Paris 1900: City of Entertainment

The Frist Art Museum presents Paris 1900: City of Entertainment, an exhibition that revives the splendor of the French capital at the turn of the twentieth century, when millions visited the site of the International Exposition. Organized by the Petit Palais Museum of Fine Arts in Paris with additional loans from other Parisian museums, the exhibition will be on view in the Frist’s Ingram Gallery from October 12, 2018, through January 6, 2019. The Frist is the first of three venues in the United States to present this iteration of an exhibition that was originally on view at the Petit Palais in 2014.

With the International Exhibition of 1900 as its starting point, the exhibition offers a focused look at the different ways in which Paris became the entertainment capital of the world. Belle Époque Paris, a period of relative peace and prosperity stretching from 1874 to 1914, was the site of intense artistic and architectural innovation, which gave rise to entertainment forms that continue to remain relevant.

Bringing together over 250 objects—paintings, prints, sculptures, decorative art, costumes and fashion accessories, posters, photographs, and more—kept mainly by the City of Paris museums, Paris 1900 immerses visitors in the era’s sparkling atmosphere of elegance, pleasure, and festivity. Major artists represented in the exhibition include Pierre Bonnard, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Auguste Rodin, Henri de Toulouse-Lautrec, and Édouard Vuillard, as well as many others working across multiple mediums. The objects will be presented in six groupings: “Paris, Showcase of the World”; “Art Nouveau”; “Paris, Capital of the Arts”; “The Parisian Woman”; “Traversing Paris”; and “Paris by Night.”

The exhibition also tells the story of a vibrant and swiftly changing city. Although Paris was quite different from its idealized representation in posters and advertisements, the turn of the century was indeed an exceptional time. The city was growing rapidly and had a population of nearly three million by 1914. Additionally, Paris attracted travelers for both business purposes and leisure activities. “It is fitting that Nashville is the first stop of this exhibition’s tour,” says Frist Art Museum curator Katie Delmez. 

http://www.petitpalais.paris.fr/en/collections/paris-1900

The Church at Moret (Evening)

Alfred Sisley

The four seasons : Spring, Summer, Autumn, Winter

Paul Cézanne 

Portrait of Madame de Bonnières

Pierre-Auguste Renoir 

Figures in an Interior

Edouard Vuillard

Female bathers at Perros-Guirec

Maurice Denis 

 

Conversation in Arcachon

Pierre Bonnard 

Ambroise Vollard in a Red Scarf

Pierre-Auguste Renoir


 

Nice, on the Promenade des Anglais

Henri-Marie-Raymond de Toulouse-Lautrec Monfa dit Toulouse-Lautrec

Pierre Bonnard: The Colour of Memory

Tate Modern

23 January 2019 - 6 May 2019

In January 2019 Tate Modern will stage the UK’s first major Pierre Bonnard exhibition in 20 years, showing the work of this innovative and much-loved French painter in a new light. The exhibition will bring together around 100 of his greatest works from museums and private collections around the world. It will reveal how Bonnard’s intense colours and modern compositions transformed painting in the first half of the 20th century, and will celebrate his unparalleled ability to capture fleeting moments, memories and emotions on canvas.

Spanning four decades from the emergence of Bonnard’s unique style in 1912 to his death in 1947, Tate Modern’s exhibition will show how the artist constructed his vibrant landscapes and intimate domestic scenes from memory. At once sensuous and melancholy, these paintings express moments lost in time – the view from a window, a stolen look at a lover, or an empty room at the end of a meal.

These motifs can be seen in breakthrough works like 



Dining Room in the Country 1913 (Minneapolis Institute of Art) in which he brought interior and exterior spaces together to create a vibrant atmosphere, while the bright colours of works like  



The Lane at Vernonnet 1912-14 (Scottish National Gallery of Modern Art, Edinburgh) exemplify how his joyful palette could still evoke the poignancy of a moment gone forever.


The exhibition will emphasise Bonnard as a 20th century artist who – like his friend and contemporary Henri Matisse – had a profound impact on modern painting and would become an influential figure for later artists like Mark Rothko and Patrick Heron. Bonnard will be repositioned as a man who engaged with the world around him, revealing overlooked areas of his activities – from his frequent travels around France and his practice of working on different subjects side by side, to his response to the crises of both the First and Second World War.


Alert to his surroundings, he developed unconventional compositions in his paintings of everyday life: his landscapes collapsed into layers of dense foliage, such as



Summer 1917 (Fondation Maeght)



and street scenes, as in Piazza del Popolo, Rome 1922 (private collection), were simplified into friezes.

Perhaps most famously, his interior scenes like  

 

Coffee 1915 (Tate)

Pierre Bonnard

Nude in an Interior

c. 1935 oil on canvas overall: 134 x 69.2 cm (52 3/4 x 27 1/4 in.) framed: 139.7 x 76.2 x 3.8 cm (55 x 30 x 1 1/2 in.) Collection of Mr. and Mrs. Paul Mellon

and Nude in an interior c.1935 (National Gallery of Art, Washington) caught domestic life at uncanny moments and reframed them from snatched points of view.

A variety of these domestic scenes mark out Bonnard’s career, often showing figures in quiet contemplation, apparently oblivious to the viewer’s gaze. The artist’s wife Marthe de Méligny was a continual subject in these images. She suffered from various illnesses throughout her life and treated these with what was then called hydrotherapy through repeated bathing.

 

Bonnard’s paintings of her bathing, drying and dressing, are among his most iconic works. They form key markers in his development as an artist, as his partner’s withdrawal from the outside world becomes a shared psychological story captured in paint.

Bonnard’s process of reimagining through memory also allowed his paintings to become more abstract. This is already evident in the bands of contrasting colour in works like



The Violet Fence 1922 (Carnegie Museum of Art, Pittsburgh)

 

Pierre Bonnard, The Studio with Mimosas, 1939-46, Musee National d'art Moderne - Centre Pompidou, Paris

but reaches a high-point in the vivid Studio with Mimosa 1939-46 (Musée National d'Art Moderne - Centre Pompidou, Paris).

Pierre Bonnard, "View of Le Cannet Roofs", 1941-1942.

The exhibition will conclude with a group of stunning works created towards the end of Bonnard’s life, while spending the Second World War in Le Cannet living with scarce resources and the anxiety of invasion. These panoramic views and vibrant garden scenes show the artist looking back on a lifetime of memories and working on the brink of abstraction.

Pierre Bonnard: The Colour of Memory is curated at Tate Modern by Matthew Gale, Head of Displays, with Helen O’Malley and Juliette Rizzi, Assistant Curators. The exhibition is organised by Tate Modern in collaboration with Ny Carlsberg Glyptotek, Copenhagen and Kunstforum Wien.

https://www.tate.org.uk/press/press-releases/pierre-bonnard-colour-memory


https://www.dropbox.com/sh/hmpo3tulgt8vmke/AACWkG-SCU57YVCNERek8gUra?dl=0

Egon Schiele - Fondation Louis Vuitton

Fondation Louis Vuitton
October 3, 2018–January 14, 2019

A solo exhibition of work by 19th century Austrian painter Egon Schiele will be on view on the first floor of the Fondation Louis Vuitton. The first exhibition in Paris dedicated to the artist in 25 years, Egon Schiele will feature approximately 120 works—drawings, gouaches, and paintings—including masterpieces such as



Self-Portrait with a Chinese Lantern Plant (1912, Leopold Museum, Vienna),



Pregnant Woman and Death (1911, Národní Galerie, Prague),




Portrait of the Artist’s Wife Seated, Holding Her Right Leg (1917, Morgan Library & Museum, New York),


Standing Nude with Blue Sheet (1914, Germanisches Nationalmuseum, Nuremberg),  




Seated Male Nude (1910, Neue Galerie, New York),


and Self-Portrait (1912, National Gallery of Art, Washington, D.C.).


The exhibition brings together some 120 works - drawings, gouaches, and paintings - over more than 600m2, in the pool-level galleries (Gallery 1). It is organised chronologically across four rooms, following the concept of line and its development in the artist’s work. Dieter Buchhart explains his choice in this way: “Very few artists have approached line and drawing with the same virtuosity and intensity as Schiele. [...] By evolving from the ornamental line towards the expressionist line, combined, in three dimensions, fragmented and amputated, he enabled a borderline dissonant and divergent experience of the line as a sign of human existence.”
The exhibition’s four chapters are entitled:

The Ornamental Line (1908-1909) ; The Existential Line of Expressionism (1910-1911), The Physical Balance of the Combined Line at the Dawn of the First World War (1912-1914), and The Amputated, Fragmented Line during the War Years (1915-1918).

• The Ornamental Line brings together works inspired by the jugendstil, full of fluidity,which makes reference to the discovery of the work of Gustav Klimt, who played a major role in his development.
• The Existential Line of Expressionism is indissociable from the artist’s most expressionist works and his angular and contorted portraits and self-portraits, which are sensual and vibrant, enlivened by touches of pure colour.
• The Physical Balance of the Combined Line at the Dawn of the First World War, from the years before the first global conflict, convey the premonitory fear of war. This group of work is contemporary to, or immediately followed, the artist’s brief period of imprisonment in 1912 in Neulenbach, following accusations of indecency. It is characterised by a less sinuous line and a flatness of drawing which partially frees itself from the former dissonance.
• The Amputated, Fragmented Line during the War Years denotes a significant change: the introduction of formation in the representations of the body. The bodily postures are also more familiar, less aggressive.

Egon Schiele is organized by the Fondation Louis Vuitton and is curated by Artistic Director Suzanne Pagé and independent curator Dieter Buchhart.

The exhibition will be accompanied by a catalogue featuring essays by Buchhart and Pagé, as well as distinguished scholars and curators including Jean Clair, Alessandra Comini and Jane Kallir.

Epic Abstraction: Pollock to Herrera

Opening November 28, 2018
Exhibition Location:	The Met Breuer, Floor 2
Press Preview:	Monday, November 26, 10 am–noon

Opening November 28 at The Met Breuer, Epic Abstraction: Pollock to Herrera begins in the 1940s and extends into the 21st century to explore large-scale abstract painting, sculpture, and assemblage through more than 40 works from The Met collection, a selection of loans, and never-before-seen promised gifts and new acquisitions. 

Enhanced in the setting of Marcel Breuer's 1966 modernist architectural masterpiece, icons of Abstract Expressionism, such as Jackson Pollock's classic "drip" painting No. 28, 1950 (1950), and Louise Nevelson's monumental Mrs. N's Palace (1964–77), will be shown in conversation with works by international artists, such as the Hungarian artist Ilona Keserü.

In the wake of unprecedented destruction and loss of life during World War II, many painters and sculptors working in the 1940s grew to believe that traditional easel painting and figurative sculpture no longer adequately conveyed the human condition. In this context, numerous artists, including Barnett Newman, Pollock, and others associated with the so-called New York School, were convinced that abstract styles—often on a large scale—most meaningfully evoked contemporary states of being. 

Many of the artists represented in Epic Abstraction worked in large formats not only to explore aesthetic elements of line, color, shape, and texture but also to activate scale's metaphoric potential to evoke expansive—"epic"—ideas and subjects, including time, history, nature, and existential concerns of the self.

Highlights of the exhibition will include a group of paintings by Pollock and a selection of his experimental sketchbook drawings from the late 1930s and early 1940s that demonstrate the artist's exploration of automatic techniques and his interest in Jungian psychoanalysis. 

Major works by Franz Kline, Willem de Kooning, Robert Motherwell, and Clyfford Still will expand the representation of mid-century American painting, while an entire room devoted to Mark Rothko's meditative compositions will offer a powerful immersion in color, feeling, and sensation. 

These heralded Abstract Expressionists will be joined by Hedda Sterne and Philippines native Alfonso Ossorio, who were also associated with the movement. A significant ink painting from 1966 by Japanese artist Inoue Yuichi will illuminate the international practice of large-scale calligraphic abstraction. Monumental painterly canvases by Joan Mitchell—a lyrical retort to Pollock's freighted whipping drips—and Mark Bradford—whose Duck Walk (2016) marks a recent addition to the collection—will evoke Abstract Expressionism's long and profound legacy.

The exhibition will also feature a gallery of works by the next generation of artists, including Edna Andrade, Carmen Herrera, Ellsworth Kelly, Kenneth Noland, Frank Stella, and Anne Truitt, who tamed the highly pitched emotionalism of Abstract Expressionism by working in the hard edge and minimalist styles that came to define modern art in the 1960s and 1970s. An adjacent gallery with key works by Helen Frankenthaler and Morris Louis will explore the reductive technique of staining canvas in painting.

The exhibition's largest gallery will present a range of works composed of found objects and repurposed materials, including the centerpiece of the installation, Nevelson's Mrs. N's Palace, and Thornton Dial's elegiac Shadows of the Field (2008), which evokes the history of American slavery. The spacious installation design will establish artistic and conceptual connections between the artists on view while encouraging visitors to contemplate individual works of art in isolation or in dialogue with others in their midst.

Impressionist Treasures: The Ordrupgaard Collection

National Gallery of Canada

May 16, 2018 - September 9, 2018

A landmark show has opened at the National Gallery of Canada: the first and only presentation in North America of paintings from the world-renowned Ordrupgaard collection.

Impressionist Treasures: The Ordrupgaard Collection, on view until September 9, 2018, offers a survey of leading artistic movements in French painting from the beginning of the nineteenth century through to Impressionism and Post-impressionism, as well as works from the Danish Golden Age.
In one compelling presentation, the luminous landscapes of  Camille Corot, Claude Monet, Alfred Sisley, Camille Pissarro and Paul Cézanne, are displayed alongside the realist landscapes and hunting scenes of Gustave Courbet, the still-lifes of Édouard Manet and Henri Matisse, the intimate portraits of Edgar Degas, Berthe Morisot and Pierre-Auguste Renoir, and Paul Gauguin’s sensual paintings, as well as the unparalleled works from the Danish Golden Age, including those by C. W. Eckersberg and Christen Købke.

“This collection offers a spectacular panorama of the development of Impressionism, from the great Romantic colourist Eugène Delacroix, to the monumentality of Cézanne and the first glimmers of where Modern art would turn in the 20^th century,” said National Gallery of Canada Director and CEO, Marc Mayer. “In addition to bringing this exceptional collection to Canada, it is worth noting that many of the artists represented in the show can also be found in our collection. This includes works by Vilhelm Hammershøi, one of the most important Scandinavian painters active in the late 19th and early 20th centuries.”

The exhibition brings together 76 key paintings from Denmark’s renowned collection assembled by Wilhelm and Henny Hansen in the early 20th century, who created what is regarded as one of Europe’s most notable and beautiful survey of Impressionist and Post-Impressionist art.

Built between 1892 and 1931, the collection was kept in the family’s residence named Ordrupgaard, located in a suburb of Copenhagen. In 1918, motivated by a desire to promote French modern art, the influential Danish businessman and visionary opened the doors of his country house to the public one day a week. After his death, Hansen’s widow Henny bequeathed their home and the collection to the Danish state, which was then transformed into a museum in 1953.

The Canadian exhibition of the Ordrupgaard Collection is presented by the National Gallery of Canada in collaboration with Ordrupgaard and organized by Associate Curator, Erika Dolphin. 

Among the highlights of the exhibition are











The Chailly Road through the Forest Fontainebleau, a landscape by Claude Monet;  



Basket of Pears, a still-life by Édouard Manet;  



Portrait of a Young Woman. Vaïte (Jeanne) Goupil, by Paul Gauguin;  



Women Bathing, by Paul Cézanne;



and View from Frederiksborg Castle, by landscape painter Peter Christian Thamsen Skovgaard.


The exhibition also features portraits by two of the best women Impressionist artists:  



Women with a Fan. Portrait of Madame Marie Hubbard, by Berthe Morisot;



and The Convalescent. Portrait of a Woman in White, by Eva Gonzalès.

The 60 French paintings on view are organized chronologically, from the beginning of the 19^th century to the very beginnings of the 20^th century and grouped by artist. In some cases, as with Corot, Pissarro, Sisley and Gauguin, visitors will have the privilege of seeing six or more works from the same artist painted over the span of their careers.

This exhibition also brings to Canada a fine and rare selection of 16 paintings by leading Danish masters. This reflects how the collection was historically exhibited by the Hansens with French works in the purpose-built gallery attached to their home and the Danish works on the walls of their private quarters. The National Gallery’s own Hammershøi, Sunshine in the Drawing Room, will hang alongside these rarely seen works from Ordrupgaard.

The exhibition includes educational spaces designed to enrich the visitor experience. They present French and Danish art within an historical context and offer interactive activities focused around the colours used by the Impressionists.

Publication



The exhibition is accompanied by a 120-page hardcover bilingual catalogue written by National Gallery of Canada former Chief Curator Paul Lang. Complete with in-depth descriptions and full page illustrations, Impressionist Treasures surveys the great masters of Impressionism and Post-impressionism and the major trends of French painting that preceded them, such as the Barbizon School and Realism, through a collection regarded as one of the most beautiful in Europe.

Also included: a portrait of George Sand by Eugène Delacroix:

Frans Hals Portraits: A Family Reunion

Toledo Museum of Art 
Oct. 13, 2018-Jan. 6, 2019

Royal Museums of Fine Arts of Belgium  
Feb. 2-April 28, 2019

Collection Frits Lugt in Paris 
(dates are to be determined)

 In 2011 the Toledo Museum of Art (TMA) added a remarkable Old Master painting to its magnificent collection –  

Frans Hals (Dutch, 1582/83–1666), The Van Campen Family in a Landscape (fragment), ca. 1623–25, oil on canvas. 151 x 163.6 cm. Toledo Museum of Art, Toledo, Ohio, inv. 2011.80

Van Campen Family Portrait in a Landscape (circa 1623-25) by Frans Hals. 

 Frans Hals (Dutch, 1582/83–1666), Children of the Van Campen Family with a Goat-Cart (fragment), ca. 1623–25, oil on canvas. 152 x 107.5 cm. Frans Hals (Dutch, 1582/83–1666), Royal Museums of Fine Arts of Belgium,

Brussels, inv. 4732. ©Royal Museums of Fine Arts of Belgium, Brussels

This acquisition, and the subsequent conservation of Hals’s Children of the Van Campen Family with a Goat-Cart by the Royal Museums of Fine Arts of Belgium (RMFAB) in Brussels, has led the two museums to collaborate on an historic exhibition. Bolstered by evidence from the conservation treatment on the latter painting, scholars verified that the canvases now in Toledo and Brussels, as well as a third in a private collection, once formed a single composition painted by Hals in the early 1620s. The original canvas was cut into sections more than two centuries ago. These spirited representations of the Van Campen family will now be reunited as a result of this significant international partnership. In addition, the four other family portraits painted by Hals, including his only double portrait of a married couple, will be brought together for the first time. 
 

Frans Hals Portraits: A Family Reunion premieres at TMA, the exclusive U.S. venue, where it will be on view Oct. 13, 2018-Jan. 6, 2019, before traveling to the RMFAB in Brussels, Feb. 2-April 28, 2019, and the Collection Frits Lugt in Paris (dates are to be determined). 

            “Featuring Frans Hals’s dynamic and authentic imagery of real families, this exhibition operates on a number of exciting levels, including the jigsaw puzzle of innovative scholarship, along with the incorporation of contemporary Toledo-area faces and voices as they consider the character of family relationships in our community today,” said Brian Kennedy, TMA’s Edward Drummond and Florence Scott Libbey director. 

            This extraordinary exhibition will spotlight major loans from several European and North American museums and private collections, including the Royal Museums of Fine Arts of Belgium in Brussels, Museo Thyssen-Bornemisza in Madrid, National Gallery in London, Rijksmuseum in Amsterdam, Cincinnati Art Museum and Taft Museum of Art in Cincinnati and the Toledo Museum of Art. 

            The exhibition was co-curated by Lawrence W. Nichols, TMA’s William Hutton senior curator, European and American painting and sculpture before 1900, and the RMFAB’s Liesbeth De Belie, curator of 17th-century Dutch paintings. 

            One of the greatest portraitists in the history of Western European painting, Frans Hals (1582/83-1666) is renowned for his revolutionary candid style of capturing sitters in seemingly spontaneous poses and lively gestures. A contemporary of Hals’s wrote that his “paintings are imbued with such force and vitality that…they seem to breathe and live.”

            Accompanying the reunion of the Toledo and Brussels portraits in the installation will be Head of a Boy (circa 1623-25) from a private collection, which completes the original painting of the Van Campen family;  

Frans Hals (Dutch, 1582/83–1666), Family Group in a Landscape, ca. 1645–48, oil on canvas. 202 x 285 cm. Museo Thyssen-Bornemisza, Madrid, inv. 1934.8. ©Museo Thyssen-Bornemisza, Madrid

Family Group in a Landscape (circa 1645-48) from the Museo Thyssen-Bornemisza, Madrid; 

Family Group in a Landscape (circa 1647-50) from the National Gallery in London;  

Frans Hals (Dutch, 1582/83–1666),

Marriage Portrait of Isaac Massa and Beatrix van der Laen, ca. 1622, oil on canvas.140 x 166.5 cm. Rijksmuseum, Amsterdam, inv. SK-A-133.©Rijksmuseum, Amsterdam

Marriage Portrait of Isaac Massa and Beatrix van der Laen (circa 1622) from the Rijksmuseum, Amsterdam; 

Frans Hals (Dutch, 1582/83–1666), Portrait of a Dutch Family, mid-1630s, oil on canvas. 111.8 x 89.9 cm. Cincinnati ArtMuseum, Cincinnati (Ohio), inv. 1927.399

and Portrait of a Dutch Family (mid-1630s) from the Cincinnati Art Museum. 

            Setting the scene and providing context for the exhibition will be a gallery of other works of Netherlandish art from TMA’s collection that represent families. Leading into the exhibition of portraits by Hals will be an entry space devoted to encouraging visitors to reflect on multiple definitions of family by engaging with a selection of TMA objects across cultures and eras, as well as a monumental collage and video of Toledo community members, which resonate with the theme of family. 

            Upon exiting the focused Hals section, visitors will be invited to respond to the portraits on view by sharing their own perspectives of family in the 21st century through a series of interactive tools and approaches. In addition, a library and reading area and performance space will be provided to further enhance the gallery experience.

            “As one of the leading luminaries of the Dutch Golden Age, Hals is also one of the most ingenious and accessible artists of any period or place,” said Nichols. “His charismatic and sympathetic portraiture not only reflects 17th-century everyday life, it also provides us with a rich platform from which to explore and approach the meaning of family in our own time.”

            Family portraiture first emerged in the Netherlands as a genre in the early 16th century, when prosperous middle-class Dutch families began to commission artists for their likenesses. These family portraits would have been displayed in private homes, not public exhibition spaces, though in spaces in the house where guests would see them. Most of these group portraits featured families in a domestic interior or a parkland setting. The major challenge for artists working in the genre was how to represent individuality as well as the collective dynamic.

OLGA PICASSO

MUSEO PICASSO MÁLAGA

26th February.- 2nd June 2019

 

 

This exhibition examines the relationship between Picasso and his first wife, Olga Khokhlova. It puts into perspective the creation of some of Picasso’s major works and reconstructs his body of work within the context of a personal story that developed alongside a different political and social one. Throughout the artist’s classical period, Olga was the Picasso model par excellence. 

 

 

During the upheaval of Europe between the wars, his depictions of her were to undergo a metamorphosis, as their relationship gradually deteriorated. 

 

Pablo Picasso, spring 1918, Portrait d'Olga dans un fauteuil (Olga in an Armchair), oil on canvas, 130 x 88.8 cm, Musée Picasso, Paris, France

 

 

The exhibition is organized by Musée national Picasso-Paris and Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid, in collaboration with the A.S. Pushkin State Museum of Fine Arts, Moscow; Museo Picasso Málaga and CaixaForum Madrid.

 

 

Pablo Picasso (1881-1973)
Olga in Pensive Mood, [winter 1923]
Pastel and pencil on paper
105 x 74 cm
Musée national Picasso-Paris
© RMN-Grand Palais (Musée national Picasso-Paris)/Mathieu Rabeau
© Sucesión Pablo Picasso, VEGAP, Madrid, 2018