Tuesday, May 21, 2019

Renoir: The Body, The Senses

Clark Art Institute, Williamstown, Massachusetts 
June 8–September 22, 2019 
Kimbell Art Museum,  Fort Worth, Texas 
October 27, 2019–January 26, 2020
Over the course of his long career, Pierre-Auguste Renoir (French, 1841–1919) continually turned to the human figure for artistic inspiration. The body—particularly the nude—was the defining subject of Renoir’s artistic practice, from his early days as a student copying the old masters in the Louvre to the early twentieth century, when his revolutionary style of painting inspired the masters of modernism.

In recognition of the centenary of Renoir’s death, the Clark Art Institute and the Kimbell Art Museum present Renoir: The Body, The Senses. This daring exhibition is the first major exploration of Renoir’s unceasing interest in the human form, and it reconsiders Renoir as a constantly evolving artist whose style moved from Realism into luminous Impressionism, culminating in the modern classicism of his last decades.

Co-organized by Esther Bell, Martha and Robert Lipp Chief Curator at the Clark, and George T.M. Shackelford, Deputy Director at the Kimbell, the exhibition will be on view at the Clark in Williamstown, Massachusetts June 8–September 22, 2019 and at the Kimbell in Fort Worth, Texas October 27, 2019–January 26, 2020.

Renoir: The Body, The Senses includes some seventy paintings, drawings, pastels, and sculptures by the artist as well as works by his predecessors, contemporaries, and followers. An international roster of exceptional loans including 

Pierre Auguste Renoir (1841-1919)
The Boy with the Cat
Oil on canvas
H. 123; W. 66 cm
© RMN-Grand Palais (Musée d'Orsay) / René-Gabriel Ojéda

Boy with a Cat (1868, Musée d’Orsay);  

Study: Torso, Effect of Sun (c. 1876, Musée d’Orsay);

Seated Bather (c. 1883–1884, Fogg Museum, Harvard Art Museums);

File:Pierre Auguste Renoir - The Bathers - Google Art Project.jpg

 Pierre-Auguste Renoir (1841-1919)
The Bathers
Circa 1918-1919
Oil on canvas
H. 110; W. 160 cm
© RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski

and The Bathers (1918–19, Musée d’Orsay),

as well as major contributions from the Clark’s renowned collection of the artist’s work:

The Ingenue

Pierre-Auguste Renoir
Oil on canvas, 55,7 x 46,4 cm
c. 1876
Massachusetts, Sterling and Francine Clark Art Institute

 File:Madame Claude Monet by Pierre-Auguste Renoir.jpg

Madame Claude Monet Reading

Pierre-Auguste Renoir
Oil on canvas, 61,6 x 50,3 cm
c. 1872
Massachusetts, Sterling and Francine Clark Art Institute



Pierre-Auguste Renoir
Oil on canvas, 39,1 x 31,6 cm
c. 1875
Massachusetts, Sterling and Francine Clark Art Institute

Jaques Fray

Pierre-Auguste Renoir
Oil on canvas, 42,2 x 33,8 cm
Massachusetts, Sterling and Francine Clark Art Institute

survey the breadth of Renoir’s career.

Renoir’s respect for tradition will be demonstrated by comparison with such paintings as


The Three Graces (Peter Paul Rubens, c. 1636, Dulwich Picture Gallery), 

Andromeda (Eugène Delacroix, 1852, Museum of Fine Arts, Houston),


and The Repose (Camille Corot, 1860, reworked c. 1865/70, National Gallery of Art).

His distinct approach to the subject of bathers will be underscored in a comparison of works such as


his Bathers Playing with a Crab (c. 1897, Cleveland Art Museum)

and The Bathers (Edgar Degas, c. 1895, Art Institute of Chicago).

Renoir’s profound influence on future generations will be seen in Pablo Picasso’s Nude Combing Her Hair (1906, Kimbell Art Museum), among others.

“Our exhibition will survey Renoir’s long career through the lens of the single subject that defines his legacy,” said Bell. “It’s the subject that most compellingly demonstrates how truly radical—and so often brilliant—he was.”

The exhibition investigates a number of themes central to today’s consideration of Renoir’s art, chief among them his engagement with the long tradition of the female nude as depicted in antique sculpture, in painting since the Renaissance, and as espoused, in his time, by the École des Beaux-Arts. Further themes include the concept of the female body and the male gaze in the nineteenth century; Impressionist figure painting and the effects of light on flesh; Renoir’s talent as a draftsman; the relationship between Renoir’s treatment of the body and that of such contemporaries as Gustave Courbet, Edgar Degas, and Paul Cézanne; and his late—still much debated—paintings and sculpture, works that inspired the next generation of modern artists.

“One hundred years after his death, Renoir still courts controversy,” said Shackelford. “We expect today’s audiences will be both inspired and challenged by the magnificent images of the nude that we’re bringing together in Renoir: The Body, The Senses—and we’re looking forward to a lively discussion.”

The artist’s critical reception—then and now—is explored in the exhibition and in the accompanying catalogue. During his lifetime, Renoir was idolized by artists including Pablo Picasso, Pierre Bonnard, and Henri Matisse, as well as renowned collectors Gertrude and Leo Stein, Josse and Gaston Bernheim-Jeune, Albert Barnes, and Sterling and Francine Clark. But he also experienced brutal criticism. In 1876, critic Albert Wolff wrote in Le Figaro, “Would someone kindly explain to M. Renoir that a woman’s torso is not a mass of decomposing flesh with the green and purplish blotches that indicate a state of complete putrefaction in a corpse...”—referring to Study: Torso, Effect of Sun, now regarded as one of the high points of Impressionism. Today, Renoir remains a polarizing figure worthy of scholarly investigation, unabashed contemplation, and reconsideration by contemporary audiences.

In an interview conducted for the exhibition catalogue, contemporary artist Lisa Yuskavage, whose work prominently features the female nude, discusses why Renoir endures as an artist worthy of continued examination. “…Renoir doesn’t impress everyone. And yet he persists. I really do think that the serious conundrum is why. I think that is a worthwhile thing to try to understand. What is it that makes his work persist? It’s not just because a lot of people like it. I think the answer really lies in understanding who has loved it.”


The companion catalogue (Yale University Press) also features essays from leading scholars of nineteenth-century painting, such as Colin B. Bailey, Director of the Morgan Library & Museum; Esther Bell; George T.M. Shackelford; Nicole Myers, the Lillian and James H. Clark Curator of Painting and Sculpture at the Dallas Museum of Art; Martha Lucy, Deputy Director of Research, Interpretation and Education at the Barnes Foundation; and Sylvie Patry, Deputy Director of the Musée d’Orsay. Yuskavage’s reflections on Renoir are included in a lively discussion with Alison de Lima Greene, the Isabel Brown Wilson Curator of Modern and Contemporary Art at the Museum of Fine Arts, Houston, exploring the depiction of the body in relation to twenty-first-century feminist dialogue.

Surrealism in Mexico

Di Donna, 744 Madison Avenue, NYC
April 26 – June 28, 2019

Di Donna Galleries announces Surrealism in Mexico, an exhibition that explores the robust creative moment that emerged between 1940 and 1955 as an international community of artists fled World War II in Europe and settled in Mexico. There, many principles that had defined the Surrealist movement were broadened and transformed in response to a new topography, new cultures, and the experience of exile, toward the creation of radically innovative new styles. This vibrant art-historical episode was made possible through liberal ideas about collaboration, immigration, and gender roles. It is particularly relevant in the context of today’s cultural and political climate, where such issues remain under intense scrutiny and debate.

Surrealism in Mexico is unprecedented in the United States for its subject and its scope. The exhibition will feature paintings, sculptures, drawings, photographs, and collages by artists including Lola Álvarez Bravo, Leonora Carrington, Esteban Francés, Gunther Gerzso, Kati Horna, Frida Kahlo, Agustín Lazo, Matta, Gordon Onslow Ford, Wolfgang Paalen, Alice Rahon, Bridget Bate Tichenor, and Remedios Varo, with loans from distinguished private collections, corporate collections, and non-profit foundations in Mexico, the United States, and Europe.

A fully illustrated catalogue with scholarly essays by Mexico City-based curator Tere Arcq and Dr. Salomon Grimberg will be published to accompany the exhibition.

In 1938, André Breton and his wife, the artist Jacqueline Lamba, traveled to Mexico, where they were hosted by Kahlo and Diego Rivera. Breton championed Kahlo’s work, while Kahlo’s home and studio became a nexus for intellectual and creative dialogue. Moreover, Kahlo’s unapologetic expressions of her own physical and psychological conditions validated women’s experiences as a subject for artists such as Carrington and Varo.

Frida Kahlo. Me and My Parrots. 1941. Oil on canvas. Private Collection. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. 

Di Donna Galleries is pleased to present four paintings by Kahlo in this exhibition, including her famous painting  

La Venadita (The Little Deer) (1946) and her commanding self-portrait Me and My Parrots (1941).

Carrington, Tichenor, and Varo typically worked in illustrative styles, fusing autobiography, cosmic and ancient myths, and poetic aspects of the natural landscape in developing their own unique forms of magic realism. While the thematic sources of Carrington’s work, which included alchemy, Gnosticism, shamanism, and other esoteric subjects predated her arrival in Mexico, it was there where Carrington, away from a stifling upbringing and the horrors of war, discovered the freedom to cultivate a deeply personal and codified visual language.

Works such as the exquisitely rendered

Leonora Carrington, Les Distractions de Dagobert, 1945

Les Distractions de Dagobert (1945) reveal Carrington’s remarkable ability to evoke mysterious and intimate rituals. Varo similarly found creative liberation in Mexico. Her paintings often contain figures on expedition or conducting ritualistic acts among the cosmos, as in  

Papilla estelar (Celestial Pablum) (1958).

Paalen, Matta, Francés, and Onslow Ford developed new types of abstraction in response to local history and geology.

Paalen developed an alternative theory to Breton’s brand of Surrealism, followed by a series based on totemic figures seen in grand canvases such as Tropical Night (1948), that indicate the influence of both quantum physics and pre-Columbian objects accessible to him at the time.

In 1941, Matta began a new series of works inspired by the country’s landscape and the psychological anxiety of wartime, sensitively alluded to in Centro del agua (Center of Water) (1941), which Matta painted while visiting Paalen.

Onslow Ford’s ambitious painting The Luminous Land (1943), which will be shown in New York for the first time, is an abstracted interpretation of the lake and mountain setting of his home in the remote town of Erongarícuaro, centered around an erupting volcano. In Mexico, Onslow Ford admitted that his growing attachment to nature and its impact on his psyche led him away from Surrealism.

For artists in this exhibition who had been part of the Surrealist circle in Europe, the practice of living and making art in Mexico quickly demythified notions of the country that had been constructed across the Atlantic. The fertile art-historical moment addressed by Surrealism in Mexico comprises pictorial innovations involving both figuration and abstraction, united by investigations into the physical and unseen worlds, as artists adapted conventional Surrealist strategies to the new experience of being in Mexico. This remarkable period of expansion, in both aesthetic and conceptual terms, resulted in work that would come to define major episodes in these artists’ careers, and transform notions of Surrealism beyond Europe’s borders.

More images 

Wednesday, May 15, 2019

The essential Duchamp

Art Gallery of New South Wales
 On view until 11 Aug 2019

'The essential Duchamp' celebrates the legendary work of artist and provocateur Marcel Duchamp

Marcel Duchamp Bicycle wheel 1964 (replica of 1913 original) Philadelphia Museum of Art; Fountain 1950 (replica of 1917 original) Philadelphia Museum of Art; Hat rack 1964 (replica of 1917 original) National Gallery of Australia, Canberra; Bottlerack 1961 (replica of 1914 original) Philadelphia Museum of Art, © Association Marcel Duchamp/ADAGP. Copyright Agency, 2018

More than a century after Marcel Duchamp’s (1887–1968) readymade Fountain was rejected from display in New York and over five decades since the last significant exhibition of his work came to Australia, the Art Gallery of New South Wales presents The essential Duchamp. This must-see exhibition from the Philadelphia Museum of Art also marks the 50 year anniversary of the artist’s death.

The essential Duchamp is the most comprehensive survey of the art and life of Duchamp ever to be seen in the Asia Pacific region, bringing together over 125 works from the Philadelphia Museum of Art’s world-renowned collection. The travelling exhibition began in 2018 and concludes its tour at the Art Gallery of NSW in Sydney, following on from the Tokyo National Museum, Japan and the National Museum of Modern and Contemporary Art in Seoul, Korea.

Dr Michael Brand, director of the Art Gallery of NSW, said The essential Duchamp features work spanning the artist’s six-decade career, exploring Duchamp’s formative years alongside iconic works and key documentary materials.

“Tracking the achievements of Marcel Duchamp is to map some of the most seismic shifts in 20th century art history. The essential Duchamp reveals the life and work of an artist whose provocative and unorthodox approach dramatically expanded the possibilities for making art.

“Duchamp began building his reputation as a major disruptor of the art world when he exhibited Nude Descending a Staircase (No.2) 1912 at the 1913 Armory Show in New York. Yet, even as this magnificent and innovative take on Cubism established his name, Duchamp’s relentless efforts to challenge conventions saw him abandon painting and embark into uncharted artistic territory including the legendary readymades and the development of Rrose Sélavy, his female alter ego,” Brand said.

“The Philadelphia Museum of Art holds the world’s largest and most significant collection of Duchamp’s work together with an incomparable library and archival holdings relating to the artist, making The essential Duchamp a rare opportunity to experience his work in depth,” Brand added.
Timothy Rub, George D. Widener director and CEO of the Philadelphia Museum of Art said the Museum is proud to partner with the Art Gallery of NSW for a second time to bring another ambitious and innovative exhibition to Sydney, following the success of America: painting a nation in 2013.

“The gift of the Louise and Walter Arensberg collection in 1950, with its great concentration of works by Duchamp, was a landmark event in the history of the Philadelphia Museum of Art establishing it as a world renowned destination for modern art. We are delighted to share it with new audiences in the Asia-Pacific region.

“Duchamp’s reputation has never stood higher than it does at present among artists working around the world. Fifty years after his death the passage of time has seemed only to clarify and to strengthen the argument that his work represents an inflection point in the history of art, the significance of which has not been fully appreciated,” Rub said.

Dr Matthew Affron, exhibition curator and Muriel and Philip Berman curator of modern art at the Philadelphia Museum of Art, said The essential Duchamp tells the story of Duchamp’s making and unmaking as a painter, revealing an influence that continues to resonate.

“Duchamp’s legend has proliferated internationally. His impact is seen today in artists’ engagement with multiples and facsimiles, in critical reflection on the display of art in galleries and museums, and in work that deals with commodity culture or explores the connections between gender, sexuality, and art.

“Duchamp wanted to exclude his personal taste and the technical skill of his hand from his work in order to make ideas paramount and bring forward the intellectual value in art. The essential Duchamp explores his insistent pursuit of independence and freedom in both art and life,” Affron said.
Nicholas Chambers, exhibition coordinating curator and senior curator of modern and contemporary international art at the Art Gallery of NSW, said the exhibition is unprecedented in Australia due to the depth and breadth of the representation of Duchamp’s career.

“From his early paintings as a teenager to his portable museums of miniatures late in life, and including important works that have not before been seen in the Asia Pacific region such as Portrait of Dr. Dumouchel 1910, Sonata 1911, and Chocolate Grinder (No. 2) 1914, this exhibition offers rare insights into the development of both Duchamp’s art and his enigmatic persona,” said Chambers.

The essential Duchamp is accompanied by a richly illustrated publication which tells the artist’s story through four key periods. Written by exhibition curator Matthew Affron with additional contributors: Cécile Debray, director at the Musée de l’Orangerie, Paris; Alexander Kauffman, Andrew W. Mellon–Anne d’Harnoncourt Postdoctoral Curatorial Fellow, Philadelphia Museum of Art; Michael R. Taylor, chief curator and deputy director for art and education, Virginia Museum of Fine Arts, Richmond and John Vick, collections project manager, Philadelphia Museum of Art.

Marcel Duchamp 'Portrait of the artist's father' 1910 Philadelphia Museum of Art, Louise and Walter Arensberg Collection, 1950-134-49 © Association Marcel Duchamp/ADAGP. Copyright Agency, 2019.

The Essential Duchamp, organized by the Philadelphia Museum of Art, will present a rich and engaging account of the life and work of one of the most original and influential artists of the twentieth century, Marcel Duchamp (1887–1968).
Marcel Duchamp profoundly changed the way in which we think about the creation and interpretation of art. He earned his celebrity a century ago when his painting Nude Descending a Staircase (No. 2) (1912) was exhibited at the groundbreaking Armory Show in New York, where it sparked reactions ranging from admiration to outrage. Twenty-five years later, Duchamp observed to an interviewer that the painting and its scandal had in some ways overtaken his story, leaving him "only a shadowy figure behind the reality of that painting." Our understanding of his complaint must be tempered, however, by the knowledge that Duchamp preferred to glide in relative silence through the world of the avant-garde. An aura of mystery was fundamental to his persona.
Organized by Matthew Affron, the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Museum of Art, the exhibition will consist of approximately one hundred and forty works of art and important archival and documentary items, nearly all drawn from the Museum's collection. It will be arranged as a survey of Duchamp's more than sixty years of activity as an artist. Threaded throughout the exhibition and central to its narrative structure will be the story of Duchamp's life in France and the United States. The exhibition will be divided into four sections.
The Essential Duchamp was organized by the Philadelphia Museum of Art.

  1. A Painter’s Life

Duchamp took up painting as an adolescent in the summer of 1902, and for the next eight years he drifted among various idioms of innovative art: Impressionism, Symbolism, and Fauvism. This modernist apprenticeship led to a brief but extremely original engagement with Cubism and the production of numerous important works including Nude Descending a Staircase (No. 2) (1912), the composition that had a scandal at the Armory Show in New York and made its author an art celebrity in the United States. But in the autumn of 1912, the twenty-five-year-old Duchamp to a momentous decision: he resolved to abandon the painter's craft and seek new ways of working.
The first chapter in the life and the work of Marcel Duchamp is the story of his making and unmaking as a painter.

Nude Descending a Staircase (No. 2)
Marcel Duchamp
Philadelphia Museum of Art.
The Louise and Walter Arensberg Collection, 1950

  2. "Can Works be Made Which are Not ‘Of art’?"

Starting in 1912 Duchamp worked toward the execution of his magnum opus, The Bride Stripped Bare by Her Bachelors, Even (1915-23), a picture on glass that overturned the ground rules of painting as conventionally understood. In 1913, the first of his so-called readymades came into being. Readymades, functional objects deprived of their utilitarian identity, blurred the line between fine art and mass production and challenged commonsense notions about the priority of the artist's hand and the difference between original and copies in art.
In 1915, Duchamp emigrated to New York City. It was there, in 1917, that a notorious object entitled Fountain triggered the first public discussion of the idea of the readymade.

The Philadelphia Museum of Art holds 6 readymades out of 12 crated by Duchamp. From the collection, this exhibition will present Bicycle Wheel, Bottle rack, and Fountain.

*The Bride Stripped Bare by Her Bachelors, Even ("The Large Glass")
*The exhibition will show the 1980 replica (Komaba Museum, The Universty of Tokyo) of the 1915–1923 original
This famous work was left unfinished after Duchamp worked on it from 1915 to 1923. The glass was accidentally shattered after the work’s first public display at the Brooklyn Museum in 1926. Duchamp repaired The Large Glass and accepted the cracks as part of the work.

  3. Rrose Sélavy

Duchamp spent the better part of the interwar period based in Paris. Having already abandoned the activity of painting, he now shifted his professional energies to playing chess. But he also invented an artistic female persona named Rrose Sélavy, and used this assumed identity to pursue new activities in the art world. Duchamp pursued experiments in word-play (puns and verbal games) and also made unconventional art works based upon his long study of the principles of perspective and optics. These concerns dovetailed in "Anemic Cinema", the short avantgarde film he produced in 1926 with the assistance of his frequent accomplice, the photographer Man Ray. Meanwhile, by the mid-1930s, Duchamp had become more and more interested in an outgrowth of the readymade idea, namely the notion of producing and marketing replicas in limited editions of his earlier and more recent works. This idea led to the painstaking fabrication of a portable museum of miniature replicas, (From or by Marcel Duchamp or Rrose Sélavy Box in a Valise) (1935–41). Throughout the interwar period, and then once again as a wartime emigre in New York, Duchamp also worked as a fellow traveler of the international Surrealist group (Duchamp became an American citizen in 1955).

  4. Our Lady of Desire

In the final two decades of his life, Duchamp achieved legendary status, first among artists and art-world insiders and then in the broader culture. During this same period, he went almost totally underground as an artist. Working in near-total secret within his New York studio, he created his final masterpiece, Étant donnés (1946–66). This room-sized, three-dimensional construction built around a life-case mannequin of a female nude offered a final reflection on themes that had preoccupied Duchamp across his career: the nature of the erotic, the artistic implications of modern engineering, science, and mathematics, the aesthetics of realism and the psychology of vision. In 1969, after the artist's death, Étant donnés was placed in proximity to its epic predecessor The Large Glass, which some years before had joined the principal collection of Duchamp's art at the Philadelphia Museum of Art. It was only once Étant donnés was revealed to the world that the unifying logic of the rest of his late production, which was related to it, became apparent.

Duchamp Sitting by a Replica of Fountain

Duchamp Sitting by a Replica of
Photographer unknown
Gelatin silver print; 1965
Philadelphia Museum of Art, Library and Archives: Gift of Jacqueline,Paul and Peter Matisse in memory of their mother Alexina Duchamp

Teeny Duchamp beside the Doors for Etant donnés in or near La Bisbal d' Empordà
Photographer unknown
Gelatin silver plate; Early 1960s
Philadelphia Museum of Art. Gift of Jacqueline, Paul and Peter Matisse in memory of their mother Alexina Duchamp

A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection

Peabody Essex Museum 
May 11 through December 1, 2019
The Peabody Essex Museum (PEM) presents the debut exhibition of an outstanding collection of American painting, furniture, and decorative arts that was assembled by philanthropists, Carolyn and Peter Lynch, over the course of fifty years. A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection takes visitors on the personal collecting journey of a couple that shared an extraordinary life together.

Through travel, exploration, and intellectual curiosity, the Lynches amassed a broad-ranging collection that includes spectacular, classic furniture from Boston, New York, and Philadelphia; paintings by Childe Hassam, Martin Johnson Heade, Winslow Homer, and John Singer Sargent; works by modern furniture master Sam Maloof; and pottery by Otto and Gertrud Natzler.

Also featured are three significant works by Georgia O’Keeffe, Childe Hassam, and J.O.J. Frost that were recently donated to PEM by Peter Lynch in memory of his late wife, Carolyn Lynch. By embracing an organic approach to collecting and by freely integrating multiple subjects, time frames and media, the Lynches created lively conversations about artistic creativity, regional styles, and evolving traditions in America. A Passion for American Art is on view at PEM from May 11 through December 1, 2019.

This jewel-box exhibition celebrates the couple’s abiding love of nature and of American history through 120 works of decorative art, 36 pieces of furniture, 35 paintings and sculptures, and 10 Native American artworks. The majority of the works are pristine examples of American creativity from the 18th and 19th centuries – an era when many artists echoed the latest styles and forms from Europe while also striving to express new American ideals, beliefs, and regional tastes.


Passion for American Art : Selections from the Carolyn and Peter Lynch Collection - (Hardcover)

Published by the Peabody Essex Museum, the major 224-page publication, A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection, celebrates the outstanding examples of American painting, furniture, decorative arts, and Native American art from the Carolyn and Peter Lynch collection. This luxuriously illustrated book traces the couple’s growth as collectors, their cultural and aesthetic affinities and their relationships with artists and fellow collectors. Writer Jeanne Schinto offers a profile of the Lynches and a view into how the collection expresses the couple’s distinctly American sensibility. PEM’s Carolyn and Peter Lynch Curator of American Decorative Art, Dean Lahikainen, shares an introduction to the collection and a series of short essays by PEM curators explore how the Lynches combined diverse works in the living spaces of their homes. The exhibition catalog will be available this spring at pemshop.com.


"This exhibition allows us to marvel not only at the range of American traditions and creativity but also appreciate how collecting can amplify a sense of place and express aesthetic and intellectual values,” says Lahikainen.


Best known for heading Fidelity’s Magellan Fund, the best performing mutual fund in the world, Peter Lynch is also a major philanthropist. Together, the couple established the Lynch Foundation in 1988 to support nonprofit organizations in the greater Boston community. For many years, Carolyn served as a PEM Trustee and Overseer and helped found the museum’s American Decorative Arts Committee. In 2014, the Lynch Foundation generously created an endowment for the PEM’s robust changing exhibition program.

A Passion for American Art features three works given to PEM’s American art collection by Peter Lynch in memory of his late wife. These include Marblehead folk artist J.O.J. Frost, American Impressionist painter Childe Hassam, and American master Georgia O’Keeffe. PEM has presented solo exhibitions in recent years of both Hassam’s and O’Keeffe’s works.


Frost’s 1925 panoramic masterwork, an oil on fireboard painting, called The March into Boston from Marblehead, April 16, 1861: There Shall Be No More War, is of exceptional quality and scale. The local and national histories referenced in the painting, coupled with the highly-detailed, large-scale panoramic narrative scene, has broad appeal. The painting is poignantly autobiographical, capturing Frost’s childhood memory of watching his father alongside other Marblehead men depart on foot to Faneuil Hall in Boston to enlist in the Civil War.


A key loan in PEM’s 2016 exhibition, American Impressionist: Childe Hassam and the Isles of Shoals, Hassam’s 1911 painting East Headland, Appledore, Isles of Shoals is a masterpiece within Hassam’s Appledore oeuvre. East Headland is the first major American impressionist picture, and the first Hassam, to enter PEM’s collection. The work also holds special significance to the Lynch family as Peter took Carolyn to Appledore as a birthday surprise to see the island and the site depicted in this painting.

Georgia O’Keeffe, Cedar and Red Maple, Lake George, 1921. Oil on canvas. Peabody Essex Museum, Gift of Peter S. Lynch in memory of Carolyn A. Lynch. © Peabody Essex Museum. Photography by Bob Packert.
 In Cedar and Red Maple, Lake George, 1921, O’Keeffe’s treatment of natural forms and unconventional contours resulted in a modernist painting that abstracts, combines, and layers the landscape in ways that – at the time – were unprecedented in American art. The small but vivid canvas is characteristic of her aesthetic responses to the Lake George landscape. This gift dramatically bolsters PEM’s expanding and diversifying collection of works by women and by modern artists.


Martin Johnson Heade, Orchid and Hummingbirds near a Mountain Lake, about 1875-90. Oil on canvas. Collection of Carolyn A. and Peter S. Lynch. Photography by Bob Packert/Peabody Essex Museum.

Freeman’s American Art and the Pennsylvania Impressionists June 19

Freeman’s has again artfully curated another strong sale for June, consisting of nearly 160 lots and replete with many sought after artists. Many of the usual suspects will make an appearance in both the American Art and the Pennsylvania Impressionists categories, including William Glackens (1870-1938), Martin Lewis (1881-1962), Joseph Stella (1877-1946) and Charles Burchfield (1893-1967), as well as Fern Coppedge (1883-1951), Edward Redfield (1869-1965), Walter Schofield (1867-1944), and Mary Elizabeth Price (1877-1965). In addition, the sale will feature various, renowned artists including Walter Palmer (1854-1932) and Hugh Breckenridge (1870-1937).

An undoubted highlight of the auction is an important and dramatically composed painting by Newell Convers Wyeth (1882-1945) entitled “The Huge Monster Soon Came in Sight, Part of His Body Appearing Above the Waves and Part Concealed” (Angelica and the Sea-Serpent) (lot 85). Originally created as an illustration for Thomas Bulfinch’s The Legends of Charlemagne, which was published in 1863 and was an iconic collection of European fables and legends from the Middle Ages. The lot boasts compelling provenance, having been gifted by the artist to his friend Ralph Graves, whom he met in Washington, D.C. while working on a series of murals for National Geographic, and has remained in the same family ever since. According to the present owner, it is “by far the best and most dramatic painting” of the series NC Wyeth created for the publication.

Another exciting highlight of the sale is a beautiful portrait by Cecilia Beaux (1855-1942) of one of the artist’s childhood friends, entitled “Ethel Page as Undine” (lot 19). 

Another exciting highlight of the sale is a beautiful portrait by Cecilia Beaux (1855-1942) of one of the artist’s childhood friends, entitled “Ethel Page as Undine” (lot 19). This painting is Beaux’s second of three depictions of Ethel Page; the other portraits are in the collections of the Philadelphia Museum of Art and the National Museum of Women in the Arts in Washington, D.C. Page, who came from an affluent Philadelphia family and is a direct descendent of Roger Williams (the founder and first governor of Rhode Island) is shown here, dressed for a formal gala event and depicted as Undine, the mythological water nymph. The work is one of the artist's most successful paintings, for which Beaux won a Mary Smith prize from the Pennsylvania Academy of the Fine Arts, and garnered Beaux considerable fame. The work is deeply inspired by James Abbott McNeill Whistler (1834-1903) and the Aesthetic Movement.

Well represented in the sale, as always, are the Pennsylvania Impressionists.

Most notable is a serene winter scene (lot 121) by Edward Willis Redfield; “The Frozen Creek” was completed in Point Pleasant and originally in the collection of the artist’s granddaughter.

Additional highlights count Daniel Garber’s (1880-1958) “Cobb’s Creek” (lot 154),

 a Walter Elmer Schofield painting entitled “Road to the Moors”, which was painted in England and was previously in the collection of Mrs. Whitney, wife of the head of J.P. Morgan (lot 134).

Moreover, the sale will offer a number of works by renowned female Pennsylvanian artists, counting five paintings by Fern Coppedge (lots 114, 126, 127, 144, 159), including a charming spring scene and an impressive representation of the Grist Mill in Bucks County. In addition, a beautiful, screen-like floral still life by Mary Elizabeth Price, painted with gold and silver leaf, along with two other works by the artist, will round out the category (lot 146).

The sale will offer several excellent watercolors, including

 ANDREW WYETH (american 1917–2009) "FROZEN WASH" Signed (twice) 'Andrew...

 an Andrew Wyeth (1917-2009) called “Frozen Wash” (lot 89), as well as an enticing group of more modern works, including several gouaches by Burchfield (lots 70-74) and a “mystical” watercolor by Stella (lot 76). Additionally, there are several noteworthy still life lots, including works by Herman Dudley Murphy (1867-1945) (lots 20 & 21) and John F. Peto (1854-1907) (lot 18).

Sotheby’s American Art auction in New York 21 May 2019

Sotheby’s American Art auction in New York on 21 May 2019 is led by Edward Hopper’s Central Park scene, Shakespeare at Dusk (estimate $7/10 million), as well as significant examples by American icons such as Norman Rockwell, Grant Wood, Georgia O’Keeffe, and Mary Cassatt. Highlights from the auction are now on view in Sotheby’s newly expanded and re-imagined New York galleries, with the full exhibition of all works opening on the 17th

 Edward Hopper, Shakespeare at Dusk. Estimate: $7/10 Million. Courtesy Sotheby's. 

Following the sale of Edward Hopper’s seminal Two Comedians last November, Sotheby’s is  offering yet another outstanding work by the artist: Shakespeare at Dusk (estimate $7/10 million). Set in Central Park, this scene belongs to Hopper’s celebrated series of New York cityscapes—a subject matter he explored early in his career while studying under Robert Henri and continued until his death in 1967. Painted in 1935, the work was previously held in the collection of John J. Astor VI, prominent socialite and son of Colonel John Jacob Astor IV, who tragically died in the sinking of the Titanic in 1912

A lifelong lover of poetry and prose, Hopper overtly references the profound influence of literature on his emotional response to specific times of day, particularly the evening in Shakespeare at Dusk. The poems that he quoted, often as explanations for his own art, frequently focus on the mood of duskits sense of mystery, anxiety, and eros born out of the varying effects of light and shadow.
Shakespeare at Dusk depicts two statues cloaked in shadow near a deserted southern end of the Central Park Mall, which is illuminated by the vibrant afterglow of sunset on the horizon. In the foreground, Hopper presents John Quincy Adams Ward’s full-standing sculptural portrait of the celebrated playwright William Shakespeare, with his head bowed in contemplative thought. The inclusion of identifiable modern skyscrapers beyond the park is exceedingly rare in Hopper’s oeuvre and the present work is one of only a few New York scenes where the exact physical location is clearly apparent. 


Painted in 1950, Two Figures on Beach belongs to a remarkably innovative and productive period of Milton Avery’s celebrated career, and exemplifies the distinctive blend of realism and abstraction that defines his most admired aesthetic (estimate $1.2/1.8 million). Here, Avery reinvents the traditional art historical motif of the reclining female form through his distinctive and thoroughly modern vision, in a scene that emanates leisure and tranquility. 


Recently discovered by Jacob Lawrence scholars, The Carpenters will appear at auction for the first time after being held in the family of its original owners, who purchased it from The Downtown Gallery soon after it was completed in 1946 (estimate $500/700,000). Executed following Lawrence’s military service during the Second World War, the work demonstrates the artist’s profound interest in the depiction of African American workers and labor, particularly in the post-war years. Lawrence would return to the subject of carpenters again in the late 1960s, placing it among the most persistent themes in his body of work. 


Painted in 1914, Young Mother in a Floppy Hat and Green Dress with Her Child Outdoors epitomizes Mary Cassatt’s unmatched ability to capture the timeless bond between a mother and her child, a subject that accounts for one-third of her oeuvre (estimate $1.5/2.5 million). While Cassatt’s work from the 1870s reflected her interest in the experience of modern women in Parisian society, by the 1880s, her emphasis began to shift from the public to the private domains of women’s lives. In Young Mother in a Floppy Hat and Green Dress with Her Child Outdoors, Cassatt embraces a new visual language in order to convey the quiet, intimate moments spent within the domestic realm including simple, daily interactions between mothers and their children. 


A stunning selection of ten 19th century landscapes emerging from a private American collection are led by Sanford Robinson Gifford’s A Lake Twilight (estimate $1.2/1.8 million). Painted in 1861, the work is a dramatic depiction of the nation’s landscape at the brink of the Civil War. 

Additional highlights from the group include  

Frederic Edwin Church’s Ruins at Baalbek (estimate $1/1.5 million),  


and Thomas Cole’s Sunset on the Arno (estimate $600/800,000). 


A selection of three works by Norman Rockwell on offer include his preliminary study for the painting Christmas Homecoming, which appeared on the cover of the 25 December 1948 edition of The Saturday Evening Post (estimate $400/600,000). The work is the only image in the artist’s oeuvre in which all members of his immediate family appear and are portrayed as themselves. Rockwell's wife, Mary, embraces their eldest son, Jarvis, as he arrives home for the holidays with Christmas presents in hand, while the artist, his middle son Tom, and youngest son Peter appear in the background. Rockwell’s friends and fellow artists, Grandma Moses and Mead Schaeffer, are also rendered as family members. One of Rockwell's favorite models, Sharon O'Neil, appears twice as a set of twins in the immediate foreground.

Sotheby's July 3 Old Master Evening Sale

 J.M.W. Turner, Landscape with Walton Bridges. Estimate: £4-6 million. Courtesy Sotheby's
A rare, late work by Britain’s favourite artist, J.M.W. Turner, will be unveiled in Moscow ahead of its sale at Sotheby’s Old Master Evening Sale on 3 July. One of an important group of works painted by the artist in the last ten years of his life, Landscape with Walton Bridges, comes to the market for the first time in over 35 years with an estimate of £3-4 million.

One of the preeminent figures that mark the pages of history – like da Vinci, Darwin, Picasso or Einstein – who changed the way we see and think about the world, Turner is an artist rooted in the aesthetic philosophy and culture of his time. Perpetually engaged with the art of both his predecessors and contemporaries, he was at the same time possibly the first ‘modern’ painter; who directly inspired the Impressionism of the nineteenth century, and presaged the Abstract Expressionism of the twentieth.

Seemingly inspired by a sense of sheer delight in the working of paint, Turner’s visionary, experimental late works produced from the 1830s until his death in 1851 are considered to be the artist’s supreme achievement, and the pictures upon which his artistic significance ultimately rest. Essentially explorations of the effects of light, Turner created the works for himself, rather than for exhibition or for sale, retaining them for the development of his art. With their bold application of colour, their treatment of light and their deconstruction of form, these late works revolutionised the way the painted image was perceived. Applying the techniques he perfected in watercolour to the use of oil, with successive layering of translucent colour thinly applied to the surface, which imbue his canvases with a rich, hazy light, Turner gave his works a potency and power that had never been achieved before, and has seldom since.

This series of late works was inspired by compositions found in the Liber Studiorum, the series of engraved views Turner had published earlier in his career, around 1810-11. The central motif - Walton Bridges - is also one that the artist had treated twice before in oils, in 1806 and 1807. Clearly a subject with significant meaning to him, in this work he sets the bridge in an idealised, Italianate landscape of his own imagining.

Julian Gascoigne, Sotheby’s Old Master Paintings specialist commented: “This spectacular series of late oil paintings, in which Turner fondly revisits and reworks motifs long cherished in his mind, show a great artist late in his career, with his reputation established and his financial needs met, freed from the demands of public exhibition and the constraints of his critics. Vigorously and freely painted, with an emphasis on colour and light, rather than structure and form, he is exploring the possibilities of his medium and painting for himself, not for public consumption. Nearly two centuries later, however, seen through the lens of the Impressionism and Abstract Expressionism that would follow in the 19th and 20th centuries, we recognise them as the first seeds of an idea, from which would be born modern art.”

One of a very small handful of late works to ever have left Turner’s studio, and therefore not included in the Turner Bequest at Tate Britain, Landscape with Walton Bridges was given to his landlady and partner in later life, Sophia Booth, with whom the artist had lived in Margate and London during the last years of his life. The work is now the only one of this group of ten or so proto impressionist late pictures inspired by the Liber Studiorum left in private hands.

In 1887 the painting was acquired by the great American financier and collector Junius Spencer Morgan and spent the next hundred years as one of the jewels in the crown of the celebrated Morgan Collection in New York.

Landscape with Walton Bridges was unveiled  in Moscow alongside


Pieter Brueghel the Younger’s Winter Landscape with a Bird Trap (estimate: £1.5 – 2 million)


and Gerrit Dou’s The Penitent Magdalene (estimate £800,000 – 1.2 million) from Sotheby’s Old Master Evening Sale on 3 July, and works from the forthcoming Russian Paintings sale in London on 5 June and the Impressionist and Modern Art Day Sale in New York on 15 May.

Landscape with Walton Bridges will also be exhibited at Sotheby’s New York (18 – 21 May) and Sotheby’s Hong Kong (28 – 30 May).