JUNE 5–SEPTEMBER 12, 2010 Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, Italy
OCTOBER 5, 2010–JANUARY 16, 2011 Fundación MAPFRE, Madrid, Spain
SEPTEMBER 28–DECEMBER 12, 2011 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
FEBRUARY 2–APRIL 28, 2013 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
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
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 Rosa, Personaje 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 www.swanngalleries.com and on the Swann Galleries App.
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.
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
BOOK FORMAT Hardcover, 9.25 x 11.25 in. / 328 pgs / 400 color.
PUBLISHING STATUS Pub Date 3/24/2020 Forthcoming
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2020 p. 14
PRODUCT DETAILS ISBN 9781912520176TRADE List Price: $60.00 CDN $85.00
AVAILABILITY 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
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
Lithograph
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
Lithograph
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
Lithograph
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
Lithograph
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
Lithograph
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
Lithograph
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
Lithograph
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
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
Lithograph
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
"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.
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.
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.
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.
