Saturday, February 22, 2020

To See as Artists See: American Art from The Phillips Collection

Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, Italy
OCTOBER 5, 2010–JANUARY 16, 2011
Fundación MAPFRE, Madrid, Spain
National Art Center Tokyo, Japan
FEBRUARY 2–MAY 6, 2012
Frist Center for the Visual Arts, Nashville, Tennessee
OCTOBER 6, 2012–JANUARY 6, 2013
Amon Carter Museum of American Art, Fort Worth, Texas 
Tampa Museum of Art, Tampa, Florida

The first international exhibition organized by The Phillips Collection to feature an overview of the museum's renowned American collection, To See as Artists See showcases more than 100 works by 75 artists, including outstanding paintings by Milton Avery, Stuart Davis, Richard Diebenkorn, Arthur Dove, Adolph Gottlieb, Philip Guston, Winslow Homer, George Inness, Jacob Lawrence, John Marin, Robert Motherwell, Georgia O'Keeffe, Maurice Prendergast, John Sloan, and many others. Since its opening in 1921, the Phillips has been an active champion of American art, singling out artists who followed their own vision independent of fashionable styles and schools. Its collection of American masterworks celebrates the very best of American art from the late 19th through the 20th centuries.

From Homer to Hopper: American Art from The Phillips Collection, Washington, DC

Vero Beach Museum of Art
February 1-May 31, 2020

Homer To-the-Rescue.

Arthur G. Dove, Red Sun, 1935, oil on canvas, 20 1/4 x 28 in.; 51.435 x 71.12 cm. The Phillips Collection, Washington, DC. Acquired 1935
Thomas Eakins (1844-1916) Miss Amelia Van Buren, c. 1891, Oil on canvas 45 x 32 inches, The Phillips Collection, Washington, DC, Acquired 1927
Georgia O’Keeffe (1887-1986), Ranchos Church, No. II, NM, 1929, Oil on canvas, 24 1/8 x 36 1/8 inches, The Phillips Collection, Washington, DC, Acquired 1930

Edward Hopper: Sunday, 1926, Phillips Collection, Washington D.C.

From Homer to Hopper: American Art from The Phillips Collection, Washington, DC presents some of the most important American paintings and sculptures from The Phillips Collection, the first museum of modern art in the United States. The exhibition explores the history of American art from the late 19th century through the 1960s, as the country was establishing its artistic identity and setting the course for modern art. The stunning selection of works encompasses the exacting realism of Thomas Eakins and Winslow Homer, the impressionist paintings of Childe Hassam and John Henry Twachtman, the evocative images of Edward Hopper and Charles Sheeler, and then continues with the bold modernist abstractions of Stuart Davis, Arthur Dove, and Georgia O’Keeffe.

The show will culminate with the inventive works of the post-war decades, when artists such as Richard Diebenkorn, Helen Frankenthaler, and Philip Guston made the United States the center of the art world. Themes include the stunning American landscape, cityscapes and depictions of urban life, portraiture, still life, and techniques such as action painting and stain painting. The exhibition will also celebrate Duncan Phillips, who through dedication and vision assembled the outstanding collection that serves as the cornerstone of The Phillips Collection.

This exhibition has been organized by The Phillips Collection, Washington, DC

Friday, February 21, 2020

Jean-François Millet Leads Prints & Drawings at Swann March 5

Latin American works on paper from Matta, Rivera, Tamayo & more


New York—19th & 20th Century Prints & Drawings on Thursday, March 5 at Swann Galleries is set to bring forth a remarkable set of works on paper from the Modern period including important examples from Gustave Baumann, Jean-François Millet, Diego Rivera and more.

Works from the nineteenth century lead the sale with Jean-François Millet’s circa 1871­–72 charcoal-on-canvas study for the artist’s oil painting La Famille du Payson, estimated at $40,000 to $60,000. 

James A. M. Whistler is available with the etchings The Garden, 1880, and Balcony, Amsterdam, 1889, expected to bring $30,000 to $50,000 and $40,000 to $60,000, respectively. 

Edgar Degas’s rare etching and aquatint Loges d’Actrices, circa 1879–80, is set to come across the block in the fifth state, one of approximately eight impressions in this state, at $15,000 to $20,000. 

Also by Degas is La Danse Espagnole, a bronze circa–1885 sculpture based on the wax model the artist executed in the same year. The sculpture carries an estimate of $5,000 to $8,000. 

Further works of note include an artist’s proof of Mary Cassatt’s drypoint Gathering Fruit, circa 1893, and the etching In the Opera Box (No. 3), circa 1880, estimated at $8,000 to $12,000, and $20,000 to $30,000, respectively. 

An exceptional offering of Latin American art features Diego Rivera’s a 1923 pencil study for Un Maestro Protegido por Soldados Revolucionarios, an image in the artist’s mural at the Secretería de Educación Pública in Mexico City ($7,000-10,000). 

The revolutionary in the study can be seen in the background of 

the 1932 lithograph Escuela al Aire Libre, also featured in the sale ($12,000-18,000). 

From Francisco Toledo’s transatlantic period comes Formes Surréalistes, a circa 1965 watercolor ($15,000-20,000). Roberto Matta’s 1958 two-part bronze sculpture with black patina Crucifixión is available ($15,000-20,000) along with a run of color aquatints by Rufino Tamayo: Cabexa Sobre Fondo RosaPersonaje de Perfil, and Cabeza sobre fondo verde ($3,000-5,000 apiece). 

Works by Gustave Baumann, Stuart Davis, Martin Lewis, Louis Lozowick and Grant Wood stand out among Modern American printmakers, with Lewis’s 1931 drypoint Rainy Day, Queens leading the group at $15,000 to $20,000. 

Baumann’s 1917 color woodcut Provincetown, and 

Davis’s 1931 lithograph Two Figures and El are offered at $10,000 to $15,000 each; 

Lozowick’s Through Brooklyn Bridge Cables, lithograph, 1938, 

and Wood’s Approaching Storm, lithograph, 1940, are set to bring $5,000 to $8,000 apiece.

Modern European masters include a scintillating run of examples by Marc Chagall, Joan Miró, Pablo Picasso and René Magritte, among others. Notable works include Der Spaziergang I, 1922, an early etching by Chagall ($10,000-15,000); Miró’s 1967 color etching Le Rebelle ($25,000-35,000); Nature Morte à la Pastèque, a 1962 color linoleum cut by Picasso ($40,000-60,000); and Magritte’s Paysage de Baucis (Self Portrait with a Hat), etching, 1962 ($15,000-20,000). 

A selection of stalwart German Expressionists features Edvard Munch with Den Sinnssyke, lithograph, 1908–09, with only six other impressions found at auction in the past 30 years ($10,000-15,000); Max Pechstein is on offer with Yali und sein Weisses Weib, 1923, a complete set of eight etchings ($5,000-8,000); and Wassily Kandinsky’s Erste Katnadel fur die Editions Cahiers d’Art, drypoint, 1930 ($7,000-10,000). Lyonel Feininger, Erich Heckel, Paul Klee and Käthe Kollwitz round out the assortment.

Further highlights include Henry Moore’s Two Figures, an abstract 1935 watercolor with charcoal and color pastels ($15,000-20,000); Jean Dubuffet’s L’enfle-chique II, a 1963 color lithograph ($15,000-20,000); and Françoise Gilot with Composition, gouache and watercolor ($5,000-8,000).

Exhibition opening in New York City February 29. The complete catalogue and bidding information is available at and on the Swann Galleries App. 
Additional highlights can be found here.

Thursday, February 20, 2020

Picasso and Paper

Royal Academy of Arts, London 
25 January – 13 April 2020 

The Cleveland Museum of Art, Ohio 
24 May – 23 August 2020 

Pablo Picasso, Women at Their Toilette, Paris, winter 1937–38. Collage of cut-out wallpapers with gouache on paper pasted on canvas, 299 x 448 cm. Musée national Picasso-Paris. Pablo Picasso gift in lieu, 1979. MP176. Photo © RMN-Grand Palais (Musée national Picasso-Paris) / Adrien Didierjean © Succession Picasso/DACS 2019. 

The Royal Academy of Arts is presenting Picasso and Paper, the most comprehensive exhibition devoted to Picasso’s imaginative and original uses of paper ever to be held. Bringing together over 300 works and encompassing Picasso’s entire prolific 80-year career, this ground-breaking exhibition will focus on the myriad ways in which the artist worked both on and with paper, and will offer new insights into his creative spirit and working methods. 

Picasso and Paper review
Pablo Picasso, 'Le Déjeuner sur l’herbe' after Manet I (1962) Photo © RMN-Grand Palais (Musée national Picasso-Paris) / Marine Beck-Coppola © Succession Picasso/DACS 201

One of the most important artists of the 20th century, Pablo Picasso (1881-1973) worked across a range of mediums including painting, sculpture, ceramics and graphic arts. He also invented a universe of art involving paper. His prolonged engagement with the medium grew from the artist’s deep appreciation of the physical world and his desire to manipulate diverse materials. He drew incessantly, using many different media, including watercolour, pastel and gouache, on a broad range of papers. He assembled collages of cut-and-pasted papers; created sculptures from pieces of torn and burnt paper; produced both documentary photographs and manipulated photographs on paper; and spent decades investigating an array of printmaking techniques on paper supports. 

The exhibition will be organised within a broad chronological framework exploring all stages of Picasso’s career working with paper. 

Highlights will include Women at Their Toilette, winter 1937-38 (Musée national Picasso-Paris)(above) an extraordinary collage of cut and pasted papers measuring 4.5 metres in length, which will be exhibited in the UK for the first time in over 50 years; outstanding Cubist papiers-collés such as Violin, 1912 (Musée national Picasso-Paris); and studies for Les Demoiselles d’Avignon, 1907 including Bust of Woman or Sailor (Study for 'Les Demoiselles d’Avignon'), 1907 (Musée national Picasso-Paris). Picasso’s drawings, including Self-portrait, 1918 (Musée national Picasso-Paris) and Seated Woman (Dora), 1938 (Fondation Beyeler), will be fully presented throughout the show. 

These will feature alongside key examples of the variety of printing techniques that he explored – etching, drypoint, engraving, aquatint, lithograph and linocut – such as 'Le Déjeuner sur l’herbe' after Manet I, 26 January – 13 March 1962 (Musée national Picasso-Paris). 

Throughout the exhibition, a sequence of unfolding themes will contextualise the paper works, which will be displayed alongside a select number of closely related paintings and sculptures. For example, Picasso’s great masterpiece of the Blue Period, La Vie, 1903 (Cleveland Museum of Art), will be displayed with preparatory drawings and other works on paper exploring corresponding themes of poverty, despair and social alienation. Picasso’s Cubist bronze Head of a Woman (Fernande), 1909 (Musée national Picasso-Paris) will be exhibited together with closely associated drawings. The monumental sculpture of the war years, Man with a Sheep, 1943 (Musée national Picasso-Paris), will be displayed together with a group of large ink and wash drawings that amplify the sculpture’s emotional resonance. 

A focused section within the exhibition will examine the materials and techniques used by Picasso over the course of his career. This will include an early woodcut printed by hand using a salad bowl as the block, the collaborative photograms he made with Dora Maar and later with André Villers, as well as experimental graphic works and illustrated books. 

A display ranging from newspaper and envelopes to antique laid papers with distinctive watermarks will demonstrate the different papers Picasso used, while the astonishing array of ephemera he kept - personal letters and cards decorated with drawings - will also be represented. 

The film Le Mystère Picasso of 1955, a remarkable documentary recording Picasso drawing with felt-tip pens on blank newsprint, will be shown alongside original drawings made for the production. The closing section focuses on Picasso’s last decade which saw the final flourishing of his work, particularly as a printmaker. Drawings and prints will be shown together with a series of copper plates, as well as Picasso’s printing press from the period. 

The majority of the loans in the exhibition have been generously lent by the Musée national PicassoParis. Organisation Exhibition organised by the Royal Academy of Arts, London and the Cleveland Museum of Art in partnership with the Musée national Picasso-Paris. 

Exhibition curated by Ann Dumas, Royal Academy of Arts, William Robinson, Cleveland Museum of Art and Emilia Philippot, Musée national Picasso-Paris. 

Accompanying Publication 


Hardcover, 9.25 x 11.25 in. / 328 pgs / 400 color.
Pub Date 
D.A.P. Exclusive
Catalog: SPRING 2020 p. 14   
ISBN 9781912520176 TRADE
List Price: $60.00 CDN $85.00

Awaiting stock

A new publication with texts by Violette Andres, Stephen Coppel, Ann Dumas, Emmanuelle Hincelin, Christopher Lloyd, Emilia Philippot, Johan Popelard, Claustre Rafart Planas and William Robinson, will accompany the exhibition.

Good review, more images

By Day & by Night: Paris in the Belle Époque

Norton Simon Museum 
October 4, 2019 - March 2, 2020 
The Norton Simon Museum presents By Day & by Night: Paris in the Belle Époque, an exhibition that surveys the rich range of artistic responses to life in the French capital during the late 19th and early 20th centuries. During this time, later dubbed the belle époque, or “beautiful era,” Paris was at the forefront of urban development and cultural innovation. Its citizens witnessed the construction of the Eiffel Tower, the ascendancy of the Montmartre district as an epicenter for art and entertainment and the brightening of their metropolis under the glow of electric light. For artists like Henri de Toulouse-Lautrec, Edgar Degas and Pablo Picasso, however, it was often the less triumphant details of modern life that inspired creative expression. The paintings, drawings, prints and photographs in this exhibition demonstrate that these artists participated in the inventive spirit of the age by interpreting the everyday as something extraordinary.

The graphic arts—and color lithography in particular—enjoyed something of a renaissance in the belle époque, and many painters turned to printmaking as a newly compelling medium, one that invited bold aesthetic experimentation while broadening the potential market for avant-garde art.

Pierre Bonnard (French, 1867–1947)
At the Theatre from the portfolio Some Aspects of Life in Paris, 1899
16 x 21 in. (40.6 x 53.3 cm)
Norton Simon Art Foundation

Pierre Bonnard (French, 1867–1947)
L’Arc de Triomphe from the portfolio Some Aspects of Life in Paris, 1899
16 x 21 in. (40.6 x 53.3 cm)
Norton Simon Art Foundation

Henri de Toulouse-Lautrec (French, 1864–1901)
The Seated Clowness from the portfolio Elles, 1896
20-1/2 x 15-3/4 in. (52.1 x 40.0 cm)
Norton Simon Museum, Gift of Mr. and Mrs. Edward C. Crossett

Édouard Vuillard (French, 1868–1940)
The Pastry Shop from the portfolio Landscapes and Interiors, 1899
16 x 13 in. (40.6 x 33.0 cm)
Norton Simon Art Foundation

By Day & by Night features three of the most groundbreaking suites of lithographs produced in this period: Pierre Bonnard’s Some Aspects of Life in Paris (1899), Henri de Toulouse-Lautrec’s Elles (1896) and Édouard Vuillard’s Landscapes and Interiors (1899).

Some Aspects of Life in Paris summons viewers on a stroll through the city (which, not coincidentally, is how Bonnard derived inspiration for the series). Images of bustling streets, famous monuments and a crowded theater position the spectator as a participant in the action by using abrupt compositional cropping and oblique points of view to situate our visual perspective within the scene. In House in the Courtyard, the artist has aligned the margins of his composition with the frame of a window, obliging us to enact the process of peering past the open shutters to glimpse a neighbor across the way. Alongside this dynamic portfolio of prints are photographs by Eugène Atget, who famously captured overlooked oddities in Paris, such as the eccentric wares of a traveling lampshade peddler or a cluster of strangers viewing a solar eclipse.

Toulouse-Lautrec is best known for colorful interpretations of performers and personalities associated with the bohemian neighborhood of Montmartre. But in addition to his humorous and exaggerated style of draftsmanship, the artist also perfected a thoughtful and sensitive approach to depicting female subjects, regardless of their station in life. In his lithographic suite Elles, a series of images depicting kept women, we are invited into the intimate spaces of bedrooms and boudoirs—yet rather than emphasizing titillating details, Toulouse-Lautrec focuses on the banality and even boredom of the subjects’ daily routines. On the other side of the spectrum, the artist’s dynamic pastel At the Cirque Fernando, Rider on a White Horse (1887–88) dramatizes the sensation of movement by representing a bareback circus performer as she whips by on her mount. This interest in depicting life in Paris as it unfolds was likely inspired by Edgar Degas, whose work Toulouse-Lautrec greatly admired. Degas also depicted the city’s many female performers, and By Day & by Night features several works that show women on and offstage, such as the impressively-scaled oil painting Actress in Her Dressing Room (c. 1875-1880 and c. 1895-1905) and the diminutive pastel Café-Concert Singer (c. 1877). Other artists, in contrast, turned their attention to those who patronized the concert halls of Paris. A twenty-year-old Pablo Picasso, newly arrived in the city, drew a scene of intriguing spectators in his Moulin Rouge (1901), while the Italian expatriate Giovanni Boldini captured an elegant man about town in his pastel Portrait of a Dandy (1880–90).

At the same time, not all of the era’s artists were drawn to busy street scenes or the dazzling world of theater. In a departure from these more publicly oriented works, the exhibition also includes Vuillard’s vividly patterned series Landscapes and Interiors, which demonstrates the artist’s fascination with personal subjectivity and ways to render it pictorially through texture, color and the articulation of space. One of a group of artists known as the “Nabis,” the Hebrew word for prophet or seer, Vuillard was drawn to quiet moments—friends playing chess or family members at home. Even his outdoor subjects convey calm and serenity rather than the frenzied bustle of Bonnard’s parks and boulevards. Joining this portfolio of prints are two small paintings by Vuillard, The Dressmakers under the Lamp (c. 1891–92) and Lucie Hessel (c. 1905), both depicting women who were important to the artist, as well as subdued and even somber works by fellow Nabis Ker-Xavier Roussel and Maurice Denis.

In addition to making drawings, paintings and limited-edition print portfolios, artists like Bonnard and Toulouse-Lautrec used lithography to make large-scale, dynamically designed posters, which were plastered throughout Paris to advertise products from champagne and lamp oil to literary journals and famous nightclub entertainers. By Day & by Night includes six iconic posters, generously lent by the Los Angeles County Museum of Art, to demonstrate the pervasiveness of visual art in a city increasingly associated with printed images.

The belle époque is often imagined as a golden age of spectacle and joie de vivre. Yet as the works of art in this exhibition demonstrate, the experience of daily life was often the impetus for bold artistic expression, as evident in the spellbinding array of scenes and personalities in By Day & by Night: Paris in the Belle Époque.
By Day & by Night: Paris in the Belle Époque is organized by Emily Talbot, Acting Chief Curator at the Norton Simon Museum. 

Édouard Vuillard (French, 1868–1940)
The Pastry Shop from the portfolio Landscapes and Interiors, 1899
16 x 13 in. (40.6 x 33.0 cm)
Norton Simon Art Foundation

Pierre Bonnard (French, 1867–1947)
At the Theatre from the portfolio Some Aspects of Life in Paris, 1899
16 x 21 in. (40.6 x 53.3 cm)
Norton Simon Art Foundation

Pierre Bonnard (French, 1867–1947)
L’Arc de Triomphe from the portfolio Some Aspects of Life in Paris, 1899
16 x 21 in. (40.6 x 53.3 cm)
Norton Simon Art Foundation

Jean-Baptiste Armand Guillaumin (French, 1841–1927)
The Seine at Charenton, 1874
Oil on canvas
21-1/4 x 25-3/8 in. (53.3 x 63.5 cm)
Norton Simon Art Foundation

Pablo Picasso (Spanish, 1881–1973)
The Moulin Rouge, 1901
China ink on paper
12-3/4 x 19-1/2 in. (32.4 x 49.5 cm)
Norton Simon Art Foundation
© 2019 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Henri de Toulouse-Lautrec (French, 1864–1901)
At the Cirque Fernando, Rider on a White Horse, 1887–1888
Pastel and drained oil on board
23-5/8 x 31-1/4 in. (60 x 79.5 cm)
Norton Simon Art Foundation

Henri de Toulouse-Lautrec (French, 1864–1901)
The Seated Clowness from the portfolio Elles, 1896
20-1/2 x 15-3/4 in. (52.1 x 40.0 cm)
Norton Simon Museum, Gift of Mr. and Mrs. Edward C. Crossett

Edgar Degas (French, 1834–1917)
Women Ironing, begun c. 1875–1876; reworked c. 1882–1886
Oil on canvas
32-1/4 x 29-3/4 in. (81.9 x 75.5 cm)
Norton Simon Art Foundation

Jean-Louis Forain (French, 1852–1931)
At the Evening Party: Woman in White with a Fan, 1883–1884
Pastel on paper
21-3/4 x 18 in. (55.2 x 45.7cm)
Norton Simon Art Foundation, from the Estate of Jennifer Jones Simon

Monday, February 17, 2020

Pablo Picasso The War Years 1939 – 1945

February 15 – June 14, 2020

Kunstsammlung Nordrhein-Westfalen, Düsseldorf

"I have not painted the war because I am not the kind of a painter who goes out like a photographer for something to depict. But I have no doubt that the war is in these paintings I have done."
Picasso, 1944
The exhibition "Pablo Picasso. The War Years 1939 – 1945" provides insight into the artist’s work during the Second World War. Paintings, sculptures, drawings, and documents from the years 1939 to 1945 tell of Picasso the man and the contradictions of everyday life during these times. Picasso fled from Paris to southern France immediately before the outbreak of the war on September 3, 1939 but returned to the German-occupied capital in August 1940. He remained in his Parisian studio. After the liberation of the city by the Allie Forces in August 1944, he was celebrated as a survivor.
With his works, Pablo Picasso (1881–1973) reacted to the threats of time, to death and destruction. He did not, however, focus primarily on the theme of war, but rather on the classical genres of painting. He created multifaceted still lifes, portraits and nudes, often with motifs from his private surroundings.

Pablo Picasso, Taube, 4.12.1942, Chinatusche, Auswaschungen und Gouache auf Büttenpapier, 64,8 × 46 cm, Musée national Picasso-Paris, © Succession Picasso / VG Bild-Kunst, Bonn 2019, Foto: © bpk / RMN – Grand Palais / Michèle Bellot

An exhibition organised by the Musée de Grenoble in coproduction with the Kunstsammlung Nordrhein-Westfalen, Düsseldorf. The exhibition is organized in collaboration with the Musée national Picasso-Paris.

Lines of Beauty: Master Drawings from Chatsworth

 Millennium Gallery, Sheffield

Friday 14 February 2020 - Monday 25 May 2020


Sebastiano del Piombo, A reclining apostle, circa 1516. © The Devonshire Collections, Reproduced by kind permission of Chatsworth Settlement Trustees
The Devonshire collection of Old Master drawings is one of the finest private drawings collections in the world. Spanning 300 years, these unparalleled works represent some of the true masters of their craft, including Carpaccio, Poussin, Rembrandt, Rubens, Van Dyck and more.

Alessandro Bonvicino, called Moretto da Brescia, A woman’s head with braided hair, 16th century © The Devonshire Collections, Reproduced by kind permission of Chatsworth Settlement Trustees 
Claude Lorrain, Wooded landscape with Diana and Callisto, circa 1665 © The Devonshire Collections, Reproduced by kind permission of Chatsworth Settlement Trustees 
Federico Zuccaro, Head and shoulders of a bearded man wearing a cap, possibly a self-portrait, 16th–17th Century © The Devonshire Collections, Reproduced by kind permission of Chatsworth Settlement Trustees 

Lines of Beauty has been created in partnership with Chatsworth to showcase over 50 highlights from the collection. Amassed by the 1st, 2nd and 3rd Dukes of Devonshire, these drawings were originally reserved for the social elite of the time. Today, the works form part of regular changing public displays at their Chatsworth home, but due to their delicate nature, opportunities to show them together remain limited. This major exhibition, bringing together portraiture, landscapes, classical and religious narratives, is the largest display of the drawings in more than 20 years.