Thursday, November 28, 2019

Goya. Drawings. "Only my Strength of Will Remains"

Museo Nacional del Prado. Madrid  
11/20/2019 - 2/16/2020
This major exhibition, which opens on the day the Museo Nacional del Prado celebrates its 200th anniversary, is the result of the work undertaken for the creation of a new catalogue raisonné of Goya’s drawings, made possible through the collaborative agreement signed by the Fundación Botín and the Museo del Prado in 2014.

For the first time and in a unique and unrepeatable occasion, the exhibition brings together more than 300 of Goya’s drawings from both the Prado’s own holdings and from private and public collections world-wide. The result is a chronological survey of the artist’s work that includes drawings from every period of his career, from the Italian Sketchbook to those created in Bordeaux. In addition, the exhibition offers a modern perspective on the ideas that recur throughout Goya’s work, revealing the ongoing relevance and modernity of his thinking.

Co-organised by the Fundación Botín and jointly curated by José Manuel Matilla, Chief Curator of Prints and Drawings at the Museo Nacional del Prado, and Manuela Mena, Chief Curator of 18th-century Painting and Goya at the Prado until January 2019, the exhibition is on display in Rooms A and B of the Jerónimos Building until 16 February 2020.

On 19 November 1819 the new museum opened its doors to the public, at that date still a royal museum and comprising works from the exceptional collections of painting and sculpture assembled by Spain’s monarchs over more than 300 years. While Goya was still living in Madrid, three of his paintings - the two equestrian portraits of  

Charles IV
Image result for goya and María Luisa de Parma

and María Luisa de Parma

and the Horseman with a Pike - were already hanging in the room that led into the Museum’s central gallery. Over the succeeding years the Museum would assemble the finest collection of Goya’s work, comprising around 150 paintings, 500 drawings, all the artist’s print series and a unique body of documentation in the form of his letters to his friend Martín Zapater.

This exhibition, which is the result of the remarkable richness of the Museo del Prado’s collections and of the work undertaken to prepare a new catalogue raisonné of Goya’s drawings in collaboration with the Fundación Botin, aims to reveal the different aspects that determine the meaning of the artist’s sketchbooks and print series.
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José Manuel Matilla, Museo Nacional del Prado Senior Curator Drawings and Prints and Manuela Mena

Image result for goya Prado Horseman with a Pike

 Image result for goya Prado Horseman with a Pike

Image result for goya Prado Horseman with a PikeImage result for goya Prado Horseman with a Pike
Goya. Drawings. "Only my Strength of Will Remains"

Goya. Drawings. "Only my Strength of Will Remains"

Mary Cassatt’s Women

McNay Museum
October 31, 2019 to February 9, 2020

Image: Mary Cassatt, The Cup of Tea, ca. 1880-81. Oil on canvas. The Metropolitan Museum of Art, From the Collection of James Stillman, Gift of Dr. Ernest G. Stillman, 1922 (22.16.17). ©️The Metropolitan Museum of Art. Image Source: Art Resource, NY

This fall, McNay visitors will have a special opportunity to view Mary Cassatt’s Impressionist masterpiece The Cup of Tea in Mary Cassatt’s Women. Joined by the McNay’s own suite of Cassatt’s well-known and beloved aquatints and other works on paper, The Cup of Tea is on loan exclusively to the McNay from the Metropolitan Museum of Art, New York. Cassatt received critical acclaim for The Cup of Tea in the 1881 Impressionist exhibition.

Mary Cassatt’s Women
focuses on the artist’s images of the ordinary and often intimate moments from the daily lives of upper-middle class women like herself—as they care for children, ride the public omnibus, or enjoy the ritual of having tea. What makes Cassatt’s work compelling is how she elevates what could be dismissed as mundane subject matter through her masterful approach to color and composition.

Friday, November 22, 2019

*Genealogies of Art, or the History of Art as Visual Art

Museo Picasso Málaga

27th February - 31st May 2020

This exhibition brings together a broad selection of artists and auteurs associated with visual thinking, including highly diverse representations of genealogical trees, tables, allegories and diagrams, created from the 15th century until today. Genealogies of Art, or the History of Art as Visual Art is far from being either a group or a thematic exhibition: it is instead an exhibition that looks at forms of visual narration, aiming to offer a range of representations broad enough to complement the standard discursive presentation of art history.

One of these visual representations,

the diagram composed by Alfred H. Barr, Jr. (founder of the Museum of Modern Art in New York in 1929), for the dust jacket of the exhibition Cubism and Abstract Art (1936), is transferred to the 3D space of the exhibition, replacing the references to artists and movements with similar artworks to those included in the original 1936 exhibition:

Pablo Picasso, Constantin Brancusi, Paul Cézanne, Robert Delaunay, Alberto Giacometti, Juan Gris, Wassily Kandinsky, Fernand Léger, El Lissitzky, Kazimir Malevich, Franz Marc, Henri Matisse, Joan Miró, 

Piet Mondrian, Georges Braque, Paul Klee and Henry Moore are just some of the artists whose work can be seen  at Museo Picasso Málaga. 

Great Realism & Great Abstraction

Städel Museum
13 November 2019 to 16 February 2020

"Great realism, great abstraction" – the approximately 1,800, twentieth-century German drawings in the collection of the Städel Museum’s Department of Prints and Drawings occupy a realm between these two poles. In the winter of 2019/2020, the museum will show a representative selection of some 100 works mirroring the emphases of the collection that have taken shape over the course of its long history.

The exhibition opens with masterful drawings by Max Beckmann (1884–1950) and Ernst Ludwig Kirchner (1880–1938), which also provide comprehensive insight into the draughtsmanship of the two artists. This is followed by works by members of the artist group “Die Brücke”, including Erich Heckel (1883–1970), Karl Schmidt-Rottluff (1884–1976) and Emil Nolde (1867–1956). Following on from Expressionism and its abstracting tendencies, drawings by Rolf Nesch (1893–1975), Werner Gilles (1894–1961) and Ernst Wilhelm Nay (1902–1968) are presented, as are watercolours by Paul Klee (1879–1940), whose works oscillate between a closeness to the subject and abstraction. Also in divided Germany during the post-war period, this preoccupation with the representational and the non-representational was characteristic for many artists. This can be seen in works of the Art Informel movement, as well as in neo-expressionist tendencies and Pop Art, as exemplified by the works of Karl Otto Götz (1914–2017), Joseph Beuys (1921–1986), Gerhard Richter (*1932), Georg Baselitz (*1938), A. R. Penck (1939–2017), Sigmar Polke (1941–2010) and Anselm Kiefer (*1945). The exhibition brings together works by a total of roughly forty artists.

The Exhibition
The roughly one hundred works on view from the twentieth century, supplemented by two paintings, are examined on the basis of various aspects, such as how the artists dealt with reality, how they questioned, further developed or undermined traditional pictorial ideas conveyed at the academies, and last but not least the fundamental significance of drawing within their respective oeuvres. The pencil sketches, brilliantly colourful pastels and aquarelles, and the monumental collages exhibited here also reveal the technical diversity of the medium of drawing, the specific characteristics of which the artists exploited, each in their own way. The drawings are loosely assigned

chronological groups which shed light in different ways on the relationship between closeness to the subject and abstract detachment from the model of nature.
The Expressionists already used drawing as an autonomous art form, but at the same time it remained a medium of experimentation. Both are reflected in the first chapters of the exhibition dedicated to Ernst Ludwig Kirchner and Max Beckmann. Shaken by the events of the First World War, Beckmann came to Frankfurt am Main in 1915 and initially withdrew to his private surroundings. He produced studies of the local environment as well as numerous portraits, including an intensive and personal pencil drawing of his close lady friend Fridel Battenberg (1880–1965) from 1916 and a painterly pastel portrait of Marie Swarzenski (1889–1967) from circa 1927. Marie Swarzenski was the wife of Georg Swarzenski (1876–1957), the then director of the Städelsches Kunstinstitut und Städtische Galerie, whom Beckmann captured shortly before his death in an impressive portrait, a charcoal drawing on blue paper, which can also be seen in the exhibition. These and other works illustrate Beckmann’s keen instinct for his vis-à-vis and the individual use of drawing utensils, and also document Beckmann’s changing formal language. The pre-war compositions are characterised by rounded lines and soft contours. The composition then became stricter, the motifs sharply outlined, revealing angular forms.
For Ernst Ludwig Kirchner, drawing was the “key to his art”. With over 120 drawings by Kirchner, the Städel Museum boasts one of the most important collections of the artist’s drawings in Germany, which is largely due to the donation of works on paper from the estate of the Frankfurt patron of the arts Carl Hagemann (1867–1940) in 1948. One of the masterpieces is the pastel drawing B_e_r_l_i_n_e_r_ _S_t_r_a_ße_n_s_z_e_n_e_ _(Street Scene in Berlin) from 1914. The hasty glances of the two prostitutes depicted, their quick steps and those of the passers-by, define the image: Kirchner was fascinated by people in motion, by the hectic mood of the aspiring metropolis of Berlin, which he translated into striking lines. The reality of people’s lives was the source of his art. He abstracted what he saw by reducing natural forms to the essential.
The close connection between man and nature linked Kirchner and Emil Nolde with each other, even after their time together in the artist group “Die Brücke” (1905–1913). The closeness to nature becomes particularly visible in Nolde’s watercolours, such as V_i_e_r_w_a_l_d_s_t_a_̈t_t_e_r_ _S_e_e_ _(Lake Lucerne) from circa 1930. Here, Nolde transformed the nature he had experienced into a composition of planes with bright, contrasting colours. Control and chance both played a decisive role in the creative process – it was precisely this combination that made the drawing a mirror of the forces acting between man and nature.
the beginning of the twentieth century, August Macke (1887–1914) was also searching for adequate forms of expression for the “tremendous life” that swept over him. In the study Zwei Mädchen (Two Girls) from 1913, which is closely related to the painting of the same name, two young girls are depicted in an urban setting. The lines translate rhythmic impulses, light effects and the ambient sound of the big city into an abstract structure of forms and lend the drawing a dynamic effect. In the 1920s and 1930s, a number of artists developed a strongly abstracted formal vocabulary, often following on from Expressionism. They also turned away from traditional compositional principles taught at the academies and initially tested new means of representation on paper. They abandoned naturalistic depictions and transformed what they had seen and experienced into fundamental pictorial elements such as line and surface, colour and form. Rolf Nesch, Werner Gilles and Ernst Wilhelm Nay worked with two-dimensional colour forms, striking lines and geometric figural depictions and dispensed with an illusionistic representation of depth. These formal tendencies can also be observed in Willi Baumeister’s (1889–1955) Sportler in Ruhe (Athletes Resting) from 1929. Baumeister, however, distinguished himself from Expressionist models and cultivated a more objective means of expression. Nevertheless, the immediate visual experience was the starting point for all of their works, regardless of the artists’ different modes of representation. Their artistic goal was to depict the primal forces of nature, which they perceived as expressions of life and translated into their pictorial compositions – such as Nay into rushing colour gradients, Gilles into clear colours seemingly flooded with sunlight, or Baumeister into relief-like surface structures reminiscent of rock formations.
Two drawings by Paul Klee, who had travelled to Tunisia with August Macke and had been inspired by his impressions on this journey to increasingly abstract compositions, reflect his virtuosity and joy of experimentation in drawing. For Fruchtbares geregelt (Fertile Well-Ordered) from 1933, the artist used a brush and a stamp to press the paint onto the paper. For the late drawing alea jacta from 1940, Klee applied a blend of pigment and glue to a rough paper clearly marked by the signs of the times. He combined abstract signs and expressive field of colour – enigmatic ciphers reminiscent of Ernst Ludwig Kirchner’s ‘hieroglyphics’ – with a gestural application of paint that already points to the intuitive painting and drawing style of Art Informel.
Drawing served the artists as a means of immediate expression, whether in the trenches of World War I, the boulevards of the awakening metropolis of Berlin or in the midst of the emerging world of consumption and commodities. In this medium, they constructed idealistic life plans, rebelled against established traditions in politics and society, or reflected on decisive events in German history. Because it was the respective context that determined the technique, the works on view will range from simple pencil sketches and miniature-like chalk drawings to vivid pastels and watercolours and even monumental collages.

Max Beckmann’s “Transcendental Objectivity”

Max Beckmann (1884‒1950) was one of the many artists who were deeply affected by the cruelties of World War I. In 1915, certified unfit for military service owing to a physical and mental breakdown, he did not return to his family in Berlin but settled in Frankfurt. In an abrupt departure from his previous artistic work, he developed a new style that is first evident in his drawings. He now sought to capture his motifs directly, without regard for spatial or anatomical correctness. Even the types of lines he drew changed, becoming harder and more prominent. He wanted to reproduce not only what was outwardly visible, but also tensions and forces lying concealed beneath the surface. In his attempt to verbalize his new pictorial language he arrived at the term “transcendental objectivity”.

Ernst Ludwig Kirchner From Nature Impression to “Hieroglyph”

Ernst Ludwig Kirchner (1880–1938) engaged in drawing on a daily basis. Whether he was on the street, in the cinema, at a concert or variety show, studying nudes in the studio or the outdoors, he always had his drawing utensils with him so as to capture what he experienced directly. As he worked in this medium, he reduced natural forms to simple signs conveying their essence – so-called “hieroglyphs”. Yet even if these abstract forms consist of just a few distinct lines, they always retain a certain closeness to reality. To quote the artist himself, his pictures were “not illustrations of certain things or beings, but independent organisms of line, surface and colour that contain the natural forms only to the extent necessary to serve as a key to comprehension”.

German Expressionism – Colour-Form Events

In the years around 1900, a spirit of optimism and new departure prevailed – also in art. In the search for artistic renewal, a great number of often very different avant-gardist currents emerged simultaneously. Young artists joined in associations such as the Brücke or Blauer Reiter and sought adequate means of expressing what August Macke called the “stupendous life” rushing in on them. They turned away from the traditional conceptions of art taught at the academies and, initially on paper, experimented with new modes of depiction. Rejecting naturalistic representation, they translated what they saw and experienced into basic visual elements such as line, surface, colour and form. They no longer modelled bodies to look three-dimensional but worked instead with bold contours and two-dimensional, monochrome zones of colour from palettes that departed from the natural appearance of things. What is more, the artists emphasized the material qualities of their crayons, charcoals, opaque body colours and delicate watercolours and integrated chance into their compositions and application of the paint. In their watercolours, for example, they allowed the paints to spread across the paper uncontrolled, bringing about lively interplays between colour and form: colour-form events.

The catalogue accompanying the exhibition will be the first ever to investigate the Städel Museum’s collection of twentieth-century German drawings on the basis of selected examples.

*Vida Americana: Mexican Muralists Remake American Art, 1925–1945

Whitney Museum of American Art 
February 17 through May 17, 2020

McNay Art Museum,  San Antonio, Texas
June 25 through October 4, 2020 

The cultural renaissance that emerged in Mexico in 1920 at the end of that country’s revolution dramatically changed art not just in Mexico but also in the United States. Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will explore the profound influence Mexican artists had on the direction American art would take. With approximately 200 works by sixty American and Mexican artists, Vida Americana reorients art history, acknowledging the wide-ranging and profound influence of Mexico’s three leading muralists—José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros—on the style, subject matter, and ideology of art in the United States made between 1925 and 1945. 
Curated by Barbara Haskell, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant, Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will be on view at the Whitney from February 17 through May 17, 2020 and will travel to the McNay Art Museum in San Antonio, Texas, where it will be on display from June 25 through October 4, 2020.

By presenting the art of the Mexican muralists alongside that of their American contemporaries, Vida Americana reveals the seismic impact of Mexican art, particularly on those looking for inspiration and models beyond European modernism and the School of Paris. At the same time that American artists and their audiences were grappling with the Great Depression and the economic injustices it exposed, the Mexican artists provided a compelling model for portraying social and political subject matter that was relevant to people’s lives, thereby establishing a new relationship between art and the public. 
Works by both well-known and underrecognized American artists will be exhibited, including Thomas Hart Benton, Elizabeth Catlett, Aaron Douglas, Marion Greenwood, William Gropper, Philip Guston, Eitarō Ishigaki, Jacob Lawrence, Harold Lehman, Fletcher Martin, Isamu Noguchi, Jackson Pollock, Ben Shahn, Thelma Johnson Streat, Charles White, and Hale Woodruff. In addition to Orozco, Rivera, and Siqueiros, other key Mexican artists included in the exhibition include Miguel Covarrubias, María Izquierdo, Frida Kahlo, Mardonio Magaña, Alfredo Ramos Martínez, and Rufino Tamayo. 

This historic exhibition will feature works that have not been exhibited in the United States in decades. Two of Rivera’s 1932 studies for Man at the Crossroads, his destroyed and infamous Rockefeller Center mural, will be lent by the Museo Anahuacalli in Mexico City. 

They also will lend Rivera’s study from his Portrait of America series (c. 1933). 

The Museo de Arte Carrillo Gil will lend several key works by both Orozco and Siqueiros that have never been or are rarely seen in the United States, including 

Image result for Orozco Christ Destroying His Cross (1931),

Orozco’s Christ Destroying His Cross (1931),  

 Image result for Orozco Pancho Villa (1931)Image result for orozco Pancho Villa (1931),

Pancho Villa (1931), 


and Landscape of Peaks (1943); 

and Siqueiros’s Intertropical (1946), Resurrection (1946), and Cain in the United States (1947). 

Other important Mexican loans include Siqueiros’s Our Present Image (1947) from the Museo de Arte Moderno; 

and María Izquierdo’s My Nieces (1940) 

 Image result for and Siqueiros Proletarian Mother (1929) from the Museo Nacional de Arte.

and Siqueiros’s Proletarian Mother (1929) from the Museo Nacional de Arte. 

Two paintings by Japanese-born artist Eitarō Ishigaki will also be on loan from Japan’s Museum of Modern Art in Wakayama.
“The panoramic Mexican murals of the post-revolutionary period depicting national history and everyday life used a pictorial vocabulary that was simultaneously modern and distinctly Mexican. Combined with the radical socialist subject matter of the works the Mexican muralists created while living in the United States, their influence on artists in this country was profound,” explained Barbara Haskell, the exhibition’s curator. “Largely excluded from the predominant canonical narrative of modern art that emerged in the United States, the muralists’ legacy and enduring impact shapes a more expansive vision of modernism. By exploring the transformation in artmaking that occurred in the United States as a result of the Mexican influence, while also examining the effect the U.S. had on the muralists’ art, Vida Americana will expand our understanding of the rich cultural exchange between our two countries.”
Vida Americana is an enormously important undertaking for the Whitney and could not be more timely given its entwined aesthetic and political concerns," said Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator. "It not only represents the culmination of nearly a decade of scholarly research and generous international collaboration but also demonstrates our commitment to presenting a more comprehensive and inclusive view of twentieth-century and contemporary art in the United States.”
The Whitney Museum’s own connection to the Mexican muralists dates back to 1924 when the Museum’s founder Gertrude Vanderbilt Whitney presented an exhibition of the work of three Mexican artists—José Clemente Orozco, Luis Hidalgo, and Miguel Covarrubias—at the Whitney Studio Club, organized by artist Alexander Brook. It was Orozco’s first exhibition in the United States. A few years later, in 1926, Orozco also showed watercolors from his House of Tears series at the Studio Club; and the following year Juliana Force, Mrs. Whitney’s executive assistant and future director of the Whitney Museum, provided critical support for Orozco at a time when he desperately needed it by acquiring ten of his drawings. The Mexican muralists had a profound influence on many artists who were mainstays of the Studio Club, and eventually the Whitney Museum, including several American artists featured in Vida Americana, such as Thomas Hart Benton, William Gropper, Isamu Noguchi, and Ben Shahn.
Comprised of paintings, portable frescoes, films, sculptures, prints, photographs, and drawings, as well as reproductions of in-situ murals, Vida Americana will be divided into nine thematic sections and will occupy the entirety of the Whitney’s fifth-floor Neil Bluhm Family Galleries. This unprecedented installation, and the catalogue that accompanies it, will provide the first opportunity to reconsider this cultural history, revealing the immense influence of Mexican artists on their American counterparts between 1925 and 1945.



Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will be accompanied by a full-color, 256-page, scholarly catalogue edited by Barbara Haskell. Co-published by the Whitney Museum and Yale University Press, the catalogue will include eleven essays by scholars in the United States and Mexico. Drawing on recent research by the curatorial team at the Whitney and the contributing authors, the publication includes a foundational essay by Haskell and is complemented by a series of insightful contributions from Mark A. Castro, Dafne Cruz Porchini, Renato González Mello, Marcela Guerrero, Andrew Hemingway, Anna Indych-López, Michael K. Schuessler, Gwendolyn DuBois Shaw, ShiPu Wang, and James Wechsler. Also included are 139 color and fifty-seven black and white illustrations, as well as a list of artists included in the exhibition.


Alfredo Ramos Martínez. Calla Lily Vendor (Vendedora de Alcatraces), 1929. Oil on canvas, 45 13/16 × 36 in. (116.3 × 91.4 cm). Private collection. © The Alfredo Ramos Martínez Research Project, reproduced by permission 

Harold Lehman, The Driller (mural, Rikers Island, New York), 1937. Tempera on fiberboard, 92 1/8 × 57 1/8 in. (233.9 × 145 cm). Smithsonian American Art Museum, Washington, DC; transfer from the Newark Museum 1966.31.11. © Estate of Harold Lehman. Image: Smithsonian American Art Museum, Washington, DC / Art Resource, NY

José Clemente Orozco, Barricade (Barricada), 1931. Oil on canvas, 55 × 45 in. (139.7 × 114.3 cm). Museum of Modern Art, New York; given anonymously. © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

Jackson Pollock, Landscape with Steer, c. 1936–37. Lithograph with airbrushed enamel additions, sheet: 16 1/8 × 23 3/8 in. (41 × 59.3 cm); image: 13 13/16 × 18 9/16 in. (35.1 × 47.1 cm). Museum of Modern Art, New York; gift of Lee Krasner Pollock. © 2019 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY


David Alfaro Siqueiros. Zapata, 1931. Oil on canvas, 53 1/4 × 41 5/8 in. (135.2 × 105.7 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; gift of Joseph H. Hirshhorn, 1966 66.4605 © 2019 ARS/SOMAAP. Photo by Lee Stalsworth

Diego Rivera. The Uprising. 1931


Midnight in Paris: Surrealism at the Crossroads, 1929

The Dalí Museum, St. Petersburg, Florida
Nov. 23, 2019, through April 9, 2020

Paris, a timeless city both intellectual and sensuous, was vibrating with the spirit of liberation in 1929. Among those pulsing with the energy and excitement of the era were groundbreaking artists, galvanized to forge vital new creative paths with cultural and political meaning. Midnight in Paris: Surrealism at the Crossroads, 1929, profiles the work, friendship and clashes of more than 20 avant-garde artists of the era, from the painters Salvador Dalí and René Magritte, to sculptors Hans Arp and Alexander Calder, to filmmakers Germaine Dulac and Luis Buñuel. Man Ray, the great American artist, and perhaps the first paparazzo, made splendid photo portraits of these and other Surrealists, turning them into international celebrities.

            “The year 1929 in Paris was one of those rare moments when the artists of the time knew they were reshaping the world,” said Dr. Hank Hine, executive director of The Dalí. “Are we in such a time again? The Dalí Museum invites you to consider this, and to discover the provocative conversations, dreams and friendships among a deeply experimental and influential group of artists who called Paris their creative home.”

            Designed as an inspiring stroll through the streets of Paris, the exhibition evokes concepts of Dream, Desire, Freedom, Love and Revolution, asking visitors to consider some of the thought-provoking questions at the heart of the Surrealist enterprise: Is art obsolete? Are dreams or reality more important to portray? Would painting survive the new experiments with photography, film and collage?

            Among the highlights of Midnight in Paris are the vivid films of four surrealists, Germaine Dulac, Luis Bunuel, Man Ray and Gerhard Richter. The Museum has installed a period theater in the galleries to project its new film shot in St. Petersburg imagining an emotional conversation between Gala Dalí, Dalí’s wife, and André Breton, Surrealism’s founder, as they vie for control of the movement.  

            Organized by The Dalí Museum and the Centre Pompidou, the exhibition includes approximately 65 works in a variety of media drawn largely from the collection of the Musée national d’art moderne in Paris. The exhibition is curated by Dr. William Jeffett, chief curator of special exhibitions at The Dalí Museum, and Didier Ottinger, deputy director of the Musée national d’art moderne at the Centre Pompidou with the collaboration of Marie Sarré.

           Midnight in Paris: Surrealism at the Crossroads, 1929, will be on view Nov. 23, 2019, through April 9, 2020, at The Dalí Museum, the exhibition’s exclusive North American venue.

About The Dalí Museum

            The Dalí Museum, located in the heart of picturesque downtown St. Petersburg, Florida, is home to an unparalleled collection of over 2,400 Salvador Dalí works, including nearly 300 oil paintings, watercolors and drawings, as well as more than 2,100 prints, photographs, posters, textiles, sculptures and objets d’art. The Museum’s nonprofit mission, to care for and share its collection locally and internationally, is grounded by a commitment to education and sustained by a culture of philanthropy.
            The Dalí is recognized internationally by the Michelin Guide with a three-star rating; has been deemed “one of the top buildings to see in your lifetime” by AOL Travel News; and named one of the 10 most interesting museums in the world by Architectural Digest. The building itself is a work of art, with a geodesic glass bubble nicknamed The Enigma, which features 1,062 triangular glass panels, a fitting tribute to Salvador Dalí’s legacy of innovation and transformation. Explore The Dalí anytime with the free Dalí Museum App, available on Google Play and in the App Store. The Dalí Museum is located at One Dalí Boulevard, St. Petersburg, Florida 33701.
             For more information visit


Joan Miró
(Barcelona, 1893 – Palma di Mallorca, 1983)
Peinture (Painting)
Inv. AM 2853 P
Centre Pompidou, Paris, Musée national d’art moderne/Centre de creation industrielle
Donated by Mr. Pierre Loeb, 1949
© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2019


René Magritte
(Lessines, 1889 – Bruxelles,1967)
Le modèle rouge (The Red Model)
Oil on canvas mounted on cardboard
Inv. AM 1975-216
Centre Pompidou, Paris, Musée national d’art moderne/Centre de creation industrielle
Purchase, 1995
Photo credit : © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP
© 2019 C. Herscovici / Artists Rights Society (ARS), New York

Max Ernst

Max Ernst (Brühl, 1891 – Paris, 1976)
Chimère (Chimera)
Oil on canvas
Inv. AM 1983-47
Centre Pompidou, Paris, Musée national d’art moderne/Centre de creation industrielle
Purchase, 1983
Photo credit : © Adam Rzepka - Centre Pompidou, MNAM-CCI /Dist. RMN-GP
© 2019 Artists Rights Society (ARS), New York / ADAGP, Paris

Dali Salvador Dalí
(Figueras, 1904 – 1989)
Dormeuse, cheval, lion invisibles (Invisible Sleeping Woman, Horse, Lion)
Oil on canvas
Inv. AM 1993-26
Centre Pompidou, Paris, Musée national d’art moderne/Centre de creation industrielle
Donated by the Association Bourdon
Photo credit : © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP
©Salvador Dalí, Fundació Gala-Salvador Dalí, (ARS), 2019


Brassaï (Gyula Halász)
(Brașov, 1899 – Beaulieu-sur-Mer, 1984)
Tour Eiffel (Eiffel Tower)
Gelatin-silver print
Inv. AM 1997-207
Centre Pompidou, Paris, Musée national d’art moderne/Centre de creation industrielle
Purchase, 1997
Photo credit : © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP
© Estate Brassaï - RMN-Grand Palais