Thursday, September 18, 2025

The Met Announces Transformative Gift of 188 Works by the Great Innovators of Dada and Surrealism


A woman in a patterned hat and earring turned away from the camera

Image: Man Ray (American, 1890–1976). Le violon d’Ingres, 1924. Gelatin silver print. 19 1/8 × 14 3/4 in. (48.5 × 37.5 cm). The Metropolitan Museum of Art, Bluff Collection, Promised Gift of John A. Pritzker. Photo by Ian Reeves. © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2025 




The Metropolitan Museum of Art announced today a landmark gift of 188 works by 37 of the most important figures in the history of avant-garde art, including a major collection of works by Man Ray (1890–1976) as well as works by Jean Arp (1886–1966), Jean Crotti (1878–1958), Marcel Duchamp (1887–1968), Suzanne Duchamp (1889–1963), Max Ernst (1891–1976), Francis Picabia (1879–1953), Kurt Schwitters (1887–1948), and others. A promised gift from Met Trustee John Pritzker, The Bluff Collection, as it is named, features collages, paintings, photographs, objects, and works on paper and is augmented by an equally rich collection of rare exhibition catalogues and other publications related to the revolutionary art movements of Dada and Surrealism.


“John Pritzker’s remarkable collection of works by Man Ray, alongside works by artists in Man Ray’s close inner circle who were critically involved in the making of Dada and Surrealism, is truly unparalleled. It enhances our ability to offer a profound, more comprehensive view of these outstanding artists and enigmatic trailblazers of modernism whose bold and influential experimentation across media continues to fascinate and inspire,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “John is an exceptional friend of the arts, a major supporter of The Met, and a most generous philanthropist; his concern is always what is best for the Museum and this clearly is the very best. This incredible promised gift arrives at a pivotal moment as we expand and invigorate our holdings in preparation for the opening of the Tang Wing for modern and contemporary art, and it further cements The Met as an essential destination for experiencing the full sweep of art history—from antiquity to the art of today.”


Born from the radical social, political, scientific, and cultural transformations of the first decades of the 20th century, and hastened by the destruction and upheaval of war, the revolutionary artistic and literary movements of Dada and Surrealism aimed to define art and its role in the world. Dada artists shared the wish, as expressed by French artist Jean (Hans) Arp, “to destroy the hoaxes of reason and to discover an unreasoned order.” Surrealists would expand from this, looking to the work of Sigmund Freud and Karl Marx to overthrow what they perceived as the oppressive rationalism of modern society by accessing the sur réalisme (superior reality) of the subconscious. As André Breton, poet and chief protagonist of the group in Paris proposed, Surrealism and its exploration of dreams, the unconscious mind, and the irrational could alter perceptions of the world and radically change it. A testament to the boundary-breaking and revolutionary spirit of these movements, the promised gift of Met Trustee Pritzker offers an exciting opportunity for the Museum to transform the very nature of its holdings in modern art.

David Breslin, Leonard A. Lauder Curator in Charge, Modern and Contemporary Art, added, "For an artist as hard to pin down as Man Ray, John Pritzker captured the best of him in this collection. Man Ray and the artists included in the collection are some of the great experimenters, thinkers, and provocateurs of early modernism; this astounding collection traces the restlessness of Man Ray’s practice as well as the influences shared across a vibrant community of makers. As we create our plans for The Met's new wing for modern and contemporary art, the living legacy of Dada and Surrealism will be alive in our displays and thinking, thanks to John's tremendous generosity and goodwill that includes both gifts of art and research support."

The John Pritzker Family Fund has augmented the promised gift of art with support for a new research program at The Met. Named after the collection, which refers to the spirit of the movements it represents, the Bluff Collaborative for Research on Dada and Surrealist Art is an interdisciplinary initiative to support new research and programming. Building on the legacy of Dada and Surrealism, it will advance fresh thinking about the power of art and ideas in society today.

Trustee Pritzker said, “I've long been interested in the period between the world wars and the exciting community of artists involved in Dada and Surrealism. As I've built the collection, Man Ray has been a central figure, especially as a person who moved between groups and connected ideas. Artists in his circle, such as Marcel Duchamp and Francis Picabia, were, like Man Ray, instigators and innovators. Together, this group broke down barriers of what defined a painting, sculpture, text, or photograph, and more—what art itself could be. I am thrilled to share the collection, especially at this historic and groundbreaking moment for The Met. The Museum’s world-class scholarship, curatorial vision, and conservation research make it, and the upcoming Tang Wing, the ideal place for the collection.”

Assembled by Pritzker beginning in the mid-1990s, The Bluff Collection includes singular examples of Man Ray’s groundbreaking work, including Le violon d'Ingres (1924). This beguiling image depicts Man Ray's companion, the artist and performer Kiki de Montparnasse (Alice Prin), seated with her head turned to the side and with the fabric wrapped around her torso fallen away to reveal the sound holes of a violin on her lower back. Man Ray described this version as “a combination of a photo and a rayograph.” 

Other notable images include Torso (Retour á la raison) (1923), another photograph of Kiki, captured as projections of light through a lace curtain move across her torso; Noire et blanche (1926), which pairs Kiki with smoothed hair and porcelain face with an African Baule-style mask; and L'homme (1918–20), in which an outsized eggbeater is made to stand in for the body of a man. Breakthrough collages include the semi-autobiographic Trans Atlantic (1921), and landmark objects include the pseudoscientific Catherine Barometer (1920), which purports to forecast a change in either air pressure or the unpredictable moods of the collector and modern art advocate Katherine Dreier.

The Bluff Collection also includes 11 works on paper and two portfolios by Marcel Duchamp, including the very first issued Monte Carlo Bond (1924), which memorably features the artist with a soapy head fashioned into devilish horns against a roulette wheel. 


Another jewel is Max Ernst's outlandish self-portrait collage titled The Punching Bag or The Immortality of Buonarroti (1920), intended for the abandoned almanac project of Tristan Tzara, called Dadaglobe and widely reproduced since. 


Among the great paintings is the enigmatic Dream of Tobias (1917) by Giorgio de Chirico, which was once owned by the great British Surrealist patron Edward James. Before this, however, the painting was installed in the famed Bureau of Surrealism Research in Paris in 1924, witness to the dream seances and other investigations carried out by the group, led by André Breton. 


There is also Suzanne Duchamp's Radiation de deux seuls éloignés (Radiation of Two Solitary Beings Apart) (1916–20), a direct challenge to the art world's outdated modes of representation and conventional materials. The large collage employs symbols and structures from the world of science and technology to explore human relationships in the modern age

In addition to photographic works by Man Ray, The Bluff Collection includes photographs by Lee Miller, Charles Sheeler, and Edward Steichen, among others, and ceramics by Beatrice Wood. These holdings are amplified by an important grouping of over 100 books, manifestos, journals, posters, and ephemera related to the most important moments of Dada and Surrealism. One of the most significant is a unique edition of Georges Hugnet's Petite anthologie poétique du surréalisme (1934), which was owned by writer Paul Éluard and embellished with personal correspondence and photographs from almost every artist represented in the monograph. In total, The Bluff Collection is a vibrant testament to the creative collaborations between artists at this time.

As noted, a major component of Pritzker’s collection is dedicated to American artist Man Ray. A self-described "enigma," he was a visionary known for his radical experimentation that pushed the limits of art. Having started his career as a painter, Man Ray took up photography in 1915 when, after struggling to find someone who could make satisfying photographic reproductions of his paintings, he decided to make his own. In the camera, he found a tool to challenge the conventions and hierarchies of art and transform everyday objects into thought-provoking works of art. Through his inventive use of the photographic medium, Man Ray established a unique place for himself in both the Dada and Surrealist circles.

Thirty-five works from Pritzker’s promised gift will be included in Man Ray: When Objects Dream, the first major exhibition to examine the artist’s media-crossing experimentation through one of his most significant bodies of work, the rayograph—a type of cameraless photograph that he revived in the winter of 1921. Featuring approximately 160 rayographs, paintings, objects, prints, works on paper, films, and photographs, the presentation will be on view September 14, 2025, through February 1, 2026. The exhibition is curated by Stephanie D’Alessandro, Leonard A. Lauder Curator of Modern Art and Senior Research Coordinator in Modern and Contemporary Art, and Stephen C. Pinson, Curator in the Department of Photographs, with the assistance of Micayla Bransfield, Research Associate. 

The Bluff Collaborative for Research on Dada and Surrealism is an interdisciplinary initiative led by D'Alessandro that brings together the museum, archive, and studio to support new research on the revolutionary art movements of Dada and Surrealism, and in doing so, advances fresh perspectives on the power of art and ideas in society today. Through its shared program of study, lectures, performances, and more, the Bluff Collaborative aims to inspire artists, scholars, and Museum visitors to find new meaning in history and to approach the uncertainties and challenges of contemporary times with curiosity, experimentalism, and a spirit of emergent collaboration. For its inaugural year, the Bluff Collaborative program will be dedicated to the artist Man Ray. Future research programs will be announced annually. 



Picasso Memory and Desire,

 

HE MUSEO PICASSO MÁLAGA IS EXPLORING THE RELATIONSHIPS BETWEEN IMAGES, THE PASSING OF TIME AND THE MODERN SUBJECT IN THE EXHIBITION PICASSO MEMORY AND DESIRE

  • Next November 14th, the Museo Picasso Málaga will be presenting Picasso Memory and Desire, an exhibition that explores the complex relationship between images and the evolution of the modern subject in the work of Picasso and his contemporaries.

  • The exhibition will bring together key figures of 20th-century art such as Giorgio de Chirico, Fernand Léger, Jean Cocteau, Man Ray and René Magritte, while also including Salvador Dalí and Federico García Lorca's interpretation of Picasso's work.

  • Curated by Eugenio Carmona, professor of art history at the University of Malaga, and sponsored by the Fundación Unicaja, the exhibition will present a fascinating and revealing dialogue between memory and desire, historical time and modernity, and the way in which subjectivity transforms the symbols of culture.

Pablo Picasso (1881 - 1973) Studio with Plaster Head . Juan-les-Pins, summer 1925
Oil on canvas, 97.9 × 131.1 cm
The Museum of Modern Art, New York.  © Digital image, The Museum of Modern Art, New York/Scala, Florence  © Succession Pablo Picasso, VEGAP, Madrid, 2025
To download the image, click on it
The exhibition is based on the inspiring and complex painting Study with Plaster Head (1925) which so impressed Dalí and Lorca; a work that has been considered to represent a "dividing line" in Picasso's output and in the evolution of his artistic personality due to the manner in which it reflects on the passing of time and history.

Picasso Memory and Desire aims to reflect on the system of images and its relationship with the evolution of the modern subject in the work of Picasso and his contemporaries. The exhibition’s concept is based on a work by the artist, Study with Plaster Head of 1925In synergy with the Surrealist atmosphere of the time, Picasso’s painting reveals that an era is not a fixed mental universe but a complex articulation of times, cultural references and life experiences.

Through his plaster figures Picasso alludes to the Fine Arts system and evokes "the father figure." But the plaster bust at the centre of the painting splits into several profiles, revealing its disturbing shadow. Picasso transformed this multifaceted image into both a psychic emblem of the divided subject and a metaphor for the past that engages in a dialogue with the present. Heterogeneity articulates the experience of the everyday, and for Picasso this is the place of memory. But memory is only brought into the present by desire; desire understood not only as a drive but as an inextinguishable will to live and transform. Picasso thus transformed the plaster bust into an emblem, tracing it through sensuality, creative achievement, the aesthetic of the telluric and the threat of the monster, and finally identifying it with the vernacular symbols of Spanish culture. Curated by Eugenio Carmona, this exhibition will be held at the Museo Picasso Málaga from 14 November 2025 to 12 April 2026.
Salvador Dalí (1904 - 1989) Still Life by Mauve Moonlight, 1926
Oil on canvas, 148 × 199 cm
Fundació Gala-Salvador Dalí, Figueres. © FotoGasull/Fundació Gala-Salvador Dalí
© Salvador Dalí, Fundació Gala-Salvador Dalí, VEGAP, Málaga, 2025
To download the image, click on it
René Magritte (1898 - 1967) The Face of Genius,1927
Oil on canvas, 75 × 65 cm
Musée d’Ixelles, Brussels. Bequest Max Janlet 1977. © Musée d’Ixelles
© René Magritte, VEGAP, Málaga, 2025
To download the image, click on it
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Saturday, September 13, 2025

Raphael: Sublime Poetry

Metropolitan Museum of Art

March 29 to June 28, 2026

 Raphael: Sublime Poetry will be the first comprehensive, international loan exhibition in the United States on Raphael (Raffaello di Giovanni Santi; 1483–1520), considered one of the greatest artists of all time. This landmark exhibition will explore the full breadth of his life and career, from his origins in Urbino to his prolific years in Florence, where he began to emerge as a peer to Leonardo da Vinci and Michelangelo, to his final decade at the papal court in Rome. Bringing together more than 200 of Raphael’s most important drawings, paintings, tapestries, and decorative arts from public and private collections around the world, the exhibition will offer a fresh perspective on this defining figure of the Italian Renaissance, presenting his renowned masterpieces alongside rarely seen treasures to reveal an extraordinarily creative mind.


“This unprecedented exhibition will offer a groundbreaking look at the brilliance and legacy of Raphael, a true titan of the Italian Renaissance,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Visitors will have an exceptionally rare opportunity to experience the breathtaking range of his creative genius through some of the artist’s most iconic and seldom loaned works from around the globe—many never before shown together.”



Among the highlights will be The Virgin and Child with Infant Saint John the Baptist in a Landscape (The Alba Madonna) from the National Gallery of Art, one of the most emblematic examples of Raphael’s mastery over High Renaissance ideals of harmony and classical beauty, which will be united with his preparatory drawings from the Museum of Fine Arts, Lille, 


and Portrait of Baldassarre Castiglione, now in the Louvre, widely regarded as one of the greatest portraits of the High Renaissance.

Lenders include the Accademia Carrara (Bergamo), Albertina (Vienna), Ashmolean Museum (Oxford), British Museum (London), Galleria Borghese (Rome), Gallerie Nazionali Barberini Corsini (Rome), The Duke of Devonshire and Trustees of the Chatsworth Settlement (Chatsworth), Galleria Nazionale delle Marche (Urbino), Galleria Nazionale dell’Umbria (Perugia), Kupferstichkabinett (Berlin), Louvre (Paris), Fondazione Brescia Musei (Brescia), National Gallery (London), National Gallery of Art (Washington, D.C.), Museo Nazionale di Capodimonte, Palais des Beaux-Arts (Lille), Patrimonio Nacional de España (Madrid), Pinacoteca Comunale of Città di Castello, Pinacoteca Nazionale (Bologna), Prado (Madrid), Städel Museum (Frankfurt), Szépmüvészeti Múzeum (Budapest), Gallerie degli Uffizi (Florence), and the Vatican Museums, among others.

“The seven-year journey of putting together this exhibition has been an extraordinary chance to reframe my understanding of this monumental artist,” said Carmen Bambach, the Marica F. and Jan T. Vilcek Curator in The Met’s Department of Drawings and Prints. “It is a thrilling opportunity to engage with his unique artistic personality through the visual power, intellectual depth, and tenderness of his imagery.

Though he lived a mere 37 years, Raphael achieved such profound success as a painter, designer, and architect that he was regarded as the pinnacle of artistic perfection for centuries after his death. The son of a painter and poet, Raphael engaged with the foremost writers and thinkers of his age in Rome, displaying a poetic sensibility that captivated his peers and generations that followed. Matching ambition with lyricism, he created works with both intellectual heft and emotional depth, a necessary skill in the complex political landscape of Renaissance courts.

The exhibition will unfold roughly chronologically, tracing Raphael’s life and career, with thematic sections focused on the development of his ideas and imagery. Recent scientific discoveries will also be incorporated. By featuring drawings in relationship to paintings and works in other media, the presentation will demonstrate Raphael’s prodigious versatility and creative process. The figural compositions in his paintings, drawings, tapestry designs, and prints reveal him to be an unparalleled storyteller, and this exhibition will pay particular attention to his portrayal of women—from his pioneering use of nude female models to his sensitive portrayals of the Madonna and Child.

Credits and Related Content

Raphael: Sublime Poetry is curated by Carmen C. Bambach, the Marica F. and Jan T. Vilcek Curator in the Department of Drawings and Prints at The Metropolitan Museum of Art.

A fully illustrated catalogue will accompany the exhibition and be available for purchase from The Met Store.


Elaine: The Collection of Elaine Wynn

 Christie's has announce ElaineThe Collection of Elaine Wynn, which will be showcased during the Fall Marquee Week of Sales this November. The formidable collection reflects the unmatched aesthetic sensibility and incomparable taste of Mrs. Wynn, with examples by art historical icons spanning centuries and geographies. The artworks come from Mrs. Wynn's Los Angeles, Las Vegas and New York homes and will be presented across the week of sale as leading highlights, with nine works in the 20th Century Evening Sale, two works in the 21st Century Evening Sale, and subsequent works in the Post-War and Contemporary Art Day Sale. In total, the collection is estimated to realize in excess of $75 million.


Gillian Wynn remarks: “My mother celebrated every piece that she collected. She felt privileged to live with each and every one, but always understood that she was merely a temporary custodian. Good art moves and provokes us and then must live on to do the same for others.” 

Kevyn Wynn continues: “Our mother lived a life filled with passion, conviction and grace. She had uncompromising standards and we have every confidence that Christie's will uphold her vision and legacy.”



The collection's offerings represent a richly diverse array of artistic icons, encompassing the finest of the 19th, 20th, and 21st centuries. The earliest painting in the group is a luminous view by Joseph Mallord William Turner, Ehrenbreitstein, or The Bright Stone of Honour and the Tomb of Marceau, from Byron's Childe Harold, (estimate $12-18 million). First shown in an 1835 exhibition at the Royal Academy, the painting has been widely exhibited at leading institutions around the world for centuries and is counted among the artist's most important late masterpieces.




Another rare jewel within the collection—painted more than 150 years after the Turner— is Lucian Freud's The Painter Surprised by a Naked Admirer (estimate $15-25 million), an extraordinarily ambitious canvas completed by the artist in 2005 at the age of 82. 




Further highlights include canonical paintings Ocean Park #40 by Richard Diebenkorn (estimate $15-25 million) 




and Sunflower V by Joan Mitchell (estimate $12-18 million), two singular examples from the oeuvres of iconic American abstractionists, hailing from cities thousands of miles apart.

Max Carter, Christie's Vice Chairman, 20th and 21st Century Art, remarks, “Elaine Wynn's collecting was guided by the same curiosity, passion and style that marked her profound legacies in business and philanthropy. Her interests spanned over 150 years, from Turner's poetic masterpiece, Ehrenbreitstein, to Freud's culminant self-portrait; from Seurat's exquisite Parisian view to perhaps Richard Diebenkorn's most beautiful Ocean Park #40; from Joan Mitchell's breathtaking Sunflower V to Olga de Amaral. Ms. Wynn was one-of-a-kind and we could not be more honored to work with her family and to celebrate her collection and example this fall at Christie's.”

Sonya Roth, Deputy Chairman, Christie's West Coast, remarks, “It is a true honor to work with Kevyn and Gillian in paying tribute to the legacy of their mother, Elaine Wynn. Mrs. Wynn was a visionary collector who stands among the most generous patrons of our time. Her tireless support for art institutions and educational organizations across the United States has had a deep and meaningful impact on countless lives. We are humbled to steward this inimitable collection at Christie's.”

Art and Life in Rembrandt’s Time: Masterpieces from The Leiden Collection

 

The Norton Museum of Art has announcd the exhibition Art and Life in Rembrandt’s Time: Masterpieces from The Leiden Collection, a presentation of more than 70 works by 27 artists from The Leiden Collection — one of the world’s most important private collections of 17th-century Dutch art. On view from October 25, 2025, through April 5, 2026, it will be the largest show of privately held Dutch 17th-century paintings ever organized in the United States.


Envisioned to coincide with the 400th anniversary of the Dutch founding of New Amsterdam on the island of present-day Manhattan, the exhibition at the Norton will draw from The Leiden Collection’s unique strength, namely the depiction of humanity in all its facets — from portraits and character studies to genre scenes and historical subjects. It will also offer a rare opportunity to contemplate exceptional works spanning the full career arc of the groundbreaking Dutch artist Rembrandt van Rijn. With 17 of Rembrandt’s paintings on display throughout the galleries, the exhibition will reveal the renowned artist’s singular ability to capture human expression and emotion, as well as fascinating evolutions in both his style and technique.


Organized thematically, Art and Life in Rembrandt’s Time will invite visitors to explore the breadth of the painters’ skill and the timeless resonance of their works, as well as to learn more about the day-to-day activities of citizens from that period. Through the prism of the 17th-century Netherlands and its leading artists, the exhibition will shed light on a crucial era of innovation in the history of art. Indeed, the creative breakthroughs and transformative impact of Rembrandt and his peers can still be felt today, having altered the trajectory of art from Impressionism and Expressionism, all the way through to modern and contemporary movements.


“One of the most remarkable facts about Rembrandt and his circle is that their artworks continue to connect with audiences, hundreds of years after they were painted,” said Elizabeth Nogrady, Curator of The Leiden Collection. “These artists had an uncanny ability to tap into the continuity of human experience, which makes them continually relevant — even in very different times.”


The exhibition reflects The Leiden Collection’s mission of building bridges through art and will follow its blockbuster shows at some of the most prestigious national museums in the world including the Louvre, the Pushkin and Hermitage museums, the National Museum of China, and Louvre Abu Dhabi.


“An exhibition like Art and Life in Rembrandt’s Time has never been seen before in our region. Viewers will be enthralled not only by the artistry of Rembrandt, but also the depth of talent of other 17th-century Dutch artists,” said Ghislain d’Humières, Kenneth C. Griffin Director and CEO of the Norton Museum of Art. “It is an honor to host this impressive exhibition at the Norton, the first of its kind in America.”


See images below


Of considerable prominence in the exhibition will be Rembrandt’s magisterial Minerva in Her Study, 1635, the most important of Rembrandt’s history paintings in a private collection; the master’s exquisite oval Young Girl in a Gold-Trimmed Cloak, 1632; and his Self-Portrait with Shaded Eyes, 1634, which presents a young Rembrandt staring directly at the viewer. 


Special highlights include Vermeer’s Young Woman Seated at a Virginal, circa 1670 – 1675 — the sole example of the artist’s work in private hands, which was featured in the Rijksmuseum’s transcendent show of 2023, Vermeer — and Hagar and the Angel, circa 1645, the only privately-held painting remaining of Carel Fabritius — Rembrandt’s greatest pupil and the inspiration for Donna Tartt’s 2013 acclaimed novel The Goldfinch


The exhibition will also showcase works by other Amsterdam artists intimately connected to Rembrandt, including his influential teacher, Pieter Lastman, and talented students such as Ferdinand Bol, Govaert Flinck, and Arent de Gelder.


Additional treasures in the exhibition include formal and fantastical portraits, scenes of markets, music-making, biblical[GU1] [EA2]  stories, labor, play, and other dynamic subjects by various artists from the Dutch city of Leiden. 


Prominent works include Jan Lievens’ Boy in a Cape and Turban, circa 1631, depicting a youth wearing a luminous, fanciful costume, and his ravishing Self-Portrait, circa 1629 – 1630; Gabriel Metsu’s monumental Woman Selling Game from a Stall, circa 1653 – 1654; Frans van Mieris’ profoundly evocative Traveler at Rest, circa 1657, capturing a confident young man relaxing on the roadside; and magnificent works by Jan Steen including his joyful Self-Portrait with a Lute, circa 1664 and most solemn Prayer Before the Meal, 1660, of a pious family breaking bread. Also represented in the show will be painters who worked in other Dutch artistic centers, among them Hendrick ter Brugghen in Utrecht, Frans Hals in Haarlem, and Gerard ter Borch in Zwolle.


The Leiden Collection, assembled over the past two decades by Thomas S. Kaplan and his wife, Daphne Recanati Kaplan, comprises more than 220 paintings and drawings by many of the finest Dutch 17th-century artists. Named after Rembrandt van Rijn’s native city, The Leiden Collection illuminates the personalities and themes that shaped Dutch art over five generations.


“Since the day Daphne and I founded The Leiden Collection, we conceived of it as a lending library for some of the world’s most consequential artists,” said Thomas Kaplan. “After nearly 15 years of anonymous lending to over 80 museums, armed with a message of Rembrandt as ‘The Universal Artist,’ the Collection has spent the better part of the past decade traveling the world. We are particularly thrilled to be the first to share Rembrandt and Vermeer with my home state of Florida, where I spent a truly wonderful part of my youth. We hope visitors will be as moved as we are by the enduring power of Rembrandt, his students, and his peers.”


The exhibition is accompanied by a fully illustrated, 150-page catalogue with detailed entries on each painting and an exploration of Dutch life in the 17th century.


 Art and Life in Rembrandt’s Time: Masterpieces from The Leiden Collection was jointly organized by The Leiden Collection, New York, and the Norton Museum of Art. Curated by Elizabeth Nogrady, Curator, The Leiden Collection; Robert Evren, Consulting Curator for European Art, and J. Rachel Gustafson, Chief Curatorial Operations & Research Officer, the Norton Museum of Art.



Visit the Museum’s website at Norton.org or connect on Instagram and Facebook.


ABOUT THE LEIDEN COLLECTION

The Leiden Collection, founded in 2003 by Franco-American collector Dr. Thomas S. Kaplan and his wife, Daphne Recanati Kaplan, comprises some 220 paintings and drawings and represents one of the largest and most important assemblages of 17th-century Dutch paintings in private hands. The Collection is named after Rembrandt’s native city in honor of the artist’s transcendence and focuses on the works of Rembrandt and his followers, illuminating the personalities and themes that shaped the time period over five generations. The Collection is the most comprehensive representation of the Leiden artists known as fijnschilders (“fine manner painters”), who concentrated on painting portraits, genre scenes, and history paintings. To learn more, please visit theleidencollection.com — home to an extensive online catalogue and scholarly resource that features detailed entries on each painting, biographies of artists, and essays by leading scholars.


Images 



Carel Fabritius, Hagar and the Angel, ca. 1645. Oil on canvas, 157.5 x 136 cm. Courtesy of The Leiden Collection.


Frans van Mieris, A Young Woman Feeding a Parrot, 1663. Oil on panel, 22.4 x 17.7cm. Courtesy of The Leiden Collection.

Frans van Mieris, Traveler at Rest, ca. 1657. Oil on copper, 21.6 x 17.8 cm. Courtesy of The Leiden Collection.


Gerard ter Borch the Younger, Elegant Man, ca. 1660. Oil on canvas, 46.8 x 36.5 cm. Courtesy of The Leiden Collection.



Gerard ter Borch the Younger, Elegant Woman, ca. 1660. Oil on canvas, 46.8 x 36.5 cm. Courtesy of The Leiden Collection.


Gerrit Dou, Cat Crouching on the Ledge of an Artist’s Atelier, 1657. Oil on panel, 34 x 26.9 cm. Courtesy of The Leiden Collection.


Gerrit Dou, Herring Seller and Boy, ca. 1664. Oil on panel, 43.5 x 34.5 cm. Courtesy of The Leiden Collection.


Hendrick ter Brugghen, Allegory of Faith, ca. 1626. Oil on canvas, 72.3 x 56.3 cm. Courtesy of The Leiden Collection.


Jacob Ochtervelt, Singing Violinist, ca. 1666-70. Oil on panel, 26.9 x 19.5 cm. Courtesy of The Leiden Collection.


Jans Lievens, Card Players, ca. 1625. Oil on canvas, 97.5 x 105.4 cm. Courtesy of The Leiden Collection.


Johannes Vermeer, Young Woman Seated at a Virginal, ca. 1670-75. Oil on canvas, 25.5 x 20.1 cm. Courtesy of The Leiden Collection.


Pieter van Laer, Self-Portrait with Magic Scene, ca. 1635-37. Oil on canvas, 80 x 114.9 cm. Courtesy of The Leiden Collection.


Rembrandt van Rijn and Workshop, Man with a Sword, 1644. Oil on canvas, 102.23 x 88.9 cm. Courtesy of The Leiden Collection.


Rembrandt van Rijn, Minerva in Her Study, 1635. Oil on canvas, 138 x 116.5 cm. Courtesy of The Leiden Collection.


Rembrandt van Rijn, Self-Portrait with Shaded Eyes, 1634. Oil on panel, 71.1 x 56 cm. Courtesy of The Leiden Collection.


Rembrandt van Rijn, Unconscious Patient (Allegory of Smell), ca. 1624- 25. Oil on panel, inset into an eighteenth-century panel, 21.5 x 17.7 cm (31.8 x 25.4 cm with eighteenth- century additions). Courtesy of The Leiden Collection.