Louis Dewis: A Belgian Post-Impressionist

Louis Dewis, The Couze Chambon near Murols, 1940, oil on board, 23 ½ x 28 ¾ in. On loan from The Dewis Collection, LC. Image Courtesy of the Orlando Museum of Art

More than a hundred works of the distinguished Belgian Post-Impressionist Louis Dewis, lost to the world for over 50 years, will be featured in Dewis’s first major museum exhibition beginning January 25th at the Orlando Museum of Art (OMA). Discovered by chance in the Paris attic of Dewis’s daughter by his American great-grandson, Mr. Brad Face, they were among thousands of the artist’s paintings, studies and sketches that had been stored there since his death in 1946. After this discovery, Mr. Face resolved to return his ancestor’s work to the public and find a home for the collection.

“Art critics of the early 20th century European art world noted Dewis’s unusual ability to communicate his emotions through his work,” commented OMA Director and CEO Glen Gentele. “And that certainly has been what we’ve seen with our Dewis mini-exhibition (presented May 18 - September 9, 2018). This remarkable collection of Dewis’s work and the fascinating story of his life are not to be missed” continued Gentele.

Louis Dewis, Dyle Bridge at Mechelen, Belgium, c. 1919-1921. Oil on canvas, 26 ¾ x 21 ¾ in. On loan from The Dewis Collection, LC. Image courtesy of the Orlando Museum of Art.

 
ABOUT LOUIS DEWIS

Louis Dewis (1872-1946) was born Louis Dewachter in Leuze, Belgium. He developed an interest in art early in life but was discouraged from pursuing a career as a painter by his father. As a young man he entered the family business, Maison Dewachter, the world’s first department store chain. A successful and innovative entrepreneur, Dewis dedicated himself to growing the business while privately devoting time to his artistic development. He later adopted the pseudonym Louis Dewis to comply with his father’s insistence not to associate the family name with the younger Dewachter’s “frivolous” pastime as a painter.

Louis Dewis, The Beguinage at Bruges, 1920. Oil on canvas, 31 ½ in x 39 in. On loan from The Dewis Collection, LC. Image courtesy of the Orlando Museum of Art.

Following the death of his father, Dewis’s painting career began to take precedence over the family business. Living in Bordeaux at the time, he had his first public exhibitions there and was active in the city’s artistic life. At one of these exhibitions, he was discovered by the Paris art dealer Georges Petit. Petit was a leading dealer of the period representing at times such masters as Monet, Renoir and Rodin. Petit offered to represent Dewis, if he would move to Paris and devote himself to painting. In 1919, Dewis took Petit’s advice, selling his share of the department stores and moving to the French capital.

Though Petit died a year later, Dewis went on to establish a successful career for the next two and a half decades. Dewis exhibited throughout France and Belgium in the 1920s and 30s, as well as in Germany and Switzerland. When the Second World War began, Dewis left Paris and settled in Biarritz on France’s Southern Atlantic coast. For the last few years of his life, the scenic coastal city and surrounding rugged countryside became the subject of his paintings.

Louis Dewis: A Belgian Post-Impressionist will present landscapes from important periods of the artist’s career following World War I. The years immediately after the Great War were distinctive in French art for a return to the motif of landscape, which is reflected in the direction that Dewis pursued. In part a response to the unprecedented devastation of the country and staggering loss of life, many artists during this time sought to celebrate the “soil” of France in landscape painting. Working in the towns, villages and open countryside throughout France, these artists strove to depict the unique and varied regions that together comprised the cultural vitality of the nation.

Following his death in 1946, Dewis’s daughter, Andrée Dewachter Ottoz, was intent on preserving everything related to his artistic career. She had the entire contents of his atelier in Biarritz packed and shipped to her Paris home. For 50 years much of Dewis’s work languished in storage and his career was overlooked by the art world of Post War France. Finally, through a chance conversation with her great-nephew, Mr. Face, the then 92-year-old Mme. Ottoz revealed the cache of paintings she had stored away for decades. Inspired by this astonishing discovery of the life’s work of a once prominent artist and family member, Mr. Face undertook the major commitment of caring for the collection and renewing public interest in Dewis’s career.

Whistler & Nature

Fitzwilliam Museum

8 January – 17 March, 2019

Whistler & Nature explores James McNeill Whistler’s (1834‐1903) revolutionary attitude and relationship towards the natural world throughout his life, as expressed in works ranging from his celebrated London Nocturnes to his European coastal and pastoral scenes.

This fascinating exhibition of around 90 oil paintings, works on paper and objects ‐ such as the Whistler’s sketchbook ‐ shows how his singular vison was underpinned by his enduring kinship with the makers of railroads, bridges and ships ‐ the cornerstones of Victorian wealth and trade.

James McNeill Whistler, The Bathing Posts Brittany, 1893 © The Hunterian University of Glasgow.

The exhibition is developed by Compton Verney, in partnership with The Hunterian, University of Glasgow. Professor Steven Parissien Compton Verney’s former Chief Executive said “Iconic portraits such as ‘Whistler’s Mother’ are world renowned, but less well known is the influence of nature on Whistler’s work. This exhibition was borne out of Dr Patricia de Montfort’s (University of Glasgow) innovative research into Whistler’s work from a particularly American standpoint and in the context of the US military. “

Whistler came from a family of soldiers and engineers, with his father, Major George Washington Whistler, originally a US army engineer. Like his father, Whistler’s brother was also involved in building America’s railroads, while the artist himself was a military mapmaker, first as an officer cadet at West Point Academy in 1851‐4 and subsequently in the Drawing Department at the US Coast and Geodetic Survey. “


Whistler’s close observation of nature and its moods underpinned his powerful and haunting visions of 19th‐century life. Finding a parallel between painting and music, Whistler entitled many of his paintings ‘nocturnes’, emphasizing the primacy of tonal harmony. His images explore the contrasts between the natural and man‐made worlds: rivers and wharves, gardens and courtyards, the ideal and the naturalistic, which will be explored in the exhibition through works such as 




The Bathing Posts, Brittany (c.1893) 



Nocturne: Chelsea (c.1881), 



Nocturne: Chelsea Embankment (1883/4) and 



Copy of 'Nocturne: Black and Gold ‐ The Fire Wheel' (1893), 

all from The Hunterian.

Whistlers’ singular vision was always defined by his enduring kinship with the makers of railroads, bridges and ships, the cornerstones of Victorian wealth and trade.

Whistler inherited a tradition of British landscape painting forged at a time when land was the predominant source of wealth. Whistler’s smoky images of warehouses, bridges, harbours and ships were themselves components of a new kind of productive, wealth‐generating landscape.

By the 1880s and 90s, Whistler’s images of parks, gardens, promenades and seaside resorts offer glimpses of the products of this wealth, in the form of suburban life and leisure, expressed in works such as 




Sketch for 'The Balcony' (1867/70), 



Cliffs and Breakers (1884), 
The Hunterian, University of Glasgow, Birnie Philip Bequest, GLAHA 46391



A Distant Dome (1901/04)The Hunterian, University of Glasgow, Birnie Philip Bequest, GLAHA 46392
and Sketch for ‘Annabel Lee’ (1869/70), 

all from The Hunterian.

With rapid brushstrokes, Whistler captured the fleeting movement of figures – sometimes battling against the elements, at other times poised serenely in elegant robes. 



The figures in Battersea Reach from Lindsey Houses (c.1864, The Hunterian), gaze out over the Thames, dwarfed by the vast, foggy expanse of the river that has been built up via layers of thin, liquefied paint, “like breath on the surface of a pane of glass,” as the artist himself put it. This is a view of nature constrained by man‐made structures – the shadowy outline of the warehouses and chimneys on the far shore, the mast and rigging of a Thames barge in the mid horizon.

Whistler and Nature showcases new research on Whistler’s technique, notably in oil, watercolour and etching, and his writings on art undertaken by academics at the University of Glasgow. It will also review Whistler’s work in the studio – his classicised figure studies in oil, pastel and chalk in the context of 19th‐century revivalism, an area that has so far received only limited research attention. Taken together, the exhibition themes shed new light on the Western classical tradition that underpins Whistler’s efforts to reinvent nature and the modern, and his reputation as the most innovative and modernizing American artist of his time.

The exhibition draws upon The Hunterian’s collection alongside other UK collections, and showcases new research on Whistler’s technique (notably in oil, watercolour and etching) and his writings on art undertaken at the University of Glasgow. It examines 19th century gradations of the productive versus the ‘wild’ landscape and review the work of Whistler – a modernising, innovative artist of his time ‐ in the context of 19th century historicism, areas that have so far received only limited research attention.



Exhibition book: Whistler & Nature by Patricia de Montfort.


The exhibition will be shown next at Newcastle upon Tyne’s Laing Art Gallery, before arriving in Glasgow in the spring of 2020.

Pontormo: Miraculous Encounters

An international traveling exhibition will bring works by the great 16th-century Florentine painter Pontormo (Italian, 1494-1557) to Los Angeles for the first time. Pontormo: Miraculous Encounters, on view at the J. Paul Getty Museum from February 5, 2019 through April 28, 2019, features the artist’s recently restored altarpiece the Visitation (about 1528-1529). The exhibition was previously at New York's Morgan Library and at the Pitti Palace (Uffizi Gallery) in Florence.

“It is a privilege to bring the Visitation, one of Pontormo’s supreme masterpieces and one of the most enigmatically beautiful paintings of 16th-century Italy, to Los Angeles. This is the first time this painting has traveled to the United States. It is one of those exceptional paintings that, once seen, will never be forgotten, and I have no doubt it will be a revelation to our visitors both for its striking beauty and for its moving depiction of a key episode in recognition of Christ’s coming,” said Timothy Potts, director of the Getty Museum.

Organized by the Getty Museum in conjunction with the Gallerie degli Uffizi in Florence and the Morgan Library & Museum in New York, the exhibition presents works of exceptional importance by Pontormo, looking at his innovative oeuvre as a painter both of devotional subjects and of portraits.

Jacopo da Pontormo (1494–1557), 'Visitation' (c. 1528-29), oil on panel, Parrocchia dei Santi Michele e Francesco, Carmignano.

photo: Antonio Quattrone

Over six feet tall, the Visitation depicts Mary’s meeting with her cousin, Saint Elizabeth, when both were expecting their sons, Jesus Christ and John the Baptist. First recorded in 1677 by the historian Giovanni Cinelli, the painting remained virtually unknown until its re-discovery in 1904 in the small parish church of Carmignano, a hill town west of Florence. The intricate arrangement of the draperies and range of arresting colors in intense, saturated hues—fully revealed by its recent conservation—produce an effect of abstraction that was greatly admired by 20th-century artists and connoisseurs.

The recent restoration of the panel brought to light important information about the artist’s technique that illuminates the artist’s creative process. The Visitation is shown alongside the only known preparatory drawing for it, on loan from the Uffizi, as well as two painted portraits and their related drawings.

“By presenting the Visitation and two portraits produced in the same years alongside their preparatory drawings, this exhibition gives us a rare opportunity to reconsider Pontormo’s artistic evolution at a crucial stage in his career,” explained Davide Gasparotto, senior curator of paintings at the Getty Museum. “It is especially moving to think of a great master like Pontormo working at the height of his skill during such a tumultuous period, when his city was under siege. His elegant and accomplished work from this era is imbued with a compelling vulnerability and sentiment.”

The paintings and drawings presented in the exhibition were made by Pontormo between 1528 and 1530, during an ongoing crisis in Florence. Though Republican forces had driven out the powerful Medici family in 1527, the triumph was short-lived. Dramatic military clashes culminated in a devastating siege that returned the Medici to power, establishing their autocratic regime as dukes of Florence. Pontormo was not active in the city’s defense during the siege, but just before these events he had managed to purchase his home, a lifelong aspiration: he stayed in the city to protect his investment, seeking employment from the citizens who remained. These patrons commissioned portraits to record their appearance for posterity, wearing the latest fashions that demonstrate military readiness and active support of the Republic. They also commissioned devotional works, as they prayed for deliverance from military strife and starvation.

 

Pontormo’s Portrait of a Halberdier, 1529-1530, a well-known painting in the Getty’s collection, depicts a young man standing before a fortress wall dressed as a soldier, holding a halberd (a combination spear and battle ax). The formidable dress and pose of the subject is betrayed by his youthful face and slim build. The subject of this sophisticated and elegant portrait was convincingly recognized as a young nobleman named Francesco Guardi (who would have been 14-15 years old) though it has also been speculated that it may depict Cosimo de’ Medici, the future Grand Duke.

Jacopo da Pontormo (1494–1557), Portrait of a Young Man in a Red Cap (Carlo Neroni?), ca. 1530, oil on panel. Private collection. Collection of Mr. and Mrs. J. Tomilson Hill.

photo courtesy of Shepherd Conservation, London

Another highlight of the exhibition is the rarely seen Portrait of a Young Man in a Red Cap, another captivating portrait from the same year. The painting, perhaps depicting another young man engaged in the defense of the city, Carlo Neroni, was known to scholars through documents and engravings but thought lost until it was re-discovered in 2008. This exhibition offers the public a first opportunity to see this remarkable work — which belongs to a private collection — following its recent restoration.

The exhibition is curated by Getty Museum Senior Curator of Paintings, Davide Gasparotto and Bruce Edelstein, coordinator of graduate programs and advanced research at NYU Florence.





The accompanying publication, Miraculous Encounters: Pontormo from Drawing to Painting, is published by Getty Publications and edited by Gasparotto and Edelstein.

Detail of Pontormo's 'Visitation'

Gauguin: Voyage to Paradise

   
Marie Selby Botanical Gardens, Sarasota, Florida

Feb. 10-June 30, 2019

Ten original dramatic woodcuts, wood engravings and lithographs that Gauguin created on his journeys to Brittany, Martinique and Tahiti will be the centerpiece of the Museum of Botany & the Arts, along with archival photographs of Tahiti by photographer Charles Georges Spitz (1857-1894), historic maps of Tahiti produced by explorers, historical photos of the colonial pavilions of the Universal Exhibition of 1889 in Paris, and other ethnographic sources that shaped Gauguin’s vision before he even set foot in Tahiti.




Paul, Gauguin, Nave Nave Fenua (Delectable Earth), Wood engraving and woodcut, no. 73, 1894–95, The Vera and Arturo Schwarz Collection of Dada and Surrealist Art in the Israel Museum, Jerusalem.




Paul Gauguin, Pastorales Martinique, lithograph on zinc printed in black on yellow, sheet: 19 11/16 x 16 7/16 in, Gift of Selma Erving, class of 1927, Smith College Museum of Art, Northampton, Massachusetts.
 

     In the Tropical Conservatory, and throughout the Gardens, guests will encounter the colors of Gauguin’s well-known palette represented by flowering plants and lush, tropical displays of palms, ferns and fruit trees. Additional items such as floating canoes, a thatched hut and tropical pond, sentinel totems inspired by Tahitian tikis, huts reminiscent of Tahitian seaside fishing villages, a lush taro field and bamboo mountains will evoke Polynesian scenery.

Significance:   The exhibition will provide a comprehensive focus on Gauguin’s woodcuts and his connection with nature, a viewpoint on Gauguin that has never been exhibited in a natural setting before.

Curator: The exhibition is curated by Carol Ockman, Ph.D., curator at large for Selby Gardens and the Robert Sterling Clark professor of art history at Williams College.

Botticelli: Heroines and Heroes

Isabella Stewart Gardner Museum, Boston 
14 February – 19 May 2019

Botticelli: Heroines and Heroes explores the work of the legendary Renaissance painter Sandro Botticelli, focusing on a genre called spalliera that Botticelli employed with staggering originality. The catalogue and exhibition, held at the Gardner Museum, Boston, include significant loans from European and American public collections. 

At the center of this exhibition is a spalliera reunited, the



Gardner’s Tragedy of Lucretia





and its companion The Tragedy of Virginia (Accademia Carrara, Bergamo).

Together with extraordinary loans of the same genre from European and American public collections, Heroines and Heroes explores Botticelli’s revolutionary approach to antiquity – from ancient Roman to early Christian – and offers a new perspective on his late career masterpieces.




Sandro Botticelli (Italian, 1444 or 1445-1510), Three Miracles of Zenobius,
Isabella Stewart Gardner Museum




Sandro Botticelli (Italian, 1444 or 1445-1510), Virgin and Child with Saint Joseph and a Magus (fragment of The Adoration of the Magi), about 1500. Brush and brown egg tempera, heightened with white, over charcoal or chalk on prepared linen, 30.9 x 23.4 cm. The Fitzwilliam Museum, Cambridge. © The Fitzwilliam Museum, Cambridge.

Infrared reflectography of a detail of The Tragedy of Lucretia (cat. 1), showing painted-out figures. Isabella Stewart Gardner Museum, Boston.

Catalogue





Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston (14 February – 19 May 2019), Botticelli: Heroines and Heroes explores the work of legendary Renaissance painter Sandro Botticelli (about 1444–1510).

Today the alluring and enigmatic Primavera forms the cornerstone of his modern fame, but its familiarity belies distant origins in the heady intellectual environment of Laurentian Florence and the residences of its moneyed elite. Part of a genre called spalliera, so named for their installation around shoulder (spalla) height, this type of painting introduced beautiful, strange, and disturbing images into lavish Florentine homes. With staggering originality, Botticelli reinvented ancient subjects for the domestic interior, paneling patrician bedrooms with moralizing tales and offering erudite instruction to their influential inhabitants.


Catalogue essays address Botticelli’s spalliera (Nathaniel Silver), their violence (Scott Nethersole), his textual sources (Elsa Filosa), and rediscovery in Gilded Age Boston (Patricia Lee Rubin). Entries include new insights for each work and up-to-date bibliographies, while a special section features archival materials devoted to Gardner’s pioneering acquisition of the first Botticelli in America.

Art History News - January 2019

Moroni: The Riches of Renaissance Portraiture

Jonathan KantrowitzatArt History News - 2 days ago

*The Frick* *February 21 through June 2, 2019* Moroni, Giovanni *Gerolamo Grumelli, called The Man in Pink*, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia Moroni Collection; photo: Mauro Magliani In Renaissance Italy, one of the aims of portraiture was to make the absent seem present through naturalistic representation of the sitter. This notion—that art can capture an individual exactly as he or she appears—is exemplified in the work of Giovanni Battista Moroni. The artist spent his entire career in and around his native Bergamo, a region in Lom... more »

Christie's in New York: Old Master Prints 29 January, and Old Master & British Drawings 31 January.

Jonathan KantrowitzatArt History News - 1 week ago

Over 500 years of European art history will be presented in two sales at Christie's in New York this January: Old Master Prints on Tuesday, 29 January, and Old Master & British Drawings on Thursday, 31 January. Together, the sales offer an overview of the graphic arts from 1466 to 1880, ranging from Albrecht Dürer's bold woodcuts to the diaphanous watercolours of J.M.W. Turner, from late gothic engravings by the Master E.S. and Martin Schongauer to the virtuoso, mannerist draftsmanship of Polidoro da Caravaggio and Niccolò dell'Abate, from meticulous 16th century studies of flowers... more »

Charles White : Monumental Practice

Jonathan KantrowitzatArt History News - 1 week ago

*David Zwirner* *2nd Floor New York* *January 8—February 16, 2019* David Zwirner is presenting a significant group of works by American artist Charles White (1918–1979) on the second floor of the gallery’s 537 West 20th Street location in New York. On view for the first time since the 1970s will be four monumentally scaled ink and charcoal drawings made by the artist as studies for the figures in ] his mural *Mary McLeod Bethune*, completed in 1978 for the Dr. Mary McLeod Bethune Regional Library in Exposition Park, Los Angeles, as well as related preparatory works and ephemera d... more »

Edvard Munch: love and angst

Jonathan KantrowitzatArt History News - 1 week ago

*The British Museum * *April 11 to July 21, 2019* This April, the British Museum will present a major new exhibition on the work of Norwegian artist Edvard Munch (1863-1944).* Edvard Munch: love and angst *will focus on Munch’s remarkable and experimental prints – an art form which made his name and at which he excelled throughout his life – and will examine his unparalleled ability to depict raw human emotion. It will be the largest exhibition of Munch’s prints in the UK for 45 years. *Self-portrait with skeleton arm*, Edvard Munch The exhibition is a collaboration with Norway... more »

Turner in January

Jonathan KantrowitzatArt History News - 1 week ago

J. M. W. Turner (1775-1851), Bell Rock Lighthouse, 1819. Watercolour and gouache with scratching out on paper, 30.60 x 45.50 cm. Collection: National Galleries of Scotland. Purchased by Private Treaty Sale 1989 with the aid of funds from the National Heritage Memorial Fund and the Pilgrim Trust. A dramatic depiction of Robert Stevenson’s engineering marvel, the Bell Rock Lighthouse, by Britain’s most celebrated artist *Joseph Mallord William Turner *(1775-1851), will shine its light on the National Galleries of Scotland (NGS)’s seasonal exhibition *Turner in January*, which o... more »

Rembrandt and the Jewish Experience: The Berger Print Collection

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*Telfair Museums’ Jepson Center in Savannah, Georgia.* *March 15- June 30, 2019.* This spring, an exhibition of etchings by the Dutch seventeenth-century master, Rembrandt van Rijn, will be on view at Telfair Museums’ Jepson Center in Savannah, Georgia. The impact of Judaism on the life and work of Rembrandt van Rijn (Dutch, 1606–1669) is a remarkable and multifaceted story. Rembrandt lived and worked in Amsterdam during the Dutch Golden Age in the 17th century. During his lifetime, he saw the city quadruple in both population and in geographical size, becoming one of Europe’s weal... more »

From the Rooftops: John Sloan and the Art of a New Urban Space

Jonathan KantrowitzatArt History News - 1 week ago

*Palmer Museum of Art* at Penn State *Feb. 3 to May 12, 2019* * Hyde Collection in Glens Falls, New York* * June 16 through Sept. 15, 2019* [image: John Sloan, "Red Kimono on the Roof," 1912, oil on canvas, 24 x 20 inches. Indianapolis Museum of Art at Newfields, James E. Roberts Fund, 54.55.] John Sloan, *"Red Kimono on the Roof," *1912, oil on canvas, 24 x 20 inches. Indianapolis Museum of Art at Newfields, James E. Roberts Fund, 54.55. inShare The* Palmer Museum of Art* at Penn State is organizing a major loan exhibition on American artist John Sloan. "From the Rooftops: Jo... more »

More on Sotheby’s Impressionist & Modern Art Sale 26 February: Egon Schiele:

Jonathan KantrowitzatArt History News - 1 week ago

Egon Schiele (1890 – 1918), Triestiner Fischerboot (Trieste Fishing Boat), oil and pencil on canvas, 75 by 75cm. 29½ by 29½in. Painted in 1912. Estimate £6,000,000-8,000,000. Courtesy Sotheby's. Painted in 1912, Triestiner Fischerboot (Trieste Fishing Boat) holds a unique position in Schiele’s oeuvre and was created in the aftermath of what was arguably the most tumultuous and life-changing experience for the artist. Recently released from a brief period of incarceration in Neulengbach in Austria, and rejected by the local community there, Schiele’s visit to Trieste in 1912 was p... more »

Joan Miró: Birth of the World

Jonathan KantrowitzatArt History News - 1 week ago

* February 24 through July 6, 2019* The Museum of Modern Art presents *Joan Miró: Birth of the World*, an exhibition that explores the development of Miró’s pictorial universe, with particular emphasis on his intense engagement with poetry, the creative process, material experimentation, and the seen and unseen world. This focused exhibition, drawn from MoMA’s unrivalled Miró collection and augmented by several key loans, situates his monumental painting, *The Birth of the World* (1925), in relation to other key works by the artist, which are rarely shown together. Joan Miró *... more »

Sotheby’s Impressionist & Modern Art Evening Sale on 26 February 2018

Jonathan KantrowitzatArt History News - 1 week ago

[image: Image result] Claude Monet, *Le Palais Ducal*, oil on canvas, 1908 (est. £20,000,000-30,000,000) Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department & Chairman of Sotheby’s Europe, said: ‘This spellbinding painting is a true masterpiece and among the very greatest Monet painted during his first and only encounter with Venice. Having remained in the same family collection since 1925, it presents a rare opportunity for collectors from all over the world to acquire a painting of this quality that is completely fresh to the market.’ Claude Mone... more »

Manet from the Norton Simon Museum

Jonathan KantrowitzatArt History News - 1 week ago

*The Frick Collection* *October 16, 2019, through January 5, 2020 * Considered the father of Impressionism, Post-Impressionism, and, by some, twentieth-century abstraction, Édouard Manet (1832–1883) was a revolutionary in his own time and a legend thereafter. Beyond his pivotal role in art history as the creator of such iconic masterworks as [image: File:Edouard Manet - Olympia - Google Art Project 3.jpg] *Olympia* (1862–63) [image: Edouard Manet - Luncheon on the Grass - Google Art Project.jpg] and *Luncheon on the Grass* (1863), Manet’s vision has come to define how we unders... more »

Princely Painters

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Bundeskunsthalle, *BONN* 28 September 2018 to 27 January 2019 At the height of their meteoric careers, Frederic Lord Leighton, Hans Makart, Jan Matejko, Mihály von Munkácsy, Franz von Lenbach, Friedrich August von Kaulbach and Franz von Stuck were celebrated as princely painters (Malerfürsten, literally ‘painter-princes’) and enjoyed all the privileges of Europe’s high society. They were wealthy, respected and moved in the same elite circles as the rich and famous. Their homes and studios were notable for their splendour, and people thronged to have their portraits painted and to s... more »

Watercolor: An American Medium.

Jonathan KantrowitzatArt History News - 1 week ago

The* Chrysler Museum of Art *will explore the heights of the American watercolor movement in *Watercolor: An American Medium*. On view F*eb. 21–June 23, 2019,* the exhibition features spectacular works by the leading watercolor artists of the 19th century as well as modern artists. [image: Charles Ephraim Burchfield Watering Time] Charles Ephraim Burchfield (American, 1893−1967) *Watering Time*, 1921 Watercolor and gouache on paper, mounted on board Chrysler Museum of Art, gift of Walter P. Chrysler, Jr., 71.626 The exhibition includes selections from the Chrysler Museum of Art’s c... more »

Feb-May 2018

Jonathan KantrowitzatArt History News - 1 week ago

Mary Cassatt: An American Impressionist in Paris Jonathan Kantrowitz at Art History News - 9 months ago * Musée Jacquemart-Andréfrom 09 March 2018 to 23 July 2018 158 boulevard Haussmann - 75008 Paris * Culturespaces and the Musée Jacquemart-André are presenting a major retrospective devoted to Mary Cassatt (1844–1926) in Paris through July 23. Considered during her lifetime as the greatest American artist, Cassatt lived in France for more than sixty years. She was the only American painter to have exhibited her work with the Impressionists in Paris. [image: Mary Cassatt, Petite fi... more »

May-June 2018

Jonathan KantrowitzatArt History News - 1 week ago

Fauvism to Fascism Jonathan Kantrowitz at Art History News - 7 months ago - *Santa Barbara Museum of Art* - *July 8, 2018 - September 18, 2018* - https://www.sbma.net/exhibitions/fauvismtofascism The tumultuous period between the two World Wars is the backdrop for this intimately scaled and timely exhibition, which explores the little known relationship between modern art and totalitarianism in the work of the French Fauves, Maurice de Vlaminck (1876-1958) and André Derain (1880-1954). [image: Image result for Fauvism to Fascism] Maurice de Vlaminck, *The Bridge (Le Pont) *(detail)... more »

In Praise of Painting: Dutch Masterpieces at The Met

Jonathan KantrowitzatArt History News - 1 week ago

*Exhibition Dates:* October 16, 2018–October 4, 2020 *Exhibition Location:* The Met Fifth Avenue, Lower Level, Robert Lehman Wing, Galleries 964–965 Dutch paintings of the 17th century—the Golden Age of Rembrandt, Hals, and Vermeer—have been a highlight of The Metropolitan Museum of Art’s collection since the Museum's founding purchase in 1871 . Opening October 16, the exhibition* In Praise of Painting: Dutch Masterpieces at* * The Met* will bring together some of the Museum’s greatest paintings to present this remarkable chapter of art history in a new light. Through 67 works drawn... more »

Collections Privées: un Voyage des Impressionnistes aux Fauves’

Jonathan KantrowitzatArt History News - 1 week ago

*The Musée Marmottan Monet* *until 10 February 2019* Claude Monet, Villas à Bordighera, 1884 (detail). Huile sur toile, 60 x 73 cm. Collection particulière © Collection particulière - Droits réservés. . *PARIS**.-* The Musée Marmottan Monet is presenting—until 10 February 2019—an exhibition entitled ‘Collections Privées: un Voyage des Impressionnistes aux Fauves’ (‘Private Collections: From the Impressionists to the Fauves’). The exhibition includes sixty-two paintings, drawings, and sculptures held in private collections (in Europe, the United States, and Latin America)—mos... more »

Salvador Dalí - A Love Story

Jonathan KantrowitzatArt History News - 1 week ago

xxx [image: Salvador Dalí, Argus in Color, 1963] Salvador Dalí, *Argus in Color,* 1963 (ACA Galleries) *ACA Galleries* in New York will present *Salvador Dalí*, a solo exhibition featuring selected etchings, Aubusson tapestries and drawings from the Argillet Collection, from* January 10 to March 9, 2019.* Dalí and Pierre Argillet began working together in 1959 and produced nearly 200 etchings over a 15 year period. They are noted for their attention to detail with wide-ranging themes such as mythology, Faust, bullfights, as well as the writings of Apollinaire, Chairman Mao, and... more »

POLITICS AND PAINT: BARBARA BODICHON AND THE PRE-RAPHAELITE BROTHERHOOD

Jonathan KantrowitzatArt History News - 1 week ago

[image: A hooded Procession, not dated. Barbara Leigh Smith Bodichon (1827–1891). Watercolor on paper, 10 1/16 × 14 9/16 inches. Mark Samuels Lasner Collection, University of Delaware Library.] *A hooded Procession, not dated. Barbara Leigh Smith Bodichon (1827–1891). Watercolor on paper, 10 1/16 × 14 9/16 inches. Mark Samuels Lasner Collection, University of Delaware Library.* inSharw through *February 3, 2019 at Delaware Art Museum.* Barbara Leigh Smith Bodichon (1827–1891) was an early female painter in the Pre-Raphaelite movement and ardent women’s rights campaigner. ... more »

More on Sotheby’s Evening Sale of Master Paintings on 30 January

Jonathan KantrowitzatArt History News - 2 weeks ago

– Sotheby’s Evening Sale of Master Paintings on 30 January will offer one of the most important work s by 18 th -century French artist Elisabeth -Louise Vigée Le Brun ever to appear at auction. [image: https://upload.wikimedia.org/wikipedia/commons/5/50/Mohammed_Dervish_Khan_by_Elizabeth_Vigee_Lebrun.jpg] Offered with an estimate of $4/6 million, her life -sized Portrait of Muhammad Dervish Khan will headline The Female Triumphant – a group of masterworks by trailblazing female artists of the Pre -Modern era, being offered across Sotheby’s Masters Week auctions this January in N... more »

Egon Schiele: In Search of the Perfect Line

Jonathan KantrowitzatArt History News - 2 weeks ago

*Galerie St. Etienne* *November 1, 2018, through March 2, 2019* *Egon Schiele, Self-Portrait with Brown Background, 1912. Gouache, watercolor, and pencil on paper. Signed and dated, lower left. 12 3/8" x 10" (31.4 x 25.4 cm). Kallir D. 1177. Kallir Family Foundation. * *Egon Schiele died on October 31, 1918, of the Spanish flu. He was twenty-eight years old and only just beginning to enjoy professional success. One hundred years later, museums in Boston, Linz, Liverpool, London, New York, Paris and, of course, Vienna have presented exhibitions celebrating the artist’s remarkable... more »

Modern American Realism

Jonathan KantrowitzatArt History News - 2 weeks ago

[image: Edward Hopper, Cape Cod Morning, 1950.] Edward Hopper, *Cape Cod Morning*, 1950. Oil on canvas, 34 1/8 x 40 1/4 inches. Smithsonian American Art Museum, Gift of the Sara Roby Foundation. OCT 20, 2018 – APR 28, 2019 A selection of treasured artworks from the permanent collection of the Smithsonian American Art Museum, *Modern American Realism* encompasses the range of what can broadly be called modern realism—from sociopolitical to psychological, from satirical to surrealist. Drawn from works collected by the Sara Roby Foundation, the exhibition includes 44 paintings an... more »

FLYING HIGH Women Artists of Art Brut

Jonathan KantrowitzatArt History News - 2 weeks ago

*Bank Austria Kunstforum VIENNA, AUSTRIA 15 FEBRUARY - 23 JUNE 2019* *F**FLYING HIGH” is the first exhibition that is devoted “globally” to female positions in Art Brut produced from 1860 until the present. The exhibition “flies high” in every sense: it has gathered together 316 works by 93 women artists from 21 countries, which in many aspects of content and aesthetics challenge our idea of what art is. * Aloïse Corbaz *Brevario Grimani ,* 1950 ca ( Detail ) crayon on paper abcd / Bruno Decharme collection Photo © César Decharme The exhibition adopts the term Art Brut – *ra... more »

Pin-Ups | Toulouse-Lautrec and the Art of Celebrity

Jonathan KantrowitzatArt History News - 2 weeks ago

*Scottish National Gallery * *6 October 2018 – 20 January 2019Royal Scottish AcademyPrinces St, Edinburgh, * The vibrant, bohemian atmosphere of Paris at the end of the 19th century takes centre stage in a spectacular new exhibition at the National Galleries of Scotland (NGS) , which focuses on extraordinary posters that heralded a revolution in design and the birth of modern celebrity culture. *Pin-Ups: Toulouse Lautrec and The Art of Celebrity* is the first NGS exhibition to explore the work of one of the most innovative and popular French artists of the era known as the ‘Belle ... more »

*Post-War and Contemporary Art Evening Sale on 6 March 2019 at Christie’s in London.

Jonathan KantrowitzatArt History News - 2 weeks ago

David Hockney’s double portrait of Geldzahler, a curator at The Met, and his partner, painter Christopher Scott, helped to secure his reputation. In March this masterpiece from the Barney A. Ebsworth Collection will be offered in London. David Hockney (b. 1937), Henry Geldzahler and Christopher Scott, 1969. Acrylic on canvas, 84 x 120 in (214 x 305 cm). Estimate on request. Offered in Post-War and Contemporary Art Evening Sale on 6 March 2019 at Christie’s in London. Artwork © David Hockney In 1968, the 30-year-old painter David Hockney began a series of seven monumental canvases,... more »

Claude Monet: A Floating World

Jonathan KantrowitzatArt History News - 4 weeks ago

*ALBERTINA Museum* * 21 September 2018–6 January 2019* This autumn, the ALBERTINA Museum is mounting Austria’s first broad-based presentation of works by Claude Monet (1840–1926) in over 20 years.The 100 paintings to be shown include important loan works from over 40 international museums and private collections such as the Musée d’Orsay in Paris, the Museum of Fine Arts Boston, the National Gallery London, the National Museum of Western Art in Tokyo,and the Pushkin Museum of Fine Arts in Moscow. This retrospective presentation, realized with generous support from the Musée Mar... more »

American Moderns in Watercolor: Edward Hopper and His Contemporaries

Jonathan KantrowitzatArt History News - 4 weeks ago

Wadsworth Atheneum Museum of ArtDecember 22, 2018 to March 17, 2019 inShare The *Wadsworth Atheneum Museum of Art*, in Hartford, Conn., will present *American Moderns in Watercolor: Edward Hopper and His Contemporaries* December 22, 2018 to March 17, 2019. *American Moderns in Watercolor* brings together sixteen works of art from the 1920s and 1930s that depict urban and rural subjects. Edward Hopper and contemporaries such as Charles Burchfield, Stuart Davis, Preston Dickinson, Arthur Dove, John Marin, and Abraham Walkowitz were increasingly on the move, either by car... more »

Master Paintings Evening Sale At Sotheby’s New York January 30

Jonathan KantrowitzatArt History News - 4 weeks ago

Sotheby’s will offer works by some of the most celebrated names in European art history in its Master Paintings Evening Sale on 30 January 2019. Headlined by an impressive group of 17th-century Dutch masterpieces from a distinguished private collection, the auction also features standout works by masters including Orazio Gentileschi, Pieter Brueghel the Younger and Ambrosius Bosschaert the Elder. Open to the public on 25 January, the sale will be presented alongside Sotheby’s Masters Week exhibitions of Master Paintings & Sculpture Day Sale,... more »