazza/AFP.

Opening on February 10, 2017, on the occasion of the eightieth anniversary of the Solomon R. Guggenheim Foundation, Visionaries: Creating a Modern Guggenheim features more than 170 modern objects from the permanent collections of the Solomon R. Guggenheim Museum, New York, and the Peggy Guggenheim Collection, Venice. Assembling many of the foundation’s most iconic works along with treasures by artists less familiar, this celebratory exhibition explores avant-garde innovations of the late nineteenth through mid-twentieth centuries, as well as the groundbreaking activities of six pioneering arts patrons who brought to light some of the most significant artists of their day and established the Guggenheim Foundation’s identity as a forward-looking institution. Visionaries includes important works by artists such as Alexander Calder, Paul Cézanne, Marc Chagall, Vasily Kandinsky, Paul Klee, Fernand Léger, Piet Mondrian, Pablo Picasso, Jackson Pollock, and Vincent van Gogh.Installed in the Frank Lloyd Wright–designed rotunda and the Thannhauser Gallery on Tower Level 2, this exhibition showcases the museum’s exceptional modern holdings as organized through the perspectives of six proponents of the avant-garde who intersected with the Guggenheim Foundation in the early decades of its history and gave their personal collections, in whole or in part, to the institution. Of these visionaries, foremost is the museum’s founder, Solomon R. Guggenheim, who, with support from his trusted advisor, the German-born artist Hilla Rebay, set aside a more traditional collecting focus to become a great champion of nonobjective art—a strand of abstraction with spiritual aims, epitomized by the work of Vasily Kandinsky. Amassed against the backdrop of economic crisis and war in the 1930s and 1940s, Guggenheim’s unparalleled modern holdings formed the basis of his foundation, established eighty years ago in 1937 with the goal of encouraging art, art education, and enlightenment for the public.

The Solomon R. Guggenheim Foundation’s formative collection was subsequently shaped through major acquisitions from contemporaries who shared Guggenheim’s pioneering spirit. These acquisitions include a group of prized Impressionist and early School of Paris masterworks from Justin K. Thannhauser; the eclectic Expressionist inventory of émigré art dealer Karl Nierendorf; the rich holdings of abstract and Surrealist painting and sculpture from self-proclaimed “art addict” Peggy Guggenheim, Solomon’s niece; and key examples from the estates of artists Katherine S. Dreier and Hilla Rebay, both pivotal in promoting modern art in America. Highlights from each of these collections feature prominently in Visionaries and convey a narrative on avant-garde innovation in the late nineteenth and early twentieth centuries.

Visionaries offers a rare opportunity to explore in-depth key artists represented among the museum’s holdings, such as Kandinsky and Klee, through multiple examples that reflect the shared interest in their work among the six featured patrons. The exhibition includes nearly twenty-five works from the Peggy Guggenheim Collection, seldom displayed outside of the Venice palazzo, including canvases by Max Ernst, René Magritte, and Yves Tanguy, and sculptures by Joseph Cornell and Alberto Giacometti. Among this group, Jackson Pollock’s Alchemy (1947), considered among his finest paintings and a celebrated icon of postwar abstraction, will be shown in the United States for the first time in almost fifty years. More than a dozen works on paper by Picasso and Van Gogh, rarely on view to the public, will be installed in the Thannhauser Gallery, where the earliest works represented in the Guggenheim collection are typically on display. Additionally, sculptures by Edgar Degas and paintings by Pierre-Auguste Renoir, Paul Gauguin, and Édouard Manet will be placed on the ramps for the occasion of the exhibition. In May, a fresh selection of works on paper by artists including Klee, Picasso, and Van Gogh will replace the first grouping.

Several conservation projects have been initiated as part of the planning of this anniversary exhibition. Red Lily Pads (1956), a painted steel sculpture by Alexander Calder spanning nearly 17 feet that will be suspended over the rotunda’s fountain, underwent extensive historical research and analysis, resulting in a beautifully integrated surface and restoration of the mobile’s proper balance. Manet’s Woman in Evening Dress (1877–80) was studied by a group of curators, conservators, and scientists who traced the history of the work and examined discolored resin varnish and overpaint on the surface. A complex treatment removed this coating to reveal a cool palette, vigorous brushwork, and the fine details of Manet’s sketchy composition. Luciano Pensabene Buemi, Conservator of the Peggy Guggenheim Collection, cleaned The Studio (L’Atelier), 1928, an oil and crayon on canvas by Picasso, before the work traveled to New York. Additionally, works by Josef Albers, Kandinsky, and Mondrian, among others, were treated in preparation for the exhibition.

In addition, Exploring “Alchemy”: Jackson Pollock will be on view in the Guggenheim’s Sackler Center for Arts Education concurrently with Visionaries. Organized by Carol Stringari, Deputy Director and Chief Conservator, Solomon R. Guggenheim Foundation, and Susan Davidson, Senior Curator, Collections and Exhibitions, Solomon R. Guggenheim Museum, in collaboration with the Peggy Guggenheim Collection, Venice, and the Opificio delle Pietre Dure, Florence, this didactic exhibition presents an in-depth investigation of Pollock’s materials and working process. Visitors will enter the world of the scientist and the conservator to follow the investigative process and the treatment of the complex surface of Alchemy.

Visionaries: Creating a Modern Guggenheim is organized by Megan Fontanella, Curator, Collections and Provenance, Solomon R. Guggenheim Museum, with support from Ylinka Barotto, Curatorial Assistant, Solomon R. Guggenheim Museum.

Rare sculptures by Alberto Giacometti and Richard Serra on display for the first time – London – 10.02.2017-22.04.2017 – 11509

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Monochrome installation view, Photography by Mike Bruce

Monochrome, an exploration of the use of a single colour – white – focusing on sculptures by a number of significant 20th century artists, will open at Ordovas, London, from 10 February until 22 April 2017. Presenting works rendered in various tones of white by Eduardo Chillida, Alberto Giacometti, Barbara Hepworth, Isamu Noguchi and Richard Serra, the exhibition will explore the depth and diversity that is found in the use of white, a colour that is long associated with purity and clarity. The exhibition will include Alberto Giacometti’s Femme, considered to be a pivotal link between British and European modernism in the 1930s, which will go on public display for the first time since it was made almost 80 years ago.Alberto Giacometti (1901-1966) made Femme in 1928-29. One of Giacometti’s most simplified female figures – flat and almost abstract – Femme is a negative relief that hovers between two and three dimensions, and evokes the sculptor’s fascination with African and Oceanic art. With its pure white form, pared down to the bare essentials, Femme is known to have been a key influence for a generation of British sculptors including Henry Moore, Barbara Hepworth and Ben Nicholson. Despite plaster works being an extremely important part of Giacometti’s oeuvre, many early plaster pieces have been lost, either due to lack of space in the studio he shared with his brother Diego, or because they were damaged during the casting process; the majority of his surviving plasters are now housed in the collection of the Fondation Alberto et Annette Giacometti. The plasters demonstrate very direct contact with the hand of the artist, and many celebrated bronzes originate from hand-shaped forms made of plaster. Bearing traces of interventions after the plaster had hardened, many of Giacometti’s plaster works show evidence of scrapings, scratches, indentations and even places where the plaster has been gouged out with a penknife. This further working makes each plaster unique, and a number of them were not used to make casts for bronzes but were presented as sculptures in their own right, including Femme.

Maquette for Large Sculpture: Three forms (Two circles), a serravezza marble sculpture made by Barbara Hepworth (1903-1975) in 1966, recalls the purity and seeming simplicity of works she made in the 1930s. It is one of a group of four sculptures that Hepworth made in 1966 in which the smooth porcelain surfaces of white marble became a medium for spatial abstraction.

Each sculpture is small in size and each is composed of circular holes carved from rectangular planks of marble compositions of overlapping forms. The 1960s was an exceptionally successful period for Hepworth, who by this time was widely acknowledged as the world’s greatest female sculptor. Yet despite the widespread success and public recognition during these later years, Hepworth faced a private struggle when she was diagnosed with cancer in 1965. The topic of death pervades Hepworth’s work in the ensuing years and was a strong factor in the monumental size of sculptures that she produced in her late career. Maquette for Large Sculpture: Three forms (Two circles) embodies all of the ideological elements and notions of form and scale imperative to Hepworth’s art. It is being publicly displayed in London for the first time since 1972.

Executed one year later, in 1967, Rosa Esman’s Piece, a vulcanized rubber sculpture by Richard Serra (b. 1939) is also included in Monochrome. It is a rare piece that Serra made contemporaneously with his work on the ‘Belts’, executed in 1966-67. In the mid-1960s Serra began experimenting with nontraditional materials including fibreglass, neon, vulcanized rubber (a process of treating in a zinc chloride solution to make the rubber more durable), and, later, lead. He combined his examination of these materials and their properties with an interest in the physical process of making sculpture. The result was a list of action verbs—”to roll, to crease, to curve”—that Serra compiled, listed on paper, and then enacted with the materials he had collected in his studio. Serra was very interested in the materiality and the substance of rubber; his first studio in New York was next door to a warehouse containing many pieces of discarded rubber that he collected and experimented with. He was intrigued by the material’s weight and spatiality and the fact that it was malleable and able to be manipulated like heavy and dense clay. Other major rubber works include To Lift (collection of the artist) and Belts (Guggenheim, New York). Serra has described ‘Belts’ as a response to Jackson Pollock’s Mural (1943-44), and the work asks us to imagine the painted line in three dimensions. Each drooping strand of rubber is a drawing made over into a bodily, industrial shape, its once pristine surface smudged with layers of dirt and grease.

Becoming, executed by Isamu Noguchi (1904-1988) in 1966-67, is one of the last marble sculptures the artist ever made, marking the cusp of his transition to harder, less fragile sculpting materials. It was completed a year before his first retrospective in the United States, at the Whitney Museum of American Art, New York. Noguchi did not belong to any particular movement, but collaborated with artists working in a range of disciplines and schools. However, no one had a more significant impact on Noguchi’s oeuvre than Constantin Brancusi, for whom he worked as a studio assistant in Paris during the 1920s. Brancusi taught Noguchi how to use carving tools and honour his materials, and greatly inspired the younger artist with his elongated and reductive forms. Having worked with marble in his early career, Noguchi later shifted to harder stones, including granite, which offered more resistance to his overriding desire to continually work and reshape the stone. However, granite did not show the variation in surface texture that Noguchi sought; before moving to Japanese basalt stone, he returned briefly to work with white marble, a material that he understood and had great respect for. It was during this period that he carved Becoming.

Eduardo Chillida (1924-2002) executed Gurutz VIII in alabaster in 2000. A pioneer of modernist sculpture, who produced an extraordinary body of work over 50 years, Chillida is hailed as one of the most important 20th century sculptors. He made his first work in alabaster in 1962 following a trip to Greece. Here he was inspired by architecture and light, and saw alabaster as a material for constructing space – enabling him to show the flow between interior and exterior and the communication between light and the material. Gurutz, meaning ‘Cross’ in Basque, was one of approximately 50 alabaster works that Chillida created, and he continued working with this transformative material until his death in 2002. As with Chillida’s monumental corten steel sculptures, his intimate works rendered from blocks of alabaster reflect his unique process and distinct use of line and space

Bonhams to offer the Hablech Collection from the family’s Welsh seat – London – 29.03.2017 – 7509

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Plautus (Titus Maccius) Comoediae XX, Paris, Robert Estienne, 1530. Photo: Bonhams.
Bonhams is to offer the contents of Glyn Cywarch, the Welsh seat of Jasset Ormsby Gore, the 7th Baron Harlech. The Contents of Glyn Cywarch – the property of Lord Harlech will take place at Bonhams, New Bond Street, London on 29 March 2017. The sale comprises more than 400 items ranging from important furniture, Old Master paintings, a historic library, antique jewellery, silver and works of art and even a vintage motor car and motorcycle.

The sale is being held to raise funds for the restoration of Glyn Cywarch (known as Glyn) which Lord Harlech inherited on the death of his father in February 2016. As he explains, “Bonhams’ sale provides us with an exciting opportunity to realise important funds to help restore this historic house back to its magnificent best.”Lord Harlech has put his career in film production on hold to concentrate on Glyn. ”Just as my family collected fine art and antiques over the generations, it now feels the right time to find a new generation of collectors to enjoy them, as we undertake the important job of looking after Glyn. It’s a big undertaking, but we’ll get it done.”

Among the leading items in the sale are:

• A set of seven George III giltwood framed open armchairs in the manner of Robert Adam with 18th century gros and petit point needlework upholstered backs arms and seats each illustrating a different Aesop fable. (£50,000-80,000).
• A historic library including personally inscribed manuscripts by Jackie Kennedy attesting to the family’s close friendship with President John F. Kennedy.
• Daniel Quigley (British, early 18th century) ‘The Godolphin Arabian’ – the horse that fathered the modern thoroughbred bloodstock, extensively inscribed with history of the stallion and its offspring, £15,000-20,000
• A rare pair of late 16th/early 17th century oak three-tier buffets, circa 1600 estimated at (£35,000-45,000).
• Painting by Jan Frans van Bloemen called Orizonte. A Classical Landscape with Three Figures Seated Conversing, Two Men Fishing in the River, an Idealised Town and Mountain Landscape Beyond (£25,000-35,000)
• A ‘barn find’ 1936 Lagonda Rapier 1,098 cc sports tourer (£20,000-25,000)
• A diamond riviere necklace set with 56 old cushion-cut diamonds and a 19th century diamond set pendant. (£18,000-22,000)

Glyn Cywarch is a Grade II*-listed estate in Talsarnau, Gwynedd, Wales, with beginnings as early as the 156h century, when it belonged to the Wynn family. The house passed by marriage to the Owen family and came, again by marriage into the possession of the Ormsby, and later Ormsby Gore family in the 19th century, when it was restored and developed. An ambitious gentry house of renaissance character built in Welsh stone with a slate roof, the interior boasts striking original 17th century detail, including fine Jacobean features, spectacular paneling, and opulent fireplaces. It is set in 4,200 acres of rolling grounds.

Bonhams, founded in 1793, is one of the world’s largest auctioneers of fine art and antiques. Today, the auction house offers more sales than any of its rivals. The main salerooms are in London, New York and Hong Kong. Sales are also held in the UK in Knightsbridge and Edinburgh; in the US, in San Francisco and Los Angeles; in Europe, in Paris and Stuttgart and in Sydney, Australia. Bonhams also has a worldwide network of offices and regional representatives in 25 countries offering sales advice and valuation services in 60 specialist areas.

The Met receives monumental 10th-century Chinese painting ‘Riverbank’ from Oscar L. Tang – 8509

Attributed to Dong Yuan (Chinese, active 930s–960s), Riverbank. Image: 86 3/4 x 43 in. Hanging scroll; ink and color on silk. Ex coll.: C. C. Wang Family, Gift of Oscar L. Tang Family, in memory of Douglas Dillon, 2016.

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that Oscar L. Tang has donated Riverbank, one of the most important Chinese landscape paintings in existence, to the Museum.In making the announcement, Mr. Campbell said: “For more than 25 years, Oscar Tang and his family have been extraordinarily generous supporters of The Met’s efforts to build a major collection and exhibition program of Chinese art. In addition to earlier gifts of 20 important paintings that range in date from the 11th to the 18th century, Oscar has supported several major projects, including the creation of the Frances Young Tang Gallery, the Wen C. Fong Study-Storeroom, and an endowment for a junior conservator of Chinese painting. Now, with this gift of Riverbank, he has added a uniquely important treasure to The Met’s holdings and, in the process, further enhanced the Museum’s stature as one of the preeminent collections of Chinese painting in the world.”

Mr. Tang, who is a Trustee Emeritus of the Museum and Chairman of the Department of Asian Art’s Visiting Committee, said: “For a long time, my intention has been to donate Riverbank to The Metropolitan Museum of Art. I am making this gift now as an affirmation of my belief that The Met is an ideal platform on which to showcase the richness of the art and history of my family’s heritage, and to care for what in China would be considered a ‘national treasure.'”

A rare survivor from the formative days of Chinese landscape painting, Riverbank offers a window onto the critically important 10th century, when images of nature rose to prominence, replacing pictures of the human figure as the dominant form of pictorial expression. The handful of paintings that survive from this period, along with textual evidence, indicate that it was a time of epochal transformation, when the painting of landscapes made a quantum leap in scale, sophistication, and ambition. Riverbank is one of the key pieces of evidence of this revolution.

Maxwell K. Hearn—Douglas Dillon Chairman of the Department of Asian Art and author of Along the Riverbank, the 1999 catalogue on Riverbank and 11 other works from Mr. Tang’s collection—observed: “Oscar Tang’s gift of Riverbank is the capstone of a four-decade-long effort begun in 1973 by the Department of Asian Art’s Chairman Emeritus Wen C. Fong to build up The Met’s holdings of Chinese painting. This donation, together with earlier gifts and purchases made possible by Mr. Tang, Douglas Dillon, John M. Crawford Jr., and many others, gives The Met the ability to narrate one of the great stories in Chinese art: the rise of a grand tradition of monumental landscape painting in the 10th century and its transformation into a self-expressive art form from the 11th to the 14th century.”

Monumental in scale, and the tallest of all existing early Chinese landscape paintings, this imposing mountainscape was painted in ink with light colors on silk now darkened with age. It shows in the foreground a pavilion structure at a river’s edge; a scholar wearing a cap and gown, accompanied by his wife and child and a boy servant, sits in a yoke-back chair by the railing, looking out at the gathering storm. Beyond the pavilion, great pines and deciduous trees along the riverbank bend ominously in the wind, and the water rises in choppy, netlike waves. Behind the pavilion, a steep foothill ascends leftward in a series of thrusting boulders, and to the left a waterfall rushes down to the river. A winding pathway connects the foreground with a mist-veiled river valley in the deep distance, where wild geese fly by in formation, and hills beyond the river rise and twist in tortuous formations. Scurrying along the narrow path, six travelers, one of them wearing a thatch cloak and hat, hurry back to the mountain villa. A boy on a water buffalo at water’s edge heads toward a courtyard compound, surrounded by a bamboo grove and a brushwood and bamboo fence. Inside the compound, a woman prepares a meal while another woman carries a tray of food along the covered porch. With the family residence visible behind the courtyard, the master and his family assemble in the pavilion on the riverbank—a perfect metaphor for a safe haven in a threatening world.

During the period of disunion that followed the fall of the Tang dynasty in 907 and the establishment of the Song dynasty in 960, a number of masters rose to prominence by creating images that captured something of the power and grandeur of nature. These masters tended to eschew the bright, decorative palette of Tang landscapes in favor of monochrome ink, using subtly graded washes to capture the visual effect of atmospheric mists. They also painted at large scale, enveloping the viewer’s gaze within a transporting vision of nature’s majesty. This tradition, which coalesced in the 10th and 11th centuries, has come to be known as Monumental Landscape.

Riverbank is one of the most important sources we have for this tradition’s foundation. Its landscape forms are described through subtly applied washes of diffuse ink that accumulate into alternating bands of light and dark. The softly rubbed-on texturing and absence of distinct contour lines reflects the transformation of an earlier tradition, which is preserved in paintings of the Tang dynasty. By the middle of the Northern Song dynasty in the 11th century, signature line work had become the landscape painter’s key tool in describing landscape forms and textures, replacing the softer washes of Tang. Riverbank falls in between these two traditions, placing it squarely in the momentously important 10th century.

Riverbank was the subject of controversy when it was purchased from C. C. Wang in 1997. One prominent scholar, James Cahill (1926–2014) of the University of California, Berkeley, argued that the painting was not a work of the 10th century but a forgery by the 20th-century artist Zhang Daqian (1899–1983). Out of deference to Professor Cahill’s stature and firm in the belief that the painting could withstand the scrutiny of the field, The Met’s experts convened a symposium to address the painting’s authenticity, inviting leading scholars from around the world to weigh in. The proceedings were published as Issues of Authenticity in Chinese Painting. Since that time, Professor Cahill’s minority opinion has grown increasingly marginal, and the scholarly consensus that Riverbank is indeed a masterpiece of early Chinese landscape painting has grown stronger. It was exhibited in Taipei at the National Palace Museum in 2006 alongside that museum’s 11th-century masterworks by Fan Kuan and Guo Xi, and at the Shanghai Museum in 2012. That these museums, among the most respected custodians and interpreters of Chinese painting in the field, share The Met’s belief in Riverbank’s authenticity speaks to the solidity of The Met’s dating and its acceptance among Chinese painting scholars.

The painting bears a signature of Dong Yuan (active 930s–960s), one of the leading landscape painters active at the court of the Southern Tang kingdom (937–975). Though three other early attributions to Dong Yuan survive, there is no scholarly consensus on which, if any, of these works represents the real Dong Yuan, and there is significant stylistic range even within this small corpus. Given such a limited and murky sample, it is impossible to establish the kind of certainty necessary to support a firm attribution, let alone an idea of a chronology within Dong Yuan’s oeuvre. For this reason, the Museum does not claim Riverbank to be a firmly identified work from the hand of the master, preferring instead to present it as one of a constellation of plausible attributions. The painting’s importance rests not chiefly in its relationship to Dong Yuan, but in its majesty and completeness as a monument of early landscape painting.