Sunday, September 29, 2019

Granville Redmond: The Eloquent Palette

Crocker Art Museum, Sacramento, California
January 26 — May 17, 2020

Granville Redmond (American, 1871–1935), Sand Dunes, n.d. . Oil on canvas, 30 x 40 in. Private collection.

Granville Redmond (American, 1871–1935), Carmel Coast (Carmel Sand Dunes and Cypress), n.d. Oil on canvas, 30 x 40 inches. Collection of Paula & Terry Trotter.

Widely considered one of California’s top early artists, Granville Redmond (1871–1935) produced a body of work that captures the state's diverse topography, vegetation, and color. His paintings range in style from contemplative, Tonalist works that evoke a quiet calm, to dramatic and colorful Impressionist scenes.

Born in Philadelphia, Redmond contracted scarlet fever as a toddler, which left him permanently deaf. Soon after, his family moved to California. Today, Redmond is best known for his colorful Impressionist oils depicting the California landscape ablaze with poppies and other native flora.
Silent film star Charlie Chaplin, Redmond’s friend and supporter, said of these paintings, “There’s such a wonderful joyousness about them all. Look at the gladness in that sky, the riot of color in those flowers. Sometimes I think that the silence in which he lives has developed in him some sense, some great capacity for happiness in which we others are lacking.”

Saturday, September 28, 2019

From Titian to Rubens. Masterpieces from Antwerp and other Flemish Collections

From 5th September until 1st March 2020 the Fondazione Musei Civici di Venezia, in conjunction with the City of Antwerp, VisitFlanders and the Flemish Community, presents From Titian to Rubens. Masterpieces from Antwerp and other Flemish Collections, an exhibition curated by Ben Van Beneden, director of Rubenshuis in Antwerp.

The magnificent Doge’s apartments will be transformed into veritable ‘constkamers’, rooms filled with exquisite art demonstrating the riches of Flemish collections. Featuring masterpieces by artists including Titian, Peter Paul Rubens, Anthony van Dyck and Michiel Sweerts, the exhibition offers a dazzling array of works, and the finest group of Italian and Flemish art to come to Italy.

Three icons of Venetian painting return to their hometown of Venice:

Jacopo Pesaro presented to St. Peter by Pope Alexander VI - Tizian-2.jpg

Titian’s Jacopo Pesaro presenting Saint Peter to Pope Alexander VI,

Image result for Jacopo Tintoretto's The Angel Foretelling Saint Catharine of Her Martyrdom,

Jacopo Tintoretto's The Angel Foretelling Saint Catharine of Her Martyrdom,
the altarpiece of the former San Geminiano church, covered by the press worldwide as David Bowie’s Tintoretto’,

Image result for Titian’s Portrait of a Lady and her Daughter

and Titian’s Portrait of a Lady and her Daughter

(thought to be a depiction of Titian’s mistress Milia and their daughter Emilia).

These masterpieces from Flemish collections, both public and private, are rarely lent and some have never, until now, been shown in public.

A special section of the exhibition will be devoted to Flemish star composer Adriaan Willaert who settled permanently in ‘la Serenissima’ to become Maestro di Cappella of the Basilica di San Marco in 1527. It was Willaert who founded the celebrated Venetian School of music that was to instruct, among others, Giovanni Gabrieli and Claudio Monteverdi.

Manet: Three Paintings from the Norton Simon Museum

The Frick Collection
October 16, 2019, through January 5, 2020

This fall and winter, the Frick presents three canvases by Édouard Manet (1832–1883) from the collection of the Norton Simon Museum in Pasadena, California, marking the first time the paintings will be exhibited together elsewhere since their acquisition. 

Considered the father of Impressionism, Post-Impressionism, and, by some, twentieth-century abstraction, Manet was a revolutionary in his own time and a legend thereafter. Beyond his pivotal role in art history as the creator of iconic masterworks, Manet’s vision has come to define how we understand modern urban life and Paris, the so-called “capital of the nineteenth-century.” 
The works in the exhibition encapsulate three “views” of the artist’s life and work. Each canvas offers an opportunity to consider the range of Manet’s pioneering vision.  

Madame Manet
Madame Manet (ca. 1876) encourages visitors to consider how the artist’s biography impacts the way in which his paintings are understood, 

Still Life with Fish and Shrimp

while the pristinely preserved Fish and Shrimp (1864) prompts an appreciation of his sheer technical skill. 

The Ragpicker
Finally, The Ragpicker (1867–71, possibly reworked 1876-77) demonstrates Manet’s innovative combination of references to contemporary visual culture and Old Master painting. 
Manet: Three Paintings from the Norton Simon Museum is the seventh in a series of acclaimed reciprocal loans with the California museum. The exhibition and accompanying catalogue—which features new scholarly material on technical analysis, provenance, and dating—were organized and written by David Pullins, formerly Assistant Curator, The Frick Collection.

In anticipation of the presentation in New York, conservators at the J. Paul Getty Museum in Los Angeles treated the three canvases, restoring their original luminosity. Technical study at the Getty in collaboration with research conducted at the Frick has resulted in a better understanding of Manet’s technique and his habit of reworking his paintings.

Manet: Three Paintings from the Norton Simon Museum is the seventh in a series of acclaimed reciprocal loans with the California museum. The exhibition and accompanying catalogue—which features new scholarly material on technical analysis, provenance, and dating—were organized and written by David Pullins, formerly Assistant Curator, The Frick Collection. 

In anticipation of the presentation in New York, conservators at the J. Paul Getty Museum in Los Angeles treated the three canvases, restoring their original luminosity. Technical study at the Getty in collaboration with research conducted at the Frick has resulted in a better understanding of Manet’s technique and his habit of reworking his paintings.


Compared with his numerous acquisitions of Old Masters, Henry Clay Frick’s interest in avant-garde French painting was limited. In 1914, he purchased his sole canvas by Édouard Manet,

 Image result for Édouard Manet, The Bullfight
 The Bullfight (1864), and installed it in his private study on the second floor of his Fifth Avenue mansion, alongside Edgar Degas’s Rehearsal (1878–79). By contrast, industrialist Norton Simon was deeply committed to nineteenth-century French art. Besides amassing one of the nation’s most important collections of Old Master paintings, he acquired superb examples by the Impressionists, Post-Impressionists, and Nabis, and the museum that bears his name is recognized as one of the world’s richest repositories of paintings, pastels, and sculptures by Degas.

The Norton Simon Museum’s three works by Manet will be presented in the Frick’s Oval Room, in dialogue with the Old Master paintings in the adjacent galleries. Much like The Bullfight, Henry Clay Frick’s single, exquisite Manet(on view during the exhibition in the North Hall), these works will allow us to better appreciate a great master and his pivotal place in art history between tradition and the avant-garde.


Madame Manet hung in Simon’s home for more than a year before he remitted final payment to Wildenstein & Company, in 1957. Much like Henry Clay Frick, Simon was notorious for his insistence on living with a possible acquisition and understanding its relationship to his existing collection before finalizing the purchase. Manet’s future wife, Suzanne Leenhoff, arrived at the Manet family home in 1851, as a piano instructor for the adolescent Édouard and his brother, Eugène. They married twelve years later. By the time ofhis death, in 1883, Manet had painted Suzanne at least thirteen times. The Simon’s portrait gives the impression of being among the most immediate, rapidly brushed records that Manet left of his wife, but technical analysis reveals that the artist actually worked with great deliberation in order to achieve this effect. 

While the raw canvas is visible to the naked eye and the dress is composed of quick, dramatic strokes, the painting’s layers of thin washes and shiny glazes—which required drying between applications—attest to the artist’s laborious process. Moreover, technical analysis reveals that Manet first portrayed his wife wearing a black hat, which he later obscured: the resulting pentimento has left a halo around her head. Revisions were typical of Manet, particularly in his portraits. One of his favorite models, Isabelle Lemonnier, recounted that“he was endlessly starting my portraits over again. He destroyed I know not how many studies in front of me.”

Research for the exhibition places Madame Manet early in the chronology of a group of paintings executed between 1876 and 1879 that relate to  

In the Conservatory - edited.jpg

In the Conservatory, a double portrait of Jeanne Julie Charlotte Guillemet and her husband, Jules (Alte Nationalgalerie, Berlin). It seems that Manet asked his wife to sit for preliminary studies of the work, in orderto explorethe pose and colors. After Manet’s death, many unfinished canvases that remained in his home and studio (including Madame Manet) were alteredto make them more desirable for sale. These posthumous alterations—carried out by several lesser artists, seemingly with the blessing of Manet’s widow—ranged from completing unresolved parts of the composition to forging Manet’s signature, as was the case with Madame Manet.


Fish and Shrimparrived at the Simon home early in 1959, on approval from Paul Rosenberg & Company. After nearly eleven months of complicated payment proposals from Simon, Rosenberg wrote to him in exasperation, “May I say again that I would be much happier if you could make it a strait [sic] deal?” Again, the collector was thinking about harmony across his collection: he recently had acquired two still lifes by Chardinand was pursuing two floral still lifes by Henri Fantin-Latour. He finally agreed to the price of $110,000 for Fish and Shrimp. In 1973, he consigned thirteen works to Sotheby’s Parke-Bernet, among them Fish and Shrimp. (During the 1970s, Simon regularly sold earlier acquisitions.) The still life went unsold, and although it was offered back to Simon, he declined. Five years later, however, he bought the painting back from the auction house at a greatly reduced price.The work is finely preserved. Never relined, it retains the peaks and valleys of Manet’s rich impasto. It comes from Manet’s first sustained engagement with still life, around 1864.

In contrast to the challenging subject matter of his once controversial but now celebrated Olympia (1863) and Luncheon on the Grass(1863), these early still lifes gave critics the chance to appreciate Manet’s sheer technical virtuosity. 

In 1867, Émile Zola noted that his still lifes “begin, happily, to be masterpieces for everyone ... Even the most vocal enemies of Édouard Manet’s talent admit that he paints inanimate objects well.” A year later, the painter Odilon Redon quipped, “Manet, who appears to us especially well equipped for still-life painting, should limit himself to that.” While the paint surface of Fish and Shrimp is best appreciated in person, the composition, too, is exquisite: the table has been drawn close to the picture plane but provocatively sits slightly askew, and the white wrapper draws attention to the main subject, while the forms of the fish echo one another, with the salmon’s tail flung upward and the nose of the needlefish pointed down.


The Ragpicker is a monumental, institutionally scaled painting purchased from Wildenstein & Company by the Norton Simon Foundation in 1968, in the wake of Simon’s creation of the Hunt Foods & Industries Museum, in 1966. Forerunner of today’s Norton Simon Museum, this innovative organization’s mission was to serve as a traveling “collection without walls” that exhibited works of art throughout the United States. Perhaps because Simon never intended to display The Ragpicker in his home, he bought it almost immediately, within a month of it being proposed to him. 

The Ragpicker is one of a group of full-length figures that Manet retroactively dubbed the “4 Philosophers” when he sold them to the art dealing firm Durand-Ruel, in 1872. The series was inspired by Diego Velázquez’s dignified, penetrating depictions of so-called beggar-philosophers, poor men of the streets who spoke words of wisdom. 

In addition to the impact the Spanish masters had on Manet following his trip to Spain in 1865, the trope of the beggar-philosopher was widely popular in Manet’s Paris. In response to the rapid changes made to the French capital under Georges-Eugène Haussmann, writers including Manet’s friend Charles Baudelaire celebrated members of the displaced urban underclass. In particular, ragpickers—who redistributed discarded textiles and modest goods among the lower social classes—represented a respectable, if downtrodden, laborer.

Although The Ragpicker was the last in the series of “4 Philosophers,” new research combined with technical study suggests that Manet completed it in two stages. When he sold the painting to Durand-Ruel, it probably had a smooth surface,much like the three other works in the series. But the agitated crosshatches visible on the figure’s face and hands suggest that Manet revisited significant parts of the canvas around 1875, during a time when he briefly explored this technique. Cracks in the paint’s surface indicate that the face and hands have multiple layers, likely applied sometime after the initial paint surface had dried. As it happens, The Ragpicker was owned by businessman Ernest Hoschédé between 1872 and 1878, and Manet is known to have visited the Hoschédé’s country house, the Château de Rottembourg, in the summer of 1875 or 1876. It can be assumed that he reworked the painting’s surface during his stay.


The exhibition is accompanied by a beautifully illustrated catalogue written by curator David Pullins. The volume includes important new technical information derived from collaboration with the Getty and discoveries about Manet’s development as an artist.

Tuesday, September 24, 2019

Afrocosmologies: American Reflections

Wadswoth Atheneum Museum of Art, Hartford, Conn.
Oct. 19, 2019 to Jan. 20, 2020. 

Afrocosmologies: American Reflections presents a window into a dynamic cosmos of influences that shape contemporary American art. This exhibition is a collaboration of the Wadsworth Atheneum Museum of Art, The Amistad Center for Art & Culture, and the Petrucci Family Foundation Collection of African-American Art. Drawing from over one hundred art objects, with the Petrucci Family Foundation contributing sixty-eight, these works of art span various media, present potent voices, and pose multiple questions. Afrocosmologies is an exhibition about presence, faith, authentic experiences, and representations of gender within a family of people born to many cosmological influences. With a predominant arc between the twentieth and twentyfirst century, the exhibition brings together the work of an incredible assortment of artists including Romare Bearden, Dawoud Bey, Elizabeth Catlett, Willie Cole, Melvin Edwards, Titus Kaphar, Lois Mailou Jones, Kerry James Marshall, Alison Saar, Hale Woodruff, Shinique Smith, and Kehinde Wiley along with many additional artists of note.

Romare Bearden, The Lamp, 1984. Lithograph. The Amistad Center for Art & Culture. © 2019 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.
Bob Thompson, Garden of Music, 1960. Oil on canvas. Wadsworth Atheneum Museum of Art. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund. © Michael Rosenfeld Gallery, New York, NY

Afrocosmologies examines successive generations of African American artists expressing their unique and evolving worldviews. Those cosmologies illustrate particular aspects of American history but are informed by African philosophical, ritual, and cultural systems that migrated here in memory. It's human to look for order in the universe--to develop a cosmology or system of belief. Art reflects this search for understanding. From the late nineteenth century to now African American artists have explored spirituality and culture by telling stories and when finally allowed, creating imagery that validated their connections to cosmology. Religion (faith), myth, inherent humanity, non-traditional colors and patterns are all themes emerging from the rich aesthetic traditions of West African and other cultures. Afrocosmologies examines these works of art through four themes: Nature, Gods and Humanity, Ritual, and Origins.

"With such remarkable works of art to work with--seminal pieces collected over the past century by the Wadsworth, a dynamic and emerging spectrum of artists in the Petrucci collection, and The Amistad's significant connection to history and New England--we wanted to attract the widest possible audience," says Frank Mitchell, Executive Director of The Amistad Center for Art & Culture and curator of the exhibition. "The cosmology concept and its varying dynamism over time, provided a natural framework for exploring issues of faith and community that continue to define the field."

To more accurately and effectively present the contributions of African American artists is to pave the way for corrective legitimacy and complete the canvas of American history.

"When we took measure of history at the Wadsworth Atheneum and The Amistad Center by looking at the collections' growth and the exhibitions organized over the past fifty years, we were reassured by our consistent commitment. Our evolving vision has led to necessary conversations and the emergence of consequential artists, right here at 600 Main Street," says Thomas J. Loughman, Director and CEO of the Wadsworth. "In the Petrucci Family Foundation collection we saw that same excitement and daring that we prize at the Wadsworth. The Petrucci Foundation is a great partner in helping us and The Amistad bring this vivid history and culture into focus."
Carl Joe Williams, Waiting, 2016. Mixed media on mattress. Petrucci Family Foundation. © Carl Joe Williams
"We are a collection that has its genesis in a deep appreciation of African American culture and are dedicated to acquiring works of art that speak to the resilient, creative, and persistent humanity within Black American culture," says Petrucci Family Foundation curator and artist Berrisford Boothe. "Within the African American community and now across America at large, conceptions of race, gender, and community that once seemed fixed are now in flux or at least open for discussion. What was once a binary system of black or white aesthetics, now involves globally transplanted voices of color that exist within, are elevated by, and add authentic cosmological dynamism to American cultural conversations." In this continuing conversation, there must be sensitivity, but also the recognition that America's history and its impact cannot be eluded.

The Wadsworth is pleased to create a context for these ideas and for the creative output of African American artists to be explored through this exhibition's themes. Enslaved Africans brought a deep cosmological appreciation of the natural world. It is a system that supported relationships with gods and ancestors. The land had to be worked as slaves, but the enslaved also lived through and worshipped in partnership with water and land. The land always has been the setting for nurturing new religious and syncretic practices. Nature: The World as We Experience It includes works by Bob Thompson, Martha Jackson Jarvis, Howardena Pindell, Richard Watson and others who take nature's presence as inspiration to consider histories and imagine futures.

Gods and Humanity: Which Gods and Our Relationship to Them includes works by artists such as Palmer Hayden, Willie Cole, Didier William, Kenturah Davis, and Carl Joe Williams. Williams incorporates portraits of Black mystical figures as everyday saints. Religious tradition carried by many who endured the Middle Passage was conveyed through stories, songs, and movement. Christianity limited the scope of divinity but the familiar did not disappear as enslaved Africans developed syncretic forms of worship that combined elements of both traditions.

Worship sustained the captives and integrated diverse groups of Africans who through spirituality, became united in their commitment to freedom. Through works by Hale Woodruff, Richmond Barthé, Ralph Chessé, Addison Scurlock, and others, Ritual: Shared Worship Experiences looks at the new cosmologies, or ways of ordering the spiritual world, that affirmed new identities and communities in the Americas.

Origins: Preparation for the Journeys presents the vitality of Afrocosmologies through the art of Kerry James Marshall, John Biggers, Romare Bearden, Barbara Bullock, Sharif Bey, Ed Johnetta Miller, and others. Generations of African American artists and performers have struggled with ways to present the experience of slavery and Africa's bearing. From Reconstruction Era artists, to the Harlem Renaissance, to the Black Arts Movement, and continuing today, there is a reassessment of history and celebration of Africa's influence on contemporary culture.

Afrocosmologies will be on view October 19, 2019 through January 20, 2019. During the exhibition, six artists whose work is featured in the show will be participating in public programs at the Wadsworth. All are welcome.

Exhibition Catalogue
Afrocosmologies: American Reflections will be accompanied by a 156-page, fully illustrated catalogue with essays by Frank Mitchell, Berrisford Boothe, Claudia Highbaugh, and Kristin Hass--to be released in October 2019.

Monday, September 23, 2019

Drama and Devotion in Baroque Rome

The Georgia Museum of Art at the University of Georgia 

 Saturday, Jul 27, 2019 — Sunday, May 31, 2020

Rome has long been a key destination for artists. At the beginning of the 17th century, painters from across Europe flocked to the Eternal City to see the revolution caused by painter Michelangelo Merisi da Caravaggio (1571 – 1610). Everyone copied his stark contrast of light and dark, powerful realism and dramatic sense of staging. The works presented in this exhibition, all from the Museum and Gallery at Bob Jones University, celebrate how Caravaggio shaped the Italian Baroque and galvanized numerous followers.

 Georgia Museum of Art

Peter Paul Rubens (b. Siegen, 1577; d. Antwerp, 1640), “Christ on the Cross,“ ca. 1610. Oil on panel, 45 x 30 3/4 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

 One of the main highlights is a Crucifixion by Peter Paul Rubens, who spent more than eight years in Italy.

Georgia Museum of Art
Trophime Bigot (b. Arles, 1579; d. Avignon, 1650), “St. Sebastian Tended to by St. Irene,” n.d. Oil on canvas, 50 1/8 x 64 inches. Museum & Gallery at Bob Jones University Greenville, SC.

Georgia Museum of Art
Simon Vouet (Paris, 1590 – 1649), “Salome with the Head of Saint John the Baptist,” 1614–27. Oil on canvas, 39 x 29 1/8 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

Georgia Museum of Art
Orazio Gentileschi (or studio) (b. Pisa, 1563; d. London, 1639), “The Martyrs Saint Valeriano, Saint Tiburzio, and Saint Cecilia,” ca. 1620–21. Oil on canvas, 89 3/4 x 68 1/2 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

Giovanni Lanfranco (b. Parma, 1581; d. Rome, 1647), “Saint Cecilia,” ca. 1620–21. Oil on canvas, 30 5/8 x 42 inches. Museum and Gallery at Bob Jones University, Greenville, SC.

Michelangelo: Mind of the Master

The Cleveland Museum of Art  

Sun, 09/22/2019 to Sun, 01/05/2020 


Seated male nude, separate study of his right arm (recto), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem.

The name of the Italian Renaissance painter, sculptor, and architect Michelangelo Buonarroti (1475–1564) is synonymous with creative genius and virtuosity. The exhibition Michelangelo: Mind of the Master presents an unprecedented opportunity for museum visitors to experience the brilliance of Michelangelo’s achievements on an intimate scale through more than two dozen original drawings. Michelangelo’s genius is especially evident through his breathtaking draftsmanship on sheets filled with multiple figures and close studies of human anatomy.

These working sketches invite us to look over the shoulder of one of Western art history’s most influential masters and to experience firsthand his boundless creativity and extraordinary mastery of the human form. These drawings demonstrate Michelangelo’s inventive preparations for his most important and groundbreaking commissions, including the Sistine Chapel ceiling fresco, sculptures for the tomb of Giuliano de’ Medici, and the dome of Saint Peter’s Basilica.

Michelangelo: Mind of the Master brings to the United States for the first time a group of drawings by Michelangelo from the remarkable collection of the Teylers Museum (Haarlem, The Netherlands), which was formed in the 18th century in part from the collection of Queen Christina of Sweden (1626–1689).

Additional drawings from the collections of the Cleveland Museum of Art and the J. Paul Getty Museum round out the display.

A fully illustrated catalogue accompanies the exhibition and includes essays by Emily J. Peters (Cleveland Museum of Art), Julian Brooks (J. Paul Getty Museum), and Carel van Tuyll van Serooskerken (Teylers Museum) that explore Michelangelo’s working methods and major projects, as well as the fascinating history of the ownership of his drawings after his death.

Van Gogh’s Inner Circle Friends, Family, Models

Het Noordbrabants Museum 

21 September 2019 to 12 January 2020

The exhibition Van Gogh’s Inner Circle. Friends, Family, Models will give a broad view of the people who played an important role in Van Gogh’s life and work. His complex relationships with family, friends and fellow artists, students and models from Brabant to the south of France were often strong and long-lasting, but sometimes ended in estrangement. The exhibition includes prominent pieces from the Netherlands and abroad. Drawings, letters, pictures and poetry give more insight into his relationships. A surprising new perspective on one of the world’s greatest artists.

  • Vincent van Gogh, L’Arlésienne (Madame Ginoux), feb.1890

  • More IMAGES:

Monet, Renoir, Degas,and Their Circle: French Impressionism and the Northwest

C. C. McKim (American, 1862 – 1939) Patton Creek , 1924. Oil on canvas, 20 x 26 inches. Tacoma Art Museum, Gift of Esther and Jeff Clark, 2018.5 Photo © Tacoma Art Museum , photo by Mark Humpal

Pierre - Auguste Renoir (French, 1841 - 1919) Heads of Two Young Girls , 1890. Oil on canvas, 12 ¾ x 16 ¼ inches. Tacoma Art Museum, Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.35 Photo © Tacoma Art Museum , photo by Terry Rishel

Edgar Degas (French, 1834 – 1917) Danseuses (Dancers), 1879. Gouache, oil pastel, and oil paint on silk, 8 ½ x 23 ⅞ inches. Tacoma Art Museum, Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.8 Photo © Tacoma Art Museum, photo by Richard Nicol

Opening on September 28, Tacoma Art Museum will present Monet, Renoir, Degas,and Their Circle: French Impressionism and the Northwest, a new exhibition that examines how the work of French Impressionists and their immediate precursors made their way into Northwest public and private collections. It also will include selected paintings by American and Northwest artists to illustrate the spread of Impressionism across the country.

“The purpose of this exhibition is deeply connected to the same passion that drove the French Impressionists, to transform the way we see,” said David F. Setford, TAM’s Executive Director and curator of this exhibition. “It does this in two ways. First, it puts rarely seen works from TAM’s European art collection into context and allows for an expanded visitor learning opportunity. In addition, it is also the first time that these Impressionist works from museums and private collections in the Northwest have been seen together. It will provide a lasting resource about French Impressionism and its historical impact for curators and collectors in our region and beyond."

The exhibition is accompanied by a small publication including essays by Setford and TAM curator Margaret Bullock, as well as an online listing of French Impressionist works currently in Northwest public collections. On view will be approximately fifty (50) works of art from the following institutions: Frye Art Museum, Henry Art Gallery, Portland Art Museum, Tacoma Art Museum, and Seattle Art Museum. These works are complemented by selected loans from some of the major private collections in the Northwest.

The exhibition will provide visitors the unique opportunity to enjoy signature works by Gustave Caillebotte, Mary Cassatt, Edgar Degas, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley among others. Filling out the story, paintings from some of the most important precursors of Impressionism such as Eugène Boudin, Jean-Baptiste-Camille Corot, Gustave Courbet, and Johan Barthold Jongkind are included.

“To round off the exhibition, there will be a section of artworks which demonstrate the influence of French Impressionism on Northwestern and American painters–in other words, how East Coast and Northwest artists adapted and interpreted the brushwork and use of light and color in their own work,” notes Margaret Bullock, co-curator of the exhibition.

This section will feature artists from the Northwest such as Edward Espey, C.C. McKim, Clara Jane Stephens, and Fokko Tadama, and American artists from further afield such as Cecilia Beaux, Childe Hassam,and Theodore Robinson. “We are extremely grateful for the immense generosity of our regional sister museums incollaborating to create this exhibition,” notes Setford. “The treasures of French Impressionism that will be brought together for this exhibition demonstrate the depth and strength of the collections located in the Pacific Northwest."

Thursday, September 12, 2019

Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection

Frida Kahlo, The Bride Who Becomes Frightened When She Sees Life Opened, 1943, oil on canvas, 24 7/8 x 32 in., The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art, The Vergel Foundation, Conaculta/INBA, © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

Diego Rivera, Landscape with Cacti, 1931, oil on canvas, 49 3/8 x 59 in., The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art, The Vergel Foundation, Conaculta/INBA, © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

Frida Kahlo, Self-Portrait with Necklace, 1933, oil on metal, 13 7/8 x 11 3/8 in., The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art, The Vergel Foundation, Conaculta/INBA, © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

The North Carolina Museum of Art this fall opens Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection (October 26, 2019–January 19, 2020). Few artists have captured the public’s imagination with the force of Mexican painter Frida Kahlo (1907–54) and her husband, the Mexican painter and muralist Diego Rivera (1886–1957). The myths that surrounded these two icons of the 20th century in their lifetime arose not only from their significant bodies of work, but also from their friendships (and conflicts) with leading political figures and their passionate, tempestuous personal relationships.

Frida Kahlo, Portrait of Diego Rivera, 1937, oil on Masonite, 18 1/8 x 12 5/8 in., The Jacques and Natasha Gelman Collection of 20th-Century Mexican Art, The Vergel Foundation, Conaculta/INBA, © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York.

“Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jacques and Natasha Gelman Collection will emphasize a remarkable chapter in art history that is at once Mexican and global,” says Museum Director Valerie Hillings. “Diego Rivera’s personality, politics, and monumental, social realist murals made him a celebrity during his lifetime. While he once overshadowed his equally talented wife, Frida Kahlo’s fame has far outstripped her husband’s in the years since her death. The NCMA is honored to present this exhibition and Luces y Sombras: Images of Mexico | Photographs from the Bank of America Collection, which will celebrate these artists’ culture of origin as well as the diverse sources of influence they drew upon in creating their distinctive oeuvres.”

Kahlo and Rivera’s works are varied in scope and inspiration. She is best known for her self-portraits, while he worked as a large-scale muralist in Mexico and the United States. Kahlo’s work is deeply personal, often depicting her own dreams, painful personal experiences, and affinity with Mexican culture, while Rivera’s pursues larger looks at history and cultural revolution. Both artists forged the way for Mexican art as a significant element of the 20th century and beyond.

Similarly important is the legacy of two of Kahlo and Rivera’s patrons, Jacques and Natasha Gelman. The Gelmans became Mexican citizens in 1942 and began amassing Mexican art, sustaining a growing collection of Mexican modernists, like Kahlo and Rivera (with whom they became close friends), as well as their compatriots Rufino Tamayo, David Alfaro Siqueiros, and others. Their unparalleled collection shows the richness of Mexican art through painting, drawing, photography, and film.

Tuesday, September 10, 2019

Beyond Midnight: Paul Revere

New-York Historical Society

September 6, 2019 – January 12, 2020
The patriot, silversmith, and entrepreneur Paul Revere was forever immortalized in Henry Wadsworth Longfellow’s 1861 poem, “Paul Revere’s Ride,” but his genuine accomplishments are often eclipsed by the legend of the midnight journey. This groundbreaking exhibition featuring more than 150 objects re-examines Revere’s life, transforming visitors’ understanding of the innovative businessman through an in-depth exploration of his accomplishments as a silversmith, printmaker, and pioneering copper manufacturer. Organized by the American Antiquarian Society, it draws from their unparalleled collection of Revere engravings, and also includes glimmering silver tea services; commonplace objects such as shoe buckles, thimbles, and medical tools; and important public commissions such as a bronze courthouse bell, all of which reveal facets of this versatile artisan’s career.

 Paul Revere Jr. (1735−1818), engraver; attributed to Christian Remick (1726−73). The Bloody Massacre Perpetrated on King-Street, Boston on March 5th 1770 by a Party of ye 29thReg[imen]t, ca. 1770−74 Hand-colored engraving. Gilder-Lehrman Institute of American History, GLC01868
An in-depth book accompanies the exhibition and is available for purchase in the NYHistory Store(Coordinated at New-York Historical by Debra Schmidt Bach, curator of decorative arts.)

Paul Revere’s Ride

- 1807-1882
Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five:
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry-arch
Of the North-Church-tower, as a signal-light,—
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm.”
Then he said “Good night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war:
A phantom ship, with each mast and spar
Across the moon, like a prison-bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.
Meanwhile, his friend, through alley and street
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers
Marching down to their boats on the shore.
Then he climbed to the tower of the church,
Up the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,—
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.
Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black, that bends and floats
On the rising tide, like a bridge of boats.
Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now gazed on the landscape far and near,
Then impetuous stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height,
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!
A hurry of hoofs in a village-street,
A shape in the moonlight, a bulk in the dark,
And beneath from the pebbles, in passing, a spark
Struck out by a steed that flies fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river-fog,
That rises when the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When be came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.
You know the rest. In the books you have read,
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard-wall,
Chasing the red-coats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

Panoramas: The Big Picture

New-York Historical Society
 August 16 – December 8, 2019

Panoramas: The Big Picture explores the history and continued impact of panoramas from the 17th to the 21st century, as they were used to create spatial illusions, map places, and tell stories. Highlights include John Trumbull’s sweeping double vistas of Niagara Falls (1808), sections of Richard Haas’ nearly 200-foot long trompe l’oeil panorama of Manhattan (1982), and Eadweard Muybridge’s 17-foot photographic panorama of San Francisco before the city’s devastating 1906 earthquake (1878). The exhibition examines and reveals the impact that these and other panoramas had on everything from mass entertainment to nationalism to imperial expansion. (Curated by Wendy Ikemoto, associate curator of American Art).

John Trumbull (1756–1843), Niagara Falls, from Two Miles Below Chippawa, 1808 [detail]
Oil on canvas
New-York Historical Society, Gift of Alexander Eddy Hosack, 1868.6.

 John Frederick Kensett (1816–1872), View from Cozzens’ Hotel, near West Point, N.Y., 1863 [detail]
Oil on canvas
Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-189.


Leigh Behnke (b. 1946), Chrysler Building, 1996
Watercolor on two pieces of heavy watercolor paper with deckled edges
New-York Historical Society, Gift of Lawrence L. Di Carlo, 2006.29.

Monday, September 9, 2019

The Alana Collection Masterpieces of Italian Painting

Musée Jacquemart-André 
13 September 2019 to 20 January 2020
In autumn 2019, the Musée Jacquemart-André will be focusing on the Alana Collection, one of the most precious and little-known private collections of Renaissance art in the world, which is currently located in the United States. Echoing its exceptional collection of Italian art, the Musée Jacquemart-André will hold an exhibition of more than seventy-five masterpieces by the greatest Italian masters, such as Lorenzo Monaco, Fra Angelico, Uccello, Lippi, Bellini, Carpaccio, Tintoretto, Veronese, Bronzino, and Gentileschi. This exhibition will give visitors a unique chance to admire for the first time pictures, sculptures, and objets d’art that have never been exhibited to the general public.
In the tradition of all the greatest American collections, the Alana Collection is the fruit of a passion for art and an intensive selection process, adopted over several decades by Alvaro Saieh and Ana Guzmán; the combination of the couple’s forenames make up the name of the Alana Collection. Over the years, their passion has been transformed into a veritable fascination with Gothic art and the Italian Renaissance and has gradually led them to focus on sixteenth- and seventeenth-century paintings.
These masterpieces have been exceptionally loaned to the Musée Jacquemart-André due to the two collectors’ passion for this period of art. The exhibited works attest to the enduring taste for the Italian Renaissance, considered as a founding stone of Western civilisation. They provide a comprehensive overview of one of the greatest collections of private art, from thirteenth-century painting to Caravaggesque works.
> Carlo Falciani, an art historian, exhibition curator, and professor of the History of Modern Art at the Accademia di Belle Arte in Florence.
> Pierre Curie, curator at the Musée Jacquemart-André and a specialist in seventeenth-century Italian and Spanish painting.
Eight Scenes from the Life of Christ (13th century), Roman painter.
Eight Scenes from the Life of Christ (13th century), Roman painter. Alana Collection, Newark
Annunciation (n.d.), Lorenzo Monaco.
Annunciation (n.d.), Lorenzo Monaco. Alana Collection, Newark
Saint John the Evangelist (c. 1432–34), Fra Filippo Lippi
Saint John the Evangelist (c. 1432–34), Fra Filippo Lippi. Alana Collection, Newark
The Martyrdom of Saint Apollonia (c. 1614), Guido Reni. Alana Collection, Newark