Thursday, October 31, 2019

Truly Bright and Memorable: Jan de Beer’s Renaissance Altarpieces

25 October 2019 – 19 January 2020

Famed in his lifetime and for several generations after his death for his stylish and elegant paintings, Antwerp’s Jan de Beer (c. 1475 – 1527/28) created dazzling altarpieces that appealed to churches at home and abroad, copyists, patrons and collectors.

However, his star subsequently waned until the early 20th century, when experts and connoisseurs began to re-evaluate his significance. De Beer’s known oeuvre now comprises about 40 works, principally devotional paintings and triptychs, but also drawings and a stained-glass window.

Date between circa 1510 and circa 1530
Medium oil on panel
Dimensions Height: 90 cm (35.4 ″); Width: 130 cm (51.1 ″)

This exhibition – the latest in the Barber’s ‘Masterpiece in Focus’ series – focuses on


the Barber’s own double-sided altarpiece featuring The Nativity 


and the Apocryphal tale of Joseph and the Suitors, and brings together for the first time all his paintings and drawings from public and private collections in Britain.

Jan de Beer, Adoration of the Magi, c1515 © Private collection:

Image result for Jan Debeer Barber’s own double-sided altarpiece featuring The Nativity
Image credit: Jan de Beer and assistant, ‘Adoration of the Magi’, c. 1515 © Private collection

Raphael and His Circle

Raphael Eight Apostles, c. 1514 red chalk over stylus underdrawing and traces of leadpoint on laid paper, cut in two pieces and rejoined; laid down sheet: 8.1 x 23.2 cm (3 3/16 x 9 1/8 in.) support: 9.4 x 24.8 cm (3 11/16 x 9 3/4 in.) National Gallery of Art, Washington, Woodner Collection

Raphael (1483–1520) was the first and greatest figure in the modern classical tradition of Western art. In celebration of the 500th anniversary of his death, the National Gallery of Art will present 26 prints and drawings from its own collection of works by Raphael’s contemporaries as well as four drawings by the Renaissance master himself. Raphael and His Circle will convey the complexity, range, and immediate influence of his style as it became the standard for aesthetic excellence in Western art. The exhibition will be on view from February 16 through June 14, 2020.
Raphael 500

Several major exhibitions have been organized to mark the 500th anniversary of Raphael’s death. The Gallery will lend several important works to these exhibitions while offering its own homage through this exhibition and the continuing permanent display of its five paintings by Raphael—the largest and most important group outside of Europe. The Galleria Nazionale delle Marche inaugurates the year’s tribute with an exhibition in his hometown of Urbino (Raphael and His Friends of Urbino, October 3, 2019–January 19, 2020). The celebration continues with exhibitions at the Scuderie del Quirinale, Rome, and the National Gallery, London (The Credit Suisse Exhibition: Raphael, October 3, 2020–January 24, 2021). At the Veneranda Biblioteca Ambrosiana, Milan, a newly conserved preparatory cartoon (c. 1508) for the Vatican fresco School of Athens (1509) is on view. The Victoria and Albert Museum, London, will be highlighting their set of seven full-scale cartoons by Raphael for tapestries.
Exhibition Organization
The exhibition is organized by the National Gallery of Art, Washington.

Exhibition Curator
The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings, National Gallery of Art.About the Exhibition.

About the Exhibition

Raphael and His Circle
features 26 prints and drawings by Raphael’s collaborators and followers, and by printmakers who were inspired by him. The exhibition includes four drawings by Raphael from the Gallery’s collection: the sheet from which the design of his painting Saint George and the Dragon (c. 1506, National Gallery of Art, Washington) was transferred; the cartoon for the so-called Belle Jardinière (La Vierge à l'Enfant avec le petit saint Jean-Baptiste, 1507 or 1508, Musée du Louvre, Paris); a detailed representation of the prophets Hosea and Jonah; and a well-known study for part of the frescoes in the church of Santa Maria della Pace in Rome. Each of these drawings is an advanced preparatory study for an important extant work. Together they represent Raphael’s immediate influence and artistic development.

Nine drawings by his closest collaborators and followers suggest the collective nature of Raphael’s later activity and the origins of mannerism. Four pen-and-ink drawings by Giulio Romano (1499–1546) include a dramatic rendering of Saint Michael (c. 1530). Two chalk drawings by Polidoro da Caravaggio (c. 1499–probably 1543) feature a fleeing barbarian from the early 1520s and A Deathbed Scene (c. 1521/1522) with a drawing of a seated woman on the reverse in red chalk. Also on view are two pen-and-ink drawings by Perino del Vaga (1501–1547), including the remarkable Alexander Consecrating the Altars for the Twelve Olympian Gods (1545/1547) and a sheet of figure studies.

Raphael was the first artist to exploit the possibilities of printmaking to disseminate his inventions, enhance his reputation, and generate income. This practice caused his art to become a universal European language. Raphael’s prints demonstrated to an international audience his magisterial command of complex, multifigure compositions and his modern style rooted in the study of ancient art.

This exhibition includes 10 engravings by one of the earliest interpreters of his designs,

Marcantonio Raimondi (c. 1480–c. 1534), whose engravings of Parnassus and The Holy Family,

as well as The Massacre of the Innocents (c. 1511) show Raphael’s influence.

Around 1510 Raphael began collaborating with Marcantonio on several engravings that successfully circulated Raphael’s works beyond the Roman churches and palaces in which they were housed.

Raimondi’s followers, Agostino dei Musi (c. 1490–1536) and Marco Dente (c. 1493–1527), also directly reference works by Raphael in their engravings,

Image result for Musi’s The Battle with the Cutlass.

including Musi’s The Battle with the Cutlass.

Also on view is Ugo da Carpi’s (c. 1480–1532) David Slaying Goliath, based on a design by Raphael in the Vatican, which is the only chiaroscuro woodcut in the exhibition.
Raphael (1483–1520)

Raffaelo di Giovanni Santi, known as Raphael, was a younger contemporary of Leonardo da Vinci and Michelangelo, all of whom epitomize the High Renaissance in Italy. It is thought that Raphael’s early training was with his father, who was a painter at the court of Urbino. He joined the workshop of Pietro Perugino sometime after the death of his father, when Raphael was 11 years old.

Late in 1504, Raphael moved to Florence, drawn by Leonardo’s softly shadowed forms, natural figure groupings, and simplified settings. In 1508 the pope summoned Raphael to Rome, where he was influenced by the idealized classical art of the city's ancient past. He also responded to the more energetic and physical style of Michelangelo, whose works he had already begun to study in Florence. Raphael remained in Rome for the last 12 years of his life, preparing monumental frescoes for the papal chambers, designing tapestries for the Sistine Chapel, and painting mythological scenes. He was also the city’s leading portraitist, creating penetrating images that engage viewer and sitter with a new intensity for the time. When he died at age 37, the pope ordered that Raphael, who had been keeper of antiquities, be buried in the Pantheon.

Wednesday, October 30, 2019

Lucian Freud: The Self-portraits

Royal Academy of Arts, London

27 October 2019 — 26 January 2020

See more than 50 paintings, prints and drawings in which this modern master of British art turns his unflinching eye firmly on himself:  Lucian Freud’s self-portraits in one extraordinary exhibition.

One of the most celebrated portraitists of our time, Lucian Freud is also one of very few 20th century artists who portrayed themselves with such consistency.

Spanning nearly seven decades, his self-portraits give a fascinating insight into both his psyche and his development as a painter – from his earliest portrait, painted in 1939, to his final one executed 64 years later. They trace the fascinating evolution from the linear graphic works of his early career to the fleshier, painterly style he became synonymous with.

When seen together, his portraits represent an engrossing study into the process of ageing. Confronting his self-image anew with each work, he depicted himself in youth as the Greek hero Acteon, in sombre reflection later in life and fittingly, for the great painter of 20th century nudes, naked aged 71 but for a pair of unlaced boots.

When asked if he was a good model for himself Freud replied, “No, I don’t accept the information that I get when I look at myself, that’s where the trouble starts”. It is precisely this “trouble” that makes Freud’s self-portraits so intensely compelling – and makes this an unmissable chance to see a life’s work in one show.

Image result for Lucian Freud: The Self-portraits

Image result for Lucian Freud: The Self-portraits

Image result for Lucian Freud: The Self-portraits

More images

Exhibition organised by the Royal Academy of Arts, London in collaboration with the Museum of Fine Arts, Boston

Tuesday, October 29, 2019

The Alana Collection Masterpieces of Italian Painting

The Musée Jacquemart-André 
Du 13 septembre 2019 au 20 janvier 2020

Antonio Vivarini, (Venice and Veneto, circa1415 - 1476/1484, documented from 1440), San Pietro da Verona che esorcizza il demonio apparso nelle sembianze della Madonna [Saint Peter Martyr exorcising a demon having taken the features of Madonna], circa 1450 Tempera and gold on wood, 53.4 x 36 cm, Alana Collection, Newark, DE, United States, Photo: © Allison Chipak. 
The Musée Jacquemart-André is 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 is holding 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. 

Fra Filippo Lippi, (Florence, circa 1406 - Spoleto, 1469), St John the Evangelist, circa 1432-1434, Tempera and gold on panel, 42.8 x 32 cm, Alana Collection, Newark, DE, United States, Photo: © Allison Chipak.

This exhibition gives 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. 

The Musée Jacquemart-André was a model for collectors who, in turn, established collections that largely focused on the Italian Renaissance. The collection assembled by Édouard André and Nélie Jacquemart inspired the most prestigious American collectors, who built up considerable collections of works.

In keeping with the original aims of its founders, the Musée Jacquemart-André is presenting for the first time in the world a selection of masterpieces from the Alana collection.

Although art historians are familiar with the collection it remains unknown to the general pubic, because it has never been exhibited.

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 Àlvaro Saieh and Ana Guzmán; the combination of the couple’s forenames make up the name of the Alana collection.

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.
  Cette œuvre fourmille de détails, ouvrez l'œil !Giovanni di ser Giovanni Guidi, dit Lo Scheggia, (Florence 1406 – 1486), L’Histoire de Coriolan (devant de cassone), vers 1460-1465, Tempera et or sur bois, 43 x 155 cm, Collection Alana, Newark, DE, États-Unis, Photo : © Allison Chipak#Exposition #Exhibition #Art #Musee #Museum #JacquemartAndre #Paris ...

Rome semble bien mystérieuse derrière ces hautes murailles rouges.Giovanni di ser Giovanni Guidi, dit Lo Scheggia, (Florence 1406 – 1486), L’Histoire de Coriolan (devant de cassone), vers 1460-1465, Tempera et or sur bois, 43 x 155 cm, Collection Alana, Newark, DE, États-Unis, Photo : © Allison Chipak#Exposition #Exhibition #Art #Musee #Museum #JacquemartAndre #Paris ...

The Credit Suisse Exhibition: Gauguin Portraits

National Gallery
7 October 2019 –  26 January 2020

The first-ever exhibition devoted to the portraits of Paul Gauguin will open at the National Gallery in October 2019.

The Credit Suisse Exhibition: Gauguin Portraits (7 October 2019 – 26 January 2020) will show how the French artist, famous for his paintings of French Polynesia, revolutionised the portrait.

Paul Gauguin, 'Self Portrait as Christ', 1890-1, Musée d'Orsay, Paris (RF 1994-2) © RMN-Grand Palais (musée d'Orsay) / René-Gabriel Ojéda

Paul Gauguin, 'Self Portrait with Yellow Christ', 1890-1, Musée d'Orsay, Paris (RF 1994-2) © RMN-Grand Palais (Musée d'Orsay) / René-Gabriel Ojéda
This landmark exhibition of major loans from museums and private collections throughout the world will show how Gauguin used portraits primarily to express himself and his ideas about art.
Although he was fully aware of the Western portrait tradition, Gauguin was rarely interested in exploring his sitters’ social standing, personality, or family background, which had been among the main reasons for making portraits in the past.

Paul Gauguin, Portrait of the Painter Slewinski, 1891. Oil on canvas, 53.5 × 81.5 cm. National Museum of Western Art, Tokyo. Matsukata Collection © National Museum of Western Art, Tokyo.

From sculptures in ceramics and wood to paintings and drawings, an extraordinary range of media for a National Gallery exhibition, visitors will see how Gauguin interpreted a specific sitter or model over time, and often in different guises. A group of self portraits in the exhibition, for example, will show how Gauguin created a range of personifications including his self-image as Jesus Christ. Together with his use of intense colour and his interest in non-Western subject matter, his approach had a far-reaching influence on artists throughout the late 19th and 20th centuries including Henri Matisse and Pablo Picasso.

'The Credit Suisse Exhibition: Gauguin Portraits' will show how the artist – inspired by his time spent in Brittany and French Polynesia from the mid-1880s to the end of his life in 1903 – became fascinated by societies that to him seemed close to nature. With their folk tale heritage and spirituality, these communities appeared to him to be far removed from the industrialisation of Paris.

Gauguin’s inspiration to visit French Polynesia was partly drawn from the exotic novels of Pierre Loti (whose naval training included a stay in Tahiti), his photographs of Borobudur sculptures, and Pacific exhibits he had seen at Paris’s Exposition Universelle in 1889. At the same time his own upbringing in Peru allowed him to think of himself as someone who stood outside the European tradition, a ‘savage,’ while the European artistic and literary circles in which he moved also helped shape his views towards Tahiti and the Marquesas.

Gauguin’s life and art have increasingly come under scrutiny, especially the period he spent in South Polynesia. The Gallery aims to explore this controversial subject matter in the exhibition interpretation and accompanying programme and to join conversations now taking place that consider Gauguin's relationships and the impact of colonialism through the prisms of contemporary debate.

Featuring over fifty works, the exhibition includes paintings, sculptures, prints, and drawings many of which have rarely been seen together. These include works from the Musée d’Orsay, Paris, France; The National Gallery of Art, Washington, DC, USA; The Art Institute of Chicago, USA.; The National Gallery of Canada; The National Museum of Western Art, Tokyo, Japan; and The Royal Museums of Fine Arts of Belgium.

With pictures from his early years as an artist through to his final visit to the South Seas, the first room of the exhibition will be dedicated to self portraits; the most numerous of all Gauguin’s paintings. By making himself his chief subject and by assuming different personalities these images show Gauguin constantly reinventing himself. Included in this room is a rough, grotesque self-portrait head with his thumb in his mouth demonstrating his interest in non-Western iconography and art, and also his radical experimentation in different media ('Anthropomorphic pot', enamelled sandstone, 1889, Musée d'Orsay, Paris).

Room 2 is devoted to the period he spent in Brittany (1884–-91) where, in the remote village of Le Pouldu, he turned his back on his life as a Paris stockbroker to become the leading figure of a new artists’ colony. This room also contains portraits of some of the friends he had made in Paris and members of his family including

 Image result for Mette in Evening Dress', 1884 (The National Museum of Art, Architecture, and Design, Oslo).

'Mette in Evening Dress', 1884 (The National Museum of Art, Architecture, and Design, Oslo).

Paul Gauguin, Be Symbolist: Portrait of Jean Moréas, 1890-1891. Brush and pen and ink, 25.4 × 28.2 cm. Talabardon & Gautier, Paris.  Photo courtesy of the owner

In paintings such as 'Be Symbolist: Portrait of Jean Moréas' (1890–1, Talabardon & Gautier, Paris)

 Image result for 'Young Breton Woman', (1889, Private Collection) Gauguin

and 'Young Breton Woman', (1889, Private Collection) Gauguin started to push the boundaries of portraiture by eschewing its usual conventions of resemblance, flattery, and coherence of time and space.

Gauguin’s fraught relationships with fellow artists are explored in Room 3, particularly two key friends who, in spite of falling out with him, remained as portrait subjects for the rest of his life: Vincent van Gogh and Meijer de Haan (1852–1895). A group of portraits of de Haan shows how he became a symbolic cipher within his work that far outlived their friendship (and the sitter himself), stretching the possibilities for portraiture into something new across different media, such as the wooden bust of de Haan (1889–90, National Gallery of Canada).

Room 4 covers Gauguin’s first Tahitian trip (1891–3) where he sought an escape from ‘civilisation’ yet always with an eye to France, and how he was trying and failing to break into the Parisian art market from a distance. As well as including paintings of Teha’amana a Tahura, this room also tracks his continued experiments in different media, which made direct reference to the indigenous objects now surrounding him, in works such as 'Tehura (Teha’amana)' in wood, (1891–3, Musée d'Orsay, Paris);

Image result for 'Arii Matamoe (The Royal End)', (1892, The J. Paul Getty Museum, Los Angeles).

and 'Arii Matamoe (The Royal End)', (1892, The J. Paul Getty Museum, Los Angeles).

Featuring his return to Paris and Brittany and his second stay in Tahiti (1893–5), Room 5 will also include works containing distinctly Tahitian imagery. In a portrait made in Brittany, a young Breton woman in prayer is shown wearing a Tahitian missionary dress

Young Christian Girl
('Young Christian Girl', 1894, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA);

while in '
 Paul Gauguin,Self-portrait with a hat,© RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski

Self Portrait with Manao Tupapau', (1893–4, Musée d'Orsay, Paris) can be seen the painting
 Paul Gauguin- Manao tupapau (The Spirit of the Dead Keep Watch).JPG

'Manao Tupapau (The Spirit of the Dead Watching)', the print of which will also be on display (1894, National Gallery of Canada).

Room 6 has a selection of portraits in which Gauguin used symbolic objects, arranged into still lifes, to stand in for absent figures. These surrogate portraits had been part of Gauguin’s repertoire from the 1880s, but this room shows how they took on increasing significance during the isolation of his later years. They include proxy portraits of Van Gogh, his former friend who had been dead for a decade, which depict the blooms from sunflower seeds sent from France (such as 'Still Life with ‘Hope’', 1901, Private collection, Milano, Italy); Gauguin may have been the first to understand that sunflowers were Van Gogh’s signature motif and he would be famous for them.

The final room of the exhibition will be devoted to Gauguin’s late portraits. Despite a recurring illness and a decline in the quantity of his output, the portrait remained essential to Gauguin’s art in his final years on the Marquesan Island of Hiva Ooa. His use of portraits to express his role in local politics is reflected in the form of the wooden carved sculpture made for the home he built himself caricaturing the local bishop, as a lecherous devil (Père Paillard, 1902, National Gallery of Art, Washington, DC).

His last self portrait, perhaps the simplest and most direct of all, probably made shortly before the end of his life, aged 55, brings the exhibition to a close

(Self Portrait, 1903, Kunstmuseum Basel).

Christopher Riopelle, The Neil Westreich Curator of Post-1800 Paintings at the National Gallery, and co-curator of 'The Credit Suisse Exhibition: Gauguin Portraits', says:
'Gauguin radically expanded the parameters of portraiture. He understood how deeply modern art would be the expression of the individual, idiosyncratic personality, and he realised that the portrait must serve as the portal to rich, contradictory interior worlds. That he found the stylistic vocabulary to evoke this complexity is the mark of his genius.'
Dr Gabriele Finaldi, Director of the National Gallery, says:
“This is the first time that an exhibition focuses on portraits by Gauguin. Never a conventional portrait painter, his radical, highly personal vision led to the creation of a group of works that are striking, moving and at times disturbing. Through paintings, prints, sculptures and ceramics the exhibition explores how he defined his own persona in his self -portraits and how he fashioned the images of friends, lovers, and associates.”
David Mathers, CEO of Credit Suisse International, says:
“We are delighted to be supporting 'The Credit Suisse Exhibition: Gauguin Portraits' at the National Gallery, London. This exhibition proposes a new approach to Gauguin by looking, for the first time, specifically at portraits inspired by those he knew intimately in the later years of his life. His posthumous fame demonstrates the lasting impression left on modern art by this enigmatic and talented figure. Gauguin’s unique relationship with Vincent van Gogh and his contribution to Symbolism during the turn of the 20th century make this a fascinating foray into his artistic production.”
'The Credit Suisse Exhibition: Gauguin Portraits' is organised by the National Gallery and the National Gallery of Canada, Ottawa.

The exhibition is curated by Cornelia Homburg and Christopher Riopelle from an initial concept by Cornelia Homburg. Cornelia Homburg is the guest curator for the National Gallery of Canada, and Christopher Riopelle is the Neil Westreich Curator of Post-1800 Paintings at the National Gallery, London.

Many more images!

Goya, Fragonard, Tiepolo: The Freedom of Imagination

Hamburger Kunsthalle
With Goya, Fragonard, Tiepolo: The Freedom of Imagination, the Hamburger Kunsthalle is devoting a large-scale show to one of the most momentous chapters in European art history: the 18th century. This heyday and period of great change in European art brought forth such disparate figures as Francisco José de Goya y Lucientes (1746–1828), Jean-Honoré Fragonard (1732–1806) and Giovanni Battista Tiepolo (1696–1770). The exhibition assembles around 100 important paintings and works of graphic art from major national and international museums. It also marks the final event for the anniversary year 2019, which marks 150 years of the Hamburger Kunsthalle.
This ambitious exhibition will make it possible for the first time to directly compare works by Goya, Fragonard, Giovanni Battista Tiepolo and his son Giovanni Domenico Tiepolo by placing them in a common context. The artists will namely be pre-sented as precursors and pioneers of modernism whose works already illustrate the upheavals in the mid-18th century that would end up liberating art from the strictures of convention.
Giovanni Battista Tiepolo, his son Giovanni Domenico Tiepolo (1727–1804), Fragonard and Goya all reflected in their art the ideological, political and social transformations that shaped the 18th century. They developed a more radical formal language, lastingly changing painting by flouting artistic norms and breaking with the canon in unusual and innovative ways. Their loose and free-flowing brushwork can be taken to stand for the freedom of imagination, a freedom they also claimed for themselves in their pictorial language. The exhibition illustrates this developmental process in powerful images, tracing the different creative phases of the selected artists to chronicle the fundamental changes that laid the foundations for modernism in the art centres of Venice, Paris and Madrid.
In general, the virtuoso and versatile bodies of work created by Tiepolo, Fragonard and Goya seem to be characterised by contradictory approaches. At first glance, we see a conventional mode of painting contrasted by bold pictorial inventions, while atmospheric, idealised images meet up with the uncanny and grotesque, and a penchant for theatre and the theatrical shows itself in a play of reflection and illusion. Painting style becomes here something radically personal and contem-plative. These masters hence introduced a stylistic transformation in painting as early as the mid-18th century, setting the course for modernism with their innovative formal language even before the French Revolution of 1789 would finally bring the most drastic upheaval of all.

Curator: Dr. Sandra Pisot

Rembrandt Masterpieces from the Collection

Hamburger Kunsthalle
30 Aug 2019 to 05 Jan 2020

The 4th of October 2019 marks the 350th anniversary of Rembrandt's death (1606–1669). On this occasion, the Hamburger Kunsthalle will present a special showcase of one of the major artists of the Dutch Golden Age. On display will be a selection of outstanding works from the museum's Old Masters holdings and Prints and Drawings Collection, for example

Simeon and Hannah in the Temple (1627)


These will be supplemented by the painting The Expulsion of Hagar (1612) by Pieter Lastman, who taught Rembrandt for six months in his workshop circa 1625. Exhibited alongside the three paintings will be a selection of around 70 etchings, including landscapes, portraits and works on religious themes.
In total, the Hamburger Kunsthalle's Prints and Drawings Collection houses more than 350 etchings by Rembrandt. All of them came from the Hamburg art dealer and collector Georg Ernst Harzen (1790–1863), who bequeathed his collection to the City of Hamburg in his will for the eventual founding of the Kunsthalle in 1869, 150 years ago. This important collection of international standing makes it possible to show Rembrandt's print oeuvre in all its many facets. Rembrandt: Masterpieces from the Collection will be presented in a cabinet in the Old Masters galleries and in the Harzen Cabinet.

Degas at the Opera

Musée d'Orsay
24 September 2019 - 19 January 2020
National Gallery of Art, Washington
1 March to 5 July 2020
Throughout his entire career, from his debut in the 1860s up to his final works after 1900, the Opera formed the focal point of Degas’ output. It was his “own room”. He explored the theatre’s various spaces - auditorium and stage, boxes, foyers, and dance studios - and followed those who frequented them: dancers, singers, orchestral musicians, audience members, and black-attired subscribers lurking in the wings. This closed world presented a microcosm of infinite possibilities allowing all manner of experimentations: multiple points of view, contrasts of lighting, the study of motion and the precision of movement.

This is the first exhibition to consider the Opera as a whole, examining not only Degas’ passionate relationship with the House and his musical tastes, but also the infinite resources of this marvellous ‘toolbox’. The work of a truly great artist offers us the portrait of the Paris Opera in the 19th century.

General curator

Henri Loyrette


Leila Jarbouai, graphic arts curator at the Musée d'Orsay, Marine Kisiel, curator at the Musée d'Orsay and Kimberly Jones, curator of 19th century French paintings at the National Gallery of Art in Washington

Exhibition organized by the Musée d'Orsay and Musée de l'Orangerie, Paris and the National Gallery of Art, Washington, where it will be presented from 1 March to 5 July 2020 on the occasion of the three hundred and fiftieth anniversary of the Paris Opera.

Image result for Degas at the Opera
Edgar Degas
French, 1834 - 1917
Dancers at the Old Opera House
c. 1877
pastel over monotype on laid paper
overall: 21.8 x 17.1 cm (8 9/16 x 6 3/4 in.)
framed: 35.5 x 31.1 x 3.8 cm (14 x 12 1/4 x 1 1/2 in.)
Lemoisne 1946, no. 432

Image result for Degas at the Opera

El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum

This fall, the Meadows Museum, SMU, will present 11 paintings produced by some of Spain’s most celebrated artists, drawn from the collection of England’s The Bowes Museum. Curated by Amanda Dotseth, El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum will mark the first time that works from that museum will travel to the US.

The son of a British aristocrat, prominent Northeast England landowner, John Bowes (1811–1885) pursued an interest in politics, business, and the arts during his lifetime, becoming a part of English and French high society. Joséphine Coffin-Chevallier (1825–1874) was a French actress, painter, and the daughter of a clockmaker. After their marriage in 1852, John and Joséphine’s shared passion for the arts prompted them to create a public museum in the market town of Barnard Castle, near John’s estate. Using John’s wealth and influence, along with Joséphine’s intuitive eye, the couple began acquiring art in 1860, with a strong focus on underappreciated Spanish works of the time.

Between the years 1862 and1874, John and Joséphine would amass a collection of approximately 15,000 paintings and objects—from silver to tapestries. This also included 102 Spanish paintings, creating within The Bowes Museum one of the most comprehensive collections of Spanish art in the British Isles. Unfortunately, neither John nor Josephine would live to see the completion of their museum, which opened to the public in 1892.

John and Joséphine’s interest in Spanish painting came on the recommendation of one of their art dealers, who identified an important opportunity following the death of Conde Francisco Javier de Quinto y Cortés in 1860. A Spanish politician, de Quinto was also the director of the Museo de la Trinidad in Madrid and an established collector.

After the Conde de Quinto’s death, his collection was auctioned in Paris in 1863; the 11 works presented in this exhibition are all works the Boweses acquired from that collection.

The exhibition will also include selected archival materials that demonstrate John and Josephine’s process of collecting, such as the catalogue from the de Quinto sale with John Bowes’s annotations. 

El Greco (Domenikos Theotokopoulos), (Greek, 1541–1614), The Tears of Saint Peter, 1580s. Oil on canvas. The Bowes Museum, Barnard Castle, County Durham, UK; B.M.642.

Religious themes and iconography are displayed in most of these works. Other works, such as  

Francisco José de Goya y Lucientes (Spanish, 1746–1828), Interior of a Prison, 1793–94. Oil on tinplate. The Bowes Museum, Barnard Castle, County Durham, UK, B.M. 29.

Francisco de Goya’s (1746–1828) Interior of Prison (1793–94), track the evolution of Spanish art at the end of the 18th century—from depictions of the monarchy or Catholic saints, to a minimalistic focus on literary figures and social injustices. 

Juan deValdés Leal (Spanish, 1622–1690), Saint Eustochium, 1656–57. Oil on canvas. The Bowes Museum, Barnard Castle, County Durham, UK; B.M.10

Francisco José de Goya y Lucientes (Spanish, 1746–1828), Portrait of Juan Antonio Meléndez Valdés, 1797. Oil on canvas. The Bowes Museum, Barnard Castle, County Durham, UK, B.M. 26.

It is this range in thematic resonance and style—from the vivid and spiritual depictions of El Greco, to the restrained and naturalistic work of Goya—that identify these 11 Spanish works as some of the most important of the Boweses’ collection.

Carreño de Miranda_Belshazzar’s Feast_b-m-19

Juan Carreño de Miranda (1647-1649)
The Bowes Museum

“This exhibition is, in a sense, telling two histories: one about artistic production in Spain in the 16th through 18th centuries, and the other about its modern legacy,” said Amanda W. Dotseth, Curator at the Meadows Museum. “In the 19th century, the Conde de Quinto built an important private collection of historic Spanish paintings. John and Joséphine later recognized the collection’s edifying potential by purchasing key works to include in their public museum. In so doing, they ensured Spanish art would have a prominent role among the museum’s diverse collections. The Boweses were ahead of their time for collecting Spanish art a century before the Meadows Museum opened its doors to the public in 1965.”