Art History News

Tuesday, July 20, 2021

The Voyage of Life: Art, Allegory, and Community Response

Reynolda House Museum of American Art, Winston-Salem, N.C.

July 20 - Dec 12 2021

Thomas Cole, Home in the Woods (1847), oil on canvas, Reynolda House Museum of American Art, Gift of Barbara B. Millhouse

Charles Willson Peale, Mr. and Mrs. Alexander Robinson (1795), oil on canvas, Reynolda House Museum of American art

Edward Hicks, Peaceable Kingdom of the Branch, (1826-30), oil on canvas, Reynolda House Museum of American Art, Gift of Barbara B. Millhouse

Eastman Johnson, The Storyteller of the Camp (Maple Sugar Camp) (1861-66), oil on board, Reynolda House Museum of American Art, Original Purchase Fund from the Mary Reynolds Babcock Foundation, Z. Smith Reynolds Foundation, ARCA, and Anne Cannon Forsyth

Jacob Lawrence, Builders No. 2 (1968), gouache and tempera with graphite underdrawing on paper, © 2021 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Fairfield Porter, Keelin Before the Reflected View, No. 2 (1972), oil on canvas, Courtesy of Barbara B. Millhouse, © 2021 The Estate of Fairfield Porter / Artists Rights Society (ARS), New York

Thomas Cole, engraved by James Smillie, Voyage of Life: Youth (1854-55), engraving, Reynolda House Museum of American Art, Gift of Barbara B. Millhouse

The Voyage of Life: Art, Allegory, and Community Response opened July 16 to members, first responders, and Wake Forest University faculty, staff, and students, with Weekend of Gratitude, and opens on July 20 to the public at Reynolda House Museum of American Art in Winston-Salem, N.C., and runs through Dec. 12. In this exhibition, three centuries of American art will illuminate the chapters and most defining moments of every individual life. Works by artists including Andy Warhol, Romare Bearden, Alice Neel, Fairfield Porter, Lee Krasner, Robert Colescott, Keith Haring, Endia Beal, and Grant Wood, will be featured alongside community-sourced stories and reveal critical moments in the voyage of life, with its heydays, rough patches and new starts.

The Voyage of Life explores how each person “plays in his or her time many parts,” attaining awareness as children, striking out as individuals, embracing or avoiding change during adulthood, and learning new ways of being in old age. Community members of all ages have made correlations between the art featured in the exhibition and their own experience, and these observations will accompany curatorial descriptions throughout the exhibition and on social and digital channels throughout the exhibition. Promised gifts will also be featured, demonstrating the museum’s goal of increasing representation by artists of color, and select loans from Wake Forest University (WFU)’s Student Union Collection of Contemporary Art and the Lam Museum of Anthropology will complement Reynolda’s featured holdings, mirroring the city’s remarkable collecting legacy.

Lee Krasner, Birth (1956), oil on canvas, © 2021, Gift of Barbara Millhouse, The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

The exhibition uses the river as a metaphor for the natural ebbing and flowing of life. The various stages of life explored in The Voyage of Life include childhood; teenage years and young adulthood; relationships; work and play; community and tragedy; and aging/later years. The time period for exhibition-featured community stories has closed, however, the museum will continue to invite the public to share their stories leading up to the exhibition opening and throughout the run of The Voyage of Life for a chance to be featured on Reynolda’s social media channels. Visitors will also be able to share their stories on the museum's lobby walls during their visit.

“We are extremely grateful for the chance to pause and reflect on humanity through the creation of a community-focused exhibition that connects us together through life experiences and the beauty of art,” said Allison Perkins, executive director, Reynolda House, and Wake Forest University associate provost for Reynolda House and Reynolda Gardens.

The Voyage of Life has been curated by Phil Archer, deputy director, Reynolda House; Allison Slaby, curator, Reynolda House; Jennifer Finkel, Ph.D., Acquavella Curator of Collections, Wake Forest University; and Andrew Gurstelle, Ph.D., Academic Director, Lam Museum of Anthropology, Wake Forest University.

Exhibition tickets for The Voyage of Life are available online at reynoldahouse.org/voyage.

Wednesday, July 14, 2021

Henri Lebasque

Both friends and art critics alike dubbed him the "painter of joy and light." Post-Impressionist Henri Lebasque was an unabashed original, dedicating his life to bringing joy to his canvases. A generation younger than the great Impressionists Claude Monet and Pierre-Auguste Renoir, Lebasque nevertheless pursued many of their same painterly goals. Throughout his career, he sought to capture that ever-evasive sense of light and shadow, but in a world that was always bright and sunny. The pleasure of a family holiday, the contentment of a lounging nude, the vivid tranquility of the sea — these were the subjects of Lebasque, whose sensitivity and heart is felt in each and every brushstroke.

Lebasque was born in 1865 in Maine-et-Loire and moved to Paris in 1885, where he often visited the atelier of Léon Bonnat. It was an age when France had fully moved beyond the shadow of Napoléon’s reign into a new, industrial era; art likewise underwent an upheaval, as artists began to experiment beyond the traditions of the Academy. The Impressionists had already made waves with their new, modern approach to art, paving the way for Lebasque and his contemporaries.

He studied painting at the École des Beaux-Arts and fell under the influence of his fellow students Pierre Bonnard and Edouard Vuillard. They were both key members of Les Nabis, a group of young French artists whose Symbolist approach to art proved a key link in the transition from Impressionism to abstraction. Thus, much of Lebasque’s earliest works are more somber than the bright and colorful for which he would eventually be renowned.

A key turning point in his career came in 1903 when Lebasque became a founding member of the Salon d’Automne along with Henri Matisse and other artistic revolutionaries. Established as a reaction against the official Salon, the Salon d’Automne exhibited the most groundbreaking new styles of its day; its inaugural show in 1903 included works by Lebasue, Matisse, Pierre Bonnard, Henri Manguin, Armand Guillaumin and many others, while also including an homage to Paul Gauguin, who had died that same year.

Perhaps the most important show in the organization’s history was held in 1905; this exhibition featured the boldly colored and highly controversial paintings of Matisse, Derain, Vlaminck, Manguin, Vuillard and Rouault. The critic Louis Vauxcelles dubbed the group Les Fauves, or "wild beasts," due to their use of bright colors and wild, untamed lines. His inclusion in the organization provided Lebasque with a new, highly modern aesthetic with which he would experiment and eventually assimilate.

Just one year later, in 1906, Lebasque embarked on the first of many visits to the French Riviera at the suggestion of his friend and fellow Fauvist, Henri Manguin. He was so enamored with the brilliant color and light of the region that he would frequently return, spending many summers there with his family, particularly in the town of Sainte-Maxime. Since his very first visit to the French Riviera, Lebasque's brightened canvases earned him the moniker the "painter of joy and light."

During his mature years, the focus of his art became his family, particularly his wife and daughters on holiday. The vibrancy of his palette echoed the sense of escapism he found in the Mediterranean, and his canvases likewise display his carefree approach to life. His style took on a high degree of flexibility, and he readily incorporated different elements of Neo-Impressionism, Fauvism, Pointillism and other modern movements into his compositions from this period. By the 1920s, the artist gradually moved towards a more simple and pure stylistic approach, wherein he painted in large swathes of flattened color. Yet, his works were always harmonious and always displayed the bold use of color that he maintained throughout his career.

After devoting his whole life to his family and his painting, Lebasque died at Le Cannet, Alpes-Maritimes on August 7, 1937. A major retrospective of his work was organized by the Musée des Ponchettes in Nice 20 years later in 1957, shedding light on his remarkable achievements and lasting legacy. Today, his paintings can be found in important museums around the world, including the Musée d'Orsay (Paris), the Museum of Fine Arts (St. Petersburg), the Museo Nacional Thyssen-Bornemisza (Madrid), the National Museum of Western Art (Japan), the Harvard University Art Museum and the Indianapolis Museum of Art.

M.S. Rau is proud to offer a number of works by this important artist. Click here to view their current collection.

Thursday, July 8, 2021

Picturing a Nation: American Drawings and Watercolors

A survey of American drawings from the 18th century to the early 20th century will introduce audiences to a range of artists, from anonymous to well-known practitioners, who excelled in a variety of drawing media and subject matter. Organized by the Chazen Museum of Art at the University of Wisconsin–Madison, Picturing a Nation: American Drawings and Watercolors traces colonial folk art to European-inspired academic styles to a distinctly modern, American form of draftsmanship. With pen and ink, graphite, watercolor, chalk and pastels, these artists composed incisive portraits, sweeping landscapes, historical narratives and scenes of everyday life. The exhibition will be on view exclusively at the Chazen Museum of Art from Aug. 31 through Nov. 28, 2021.

Picturing a Nation: American Drawings and Watercolors is co-curated by the Chazen’s Janine Yorimoto Boldt, associate curator of American art, and James R. Wehn, Van Vleck Curator of Works on Paper. The majority of the drawings in the exhibition are drawn from a series of exceptional gifts to the Chazen over the years from D. Frederick Baker and the Baker/Pisano Collection and from Mr. and Mrs. Stuart P. Feld.

“Thanks to the breadth of these wonderful collections from Fred Baker and the Felds, this exhibition provides an opportunity to spotlight both celebrated American artists and views, as well as several self-taught artists, particularly women, who deserve to be better known for their creative contributions,” said Yorimoto Boldt.

The exhibition includes remarkable works by Ruthy Batcheller, Mather Brown, George Catlin, William Merritt Chase, Thomas Cole, John Singleton Copley, John Steuart Curry, Lilian Westcott Hale, Eastman Johnson, Frances Jauncey Ketchum, Louisa Jauncey Ketchum, John Marin, William Sidney Mount, Titian Ramsey Peale, Eliza Quincy, John Trumbull, John Vanderlyn, Elihu Vedder and Benjamin West, among others.

Themes such as the colonial foundation of American drawing, the formation of the American school of artists who traveled to Europe, the development of the American Academy on the east coast of the United States, portraiture, landscape and self-taught women artists will be examined through the scope of drawings in the exhibition. Select locations represented in the images include the Niagara River, Lake George, Hudson River Valley, White Mountains, Lake Superior region of Wisconsin and the Mississippi River.

Among the exhibition’s many highlights are

Benjamin West (American, active in England, 1738–1820) Rustic Lovers Forewarned of the Approach of a Thunderstorm, 1785. Ink and wash. Carolyn T. Anderson, Edward Blake Blair, Walter A. and Dorothy Jones Frautschi, Alice Drews Gladfelter Memorial, and Richard E. Stockwell Endowment Funds, and Frederick Leach Estate Fund purchase, 2007.13

Chazen Museum of Art

Benjamin West’s neoclassical Rustic Lovers Forewarned of the Approach of a Thunderstorm (1785),

Louisa Jauncey Ketchum (American, 1797–1890) Hepatica of Noble Liverwort, ca. 1819. Watercolor, ink. Gift of D. Frederick Baker from the Baker/Pisano Collection, 2018.14.23

Chazen Museum of Art

Louisa Jauncey Ketchum’s watercolor and ink botanical study Hepatica of Noble Liverwort (circa 1819),

the compelling charcoal and chalk portrait of Miss Brinkley by Eastman Johnson (1855)

John Rubens Smith (American, b. England, 1775–1849) Standing Male Nude Model with Two Students, ca. 1798. Conte crayon, charcoal. Gift of D. Frederick Baker from the Baker/Pisano Collection, 2018.14.41

Chazen Museum of Art

John Marin (American, 1870–1953) Movement, Nassau Street, ca. 1932. Graphite. Gift of D. Frederick Baker from the Baker/Pisano Collection, 2018.27.12

and John Marin’s modern abstraction of the Brooklyn Bridge in graphite (circa 1913).

Wednesday, July 7, 2021

Van Gogh Self-Portraits

The first ever exhibition devoted to Vincent van Gogh’s self-portraits across his entire career will take place at The Courtauld Gallery from 3 February – 8 May 2022.

Van Gogh Self-Portraits takes as its springboard Van Gogh’s iconic Self-Portrait with Bandaged Ear, one of the most celebrated works in The Courtauld’s collection, and will bring together around half of the self-portraits Van Gogh created during his short years as a painter – an exciting opportunity, given that many of these works are rarely lent.

This will be the first time that the full span of Van Gogh’s self-portraiture has been explored in an exhibition. An outstanding selection of more than 15 self-portraits will be brought together to trace the evolution of Van Gogh’s self representation, from his early Self-Portrait with a Dark Felt Hat, created in 1886 during his formative period in Paris, to Self-Portrait with a Palette, painted at the asylum in Saint-Rémy-de-Provence in September 1889, one of his last self-portraits before his death in 1890.

The exhibition will be presented in The Courtauld’s new Denise Coates Exhibition Galleries and will be the first in the new Morgan Stanley Series of high-profile temporary exhibitions at The Courtauld. It will showcase Self-Portrait with Bandaged Ear alongside masterpieces from major international collections, including the Van Gogh Museum and the Rijksmuseum, Amsterdam; the Art Institute of Chicago; the Detroit Institute of Arts; the National Gallery of Art, Washington DC; the Musée d’Orsay, Paris, and the National Gallery, London. Several works in the exhibition were last together in Van Gogh’s studio and have never been reunited, until now.

The brand new Denise Coates Exhibition Galleries, created out of former office, conservation and circulation spaces, will enable The Courtauld to expand its acclaimed programme of international loan exhibitions. Situated on the top floor of Somerset House, this suite of two galleries, which will be unveiled when The Courtauld reopens in November 2021, is part of a major refurbishment project to revitalise and open up the Gallery, and to create state-of-the-art facilities, providing a transformed home for its internationally-renowned art collection.

Professor Deborah Swallow, Märit Rausing Director of The Courtauld, said: “As custodian of one of Van Gogh’s most important self-portraits, the opportunity to bring its peers together in one show is a tremendously exciting one for The Courtauld. The new Denise Coates Exhibition Galleries will be stunning spaces for visitors to enjoy these works, and we are particularly grateful to Denise Coates for the generous support, which has enabled their creation. We would also like to thank Morgan Stanley, for their leadership and support of ‘The Morgan Stanley Series’, presenting The Courtauld’s acclaimed temporary exhibitions from 2022, and other lead donors to the Van Gogh exhibition, including Kenneth C. Griffin, and to the Huo Family Foundation for their additional support.”

Denise Coates CBE said: “I feel sure that the newly renovated Courtauld galleries will give all visitors, both in person and online, a world-class opportunity to experience their own connections to visual art. I have found great fulfilment from my own exposure to the visual arts and I am pleased to be able to support that journey for others with The Courtauld.”

Van Gogh was a prolific practitioner of self-portraiture. His appearance is instantly recognisable, with his defined features, bright red hair and piercing gaze. Curated by Dr Karen Serres, Curator of Paintings at The Courtauld, Van Gogh Self-Portraits will explore the myriad ways Van Gogh approached one of his most enduring subjects: as an outlet for experimenting with new styles, a practical way of securing an available model, a critical tool for psychological introspection, and a means of constructing his own identity and presenting himself to the outside world.

The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. This exhibition will allow both aspects to be explored. It is an opportunity and exhibition never to be repeated  as  Self-Portrait with Bandaged Ear  will be permanently on display at The Courtauld Gallery when it reopens and is unlikely to be lent elsewhere for many years to come.

A fully illustrated catalogue, featuring essays by international collaborators and presenting new research, as well as detailed entries on each of the works on display, will be published to coincide with the exhibition.

Images

Vincent van Gogh (1853–1890),Self-

Portrait with Dark Felt Hat , 1886-87,

Van Gogh Museum, Amsterdam

(Vincent van Gogh Foundation)

Vincent van Gogh (1853–

1890),Self-Portrait with Grey Felt

Hat , 1887, Rijksmuseum,

Amsterdam

Vincent van Gogh (1853–1890),Self-

Portrait with Straw Hat , 1887, The Detroit

Institute of Arts / Bridgeman Images

Vincent van Gogh (1853–1890),Self-

Portrait with Bandaged Ear, 1889, The

Courtauld, London (Samuel Courtauld

Trust) © The Courtauld

Vincent van Gogh (1853–1890),Self-

Portrait as a Painter , 1888, Van Gogh

Museum, Amsterdam (Vincent van Gogh

Foundation)

Vincent van Gogh (1853–1890),Self-

Portrait , 1887, The Art Institute of

Chicago. Creative Commons Zero (CC0)

Vincent van Gogh (1853–1890),Self-

Portrait, 1889, National Gallery of

Art, Washington DC

Tuesday, July 6, 2021

Beauty in the Everyday: Dutch and Flemish Masters at Auckland Castle

A new exhibition, Beauty in the Everyday: Dutch and Flemish Masters at Auckland Castle, which will be on display in the Bishop Trevor Gallery until 3 October.

Jan Steen (1625_26 – 1679), Villagers Merrymaking Outside an Inn, 1652 (detail),

Oil on canvas © The Bowes Museum, Barnard Castle.

The new exhibition will focus on scenes of everyday life produced in the Low Countries during the seventeenth century. The paintings are expected to strike a particular chord with visitors, who may have reflected on the value we place on our outdoor spaces, communities, friends and families during the Covid-19 pandemic.

Clare Baron, Head of Exhibitions, said: “Dutch and Flemish painters offer us a glimpse of daily and domestic life 400 years ago, capturing everyday moments which many of us have taken for granted in the past – being able to sit outside with each other, meet together to celebrate birthdays and festivals, or just enjoy the company of a friend on a walk through the park. In the wake of the coronavirus pandemic, we treasure those moments so much more. This exhibition celebrates the small things which, every day, make such a difference to our lives.”

Saturday, July 3, 2021

Art History News - May- June

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Art History News1 month ago
Christie’s American Art Live Auction Live Auction: May 18
Norman Rockwell (1894–1978) *Jeff Raleigh's Piano Solo ("'Oh Lord,' Jeff said prayerfully, 'I wish Alice was here. Oh, I wish she could hear this…'") (The Virtuoso)*oil on canvas 28 ¾ x 22 ¾ in. (73 x 57.8 cm.) Painted in 1939. $1,200,000-1,800,000 Christie’s announces its American Art sale on May 18 will present a selection of highlights ranging across the genre from the Hudson River School and art of the American West, to American Illustration and Modernism. The sale will directly follow the 10am live auction Fields of Vision: The Private Collection of Artists Wolf Kahn and Emi... read more
Art History News1 month ago
In American Waters

*Peabody Essex Museum* *May 29 through October 3, 2021* *Crystal Bridges Museum of American Art* *November 6, 2021 through January 31, 2022* William Formby Halsall (1841-1919) Vigilant in last days Race against Valkyrie, 1893. Oil on canvas, 19 × 29 1/4 in. Gift of Frederic A. Turner, 1961. © 2020 Peabody Essex Museum. Photography by Kathy Tarantola This May, the Peabody Essex Museum (PEM) debuts *In American Waters**,* a painting exhibition that reframes and expands our understanding of American culture and environment by looking at the sea. For over 200 years, American artist... read more
Art History News2 months ago
Art History News - April