Andrew Wyeth: In Retrospect

Brandywine River Museum of Art

June 24 through September 17, 2017 

 

Seattle Art Museum 

October 19, 2017 through January 15, 2018

Andrew Wyeth: In Retrospect, a once-in-a-lifetime exhibition of iconic works by this master painter, commemorates the centennial of the artist’s birth. It will include over 100 works spanning his entire career, from the early works that quickly established his reputation to his final painting, Goodbye, completed months before his death in 2009. The Brandywine is the only East Coast venue for the exhibition and the only location where visitors can immerse themselves in the world of Wyeth through tours of his studio and Kuerner Farm. Public tours of these locations add insight to his work offering an intimate look at the personal space of this very private artist and an opportunity to see the farm, which inspired nearly 1,000 works of art.

Wyeth’s life extended from World War I—a period that sparked the imagination of the artist as a young boy—to the new millennium. He once said that painting to him was “following a long thread leading like time to change and evolution.” This comprehensive retrospective follows that thread over the decades as it unwinds, progressing forward and at times altering course. The exhibition will offer new interpretations of his work, noting the significance, for example, of such influences as popular film and images of war, and on the relatively unstudied but numerous portrayals of African Americans from the Chadds Ford community. Visitors will also be given a view into Wyeth’s working process through studies rarely exhibited in the artist’s lifetime and through comparisons of Wyeth’s widely divergent approaches to watercolor—which inspired him to paint quickly and with abandon at times—and to tempera—a more controlled medium in which he built up paint slowly and deliberately.

Co-organized by the Brandywine River Museum of Art and the Seattle Art Museum, Andrew Wyeth in Retrospect examines four major periods in the artist’s career:

1935-1949: This section looks at Wyeth’s emerging presence in the art world—from the colorful, expressive watercolors of the Maine coast that reveal a debt to Winslow Homer and brought him to the attention of the art world in the late 1930s, to his early forays into the medium of tempera, and to the powerful, dramatic works of the mid to late 1940s.

Highlights include Lobsterman (1937), painted the summer before his first, momentous New York show;

his early temperas, such as Frog Hunters (1941)—which was featured in the landmark Museum of Modern Art show, Americans 1943: Realists and Magic Realists;

and the now iconic works—such as Winter 1946 (1946)—that were crafted after October 1945, when the death of his father caused a profound shift in Andrew Wyeth’s outlook on his art.

1950-1967: By 1950, Wyeth’s attention was focused on his own visceral responses to the landscape around his home in Chadds Ford, and Maine, most particularly the Christina Olson property and the coastline. Wyeth divided his time between these places. In Chadds Ford, he painted the Kuerner Farm (now part of the Brandywine River Museum of Art), which was long at the center of Wyeth’s world there and forever linked in his mind to the nearby railroad crossing where his father, N.C. Wyeth, had met a tragic death. He also painted friends who were the last of the Black community that had been established in Chadds Ford during the Civil War. In Maine, Wyeth expressed his compelling emotional connection to the siblings Christina and Alvaro Olson and their house and property in Cushing.


Significant works from this period include  

Northern Point (1950);

Miss Olson (1952);

 and Spring Fed (1967).


Examples of Wyeth’s extensive studies in pencil and watercolor of his African American subjects

Tom Clark,

Adam Johnson, and

Willard Snowden (The Drifter, 1967), are also included.

1968-1988: By now one of America’s most famous artists, in 1968 Wyeth began to explore the realm of erotic art. This is the period that saw his first extended series of nudes, of the adolescent Siri Erickson in Maine and of Helga Testorf in Chadds Ford. The paintings of Helga, famously kept secret by the artist until the mid-1980s, when their revelation created a national sensation, have occupied an outsize place in the narrative of Wyeth’s multi-decade career. The exhibition will show that while he was working on these nude subjects, he also painted for public view some of his most psychologically complex, symbolically rich, and compositionally ambitious works. Highlights include the now iconic paintings focused on his neighbors, the Kuerners: examples are  

Evening at Kuerners (1970);  

The Kuerners (1971);

and Spring (1979).

1989-2009: Beginning in 1989, Wyeth’s work became particularly self-reflective as he looked backward—partly in response to the critical backlash he experienced from the revelation of the Helga paintings. His late works are often infused with mystery and a surreal quality, recalling his earliest work and at times, in fact, directly referencing it.

Highlights include the large tempera Snow Hill (1989), filled with autobiographical allusions,


and Goodbye (2008), a painting completed just months before his death that has not been widely seen or published.

The catalogue accompanying the exhibition will be co-published by Yale University Press, the Brandywine River Museum of Art and the Seattle Art Museum. It will provide a full visual document of the works in the exhibition, as well as lay out the first detailed timeline of Wyeth’s career. In addition to Patricia Junker’s insightful contextual analysis of the four periods described above, the catalogue will include seven provocative essays on key aspects of Wyeth’s work by scholars from both the United States and Japan. The catalogue is intended to be a foundation for subsequent Wyeth studies.

The co-curators for the exhibition are Audrey Lewis, Curator, Brandywine River Museum of Art, and Patricia Junker, the Ann M. Barwick Curator of American Art at the Seattle Art Museum. The exhibition will be on view at the Seattle Art Museum from October 19, 2017 through January 15, 2018.

México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde

Dallas Museum of Art

March 12 through July 16, 2017

Diego Rivera, Juchitán River (Río Juchitán), 1953–1955, oil on canvas on wood, Mexico, INBA, Museo Nacional de Arte © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

This March, the Dallas Museum of Art, in collaboration with the Mexican Secretariat of Culture, hosts the exclusive U.S. presentation of México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, a sweeping survey featuring almost 200 works of painting, sculpture, photography, drawings, and films that document the country’s artistic Renaissance during the first half of the 20th century. Curated by Agustín Arteaga, the DMA’s new Eugene McDermott Director, and the result of a combined cultural endeavor between Mexico and France, this major traveling exhibition showcases the work of titans of Mexican Modernism alongside that of lesser-known pioneers, including a number of rarely seen works by female artists, to reveal the history and development of modern Mexico and its cultural identity.

Frida Kahlo, The Two Fridas (Las dos Fridas), 1939, oil on canvas, Mexico, INBA, collection Museo de Arte Moderno © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York


On view from March 12 through July 16, 2017, México 1900–1950 will be enhanced in Dallas by the inclusion of key works from the Museum’s own exquisite collection of Mexican art, encompassing over 1,000 works that span across three millennia. The exhibition, which premiered in October 2016 at the Grand Palais in Paris to both popular and critical acclaim, is organized by the Secretaría de Cultura/Instituto Nacional de Bellas Artes/Museo Nacional de Arte, México (MUNAL) and the Réunion des musées nationaux – Grand Palais (Rmn-GP) of France.

“The DMA has a rich history of collecting and presenting Mexican art, and this exhibition offers our visitors the opportunity to explore in-depth the diverse and vibrant voices that distinguish Mexican art during the first half of the 20th century,” said Arteaga. “México 1900–1950 showcases not only the greats of Mexican art but also those who may have been eclipsed on the international level by names like Rivera and Kahlo. The exhibition helps broaden our understanding of what modern Mexican art means, and diversify the artistic narratives attributed to the country.”

José Clemente Orozco, The “Soldaderas” (Las soldaderas) , 1926, oil on canvas, Mexico, INBA, collection Museo de Arte Moderno © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City


Organized thematically and presented in both English and Spanish, México 1900–1950 reveals how Mexican 20th-century art is both directly linked to the international avant-garde and distinguished by an incredible singularity, forged in part by the upheaval and transformation caused by the Mexican Revolution in the early 1900s. The exhibition begins with an introduction to the 19th-century imagery and traditions that pre-dated and, in turn, inspired Mexican Modernism, and includes work produced by Mexican artists living and working in Paris at the turn of the century. It then examines how the Revolution helped cement both a new national identity and a visual culture in Mexico, as embodied most famously by the murals of Rivera, Orozco and David Alfaro Siqueiros.

Rosa Rolanda, Self-Portrait (Autorretrato), 1952. Courtesy of El Instituto Nacional de Bellas Artes Y Literatura

At the same time, México 1900–1950 goes beyond these mythic artists to reveal alternative narratives in Mexican art, including a significant emphasis on the work of female artists, who were supported by patrons like Dolores Olmedo and María Izquierdo. The thematic section “Strong Women” includes work by Frida Kahlo and her lesser-known but equally distinguished compatriots, including artists like Nahui Olin, photographer Tina Modotti, multidisciplinary artist Rosa Rolanda, and photographer Lola Álvarez Bravo, among others.

Diego Rivera, Río Juchitán, 1953-1955 - Museo Nacional de Arte, INBA Asignación al Instituto Nacional de Bellas Artes a través del Sistema de Administración y Enajenación de Bienes de la Secretaría de Hacienda y Crédito Público, 2015 ©Jorge Vertíz Gargoll

Representing the response of Mexican artists to art movements from around the world with a cosmopolitan vision, the exhibition also features the artwork of abstract sculptor German Cueto, Manuel Rodríguez Lozano, Abraham Ángel, Roberto Montenegro and Rufino Tamayo.

A final section reveals the cross-pollination specifically between American and Mexican artists and the resulting profound effect this had on art production in both countries.

The Dallas presentation, in partnership with the Latino Center for Leadership Development and with support from Patrón Tequila, gathers perhaps for the first time in decades mural-sized works by Diego Rivera, José Clemente Orozco, Rufino Tamayo, Saturnino Herrán, Miguel Covarrubias, and Roberto Montenegro.

Other exhibition highlights include:

La futbolista (The Footballer) (1926) by Ángel Zárraga  

Autorretrato (el Coronelazo) (Self-Portrait (el Coronelazo)) (1945) by David Alfaro Siqueiros

La vendedora de frutas (The Fruit Vendor) (1951) by Olga Costa

 

Guitarra, canana y boz (Guitar, bandolier, and sickle) (1929) by Tina Modotti  

La pasarela (The Walkway) (n.d.) by Gabriel Fernández Ledesma  

La Dame ovale (Green Tea) (1942) by Leonora Carrington 

El Sueño de la Malinche (The Dream of La Malinche) (1939) by Antonio Ruiz
As part of the exhibition, highlights from the DMA collection include, among others:

• Perro Itzcuintli conmigo  (Itzcuintli Dog with Me) (1933) by Frida Kahlo, an oil-on-canvas self-portrait of the artist with a hairless dog, a long-term loan to the Museum, was likely painted at the artist’s home in Mexico City and completed immediately before her solo debut in New York;

• Adam y Eve Mexicanos (Mexican Adam & Eve) by Alfredo Ramos Martinez, the 1933 painting by the acknowledged “Father of Mexican Modernism” combines Ramos Martinez’s nationalist technical ability with an active response to a folkloric vision of Mexico shared by Mexican artists living in Southern California;

• El Hombre (Man) by Rufino Tamayo, a portable mural of a man reaching toward a shooting star that was commissioned by the DMA in 1953 reflects the Museum’s early interest in and dedication to expanding its collection of Latin American paintings; and

• Génesis, el Don de la Vida (Genesis, the Gift of Life), the iconic 60-foot-long glass mosaic mural by Miguel Covarrubias on permanent view at the DMA; originally created for another building in Dallas in 1954, the work is based on an ancient Mexican myth that four worlds preceded the world we currently live in, and incorporates imagery from numerous historic cultures in Central and North America.

The exhibition will be accompanied by an illustrated catalogue, coordinated by the DMA and the Secretaría de Cultura/Instituto Nacional de Bellas Artes. It is edited by Agustín Arteaga and available in both English and Spanish, a nod to the language of México 1900–1950 and a continuation of Dr. Arteaga’s initiatives to include multilingual materials across a variety of formats in DMA exhibitions. The book, translated from the original French is distributed by Yale University Press in English and by Ediciones El Viso in Spanish.

French Painting at the Ny Carlsberg Glyptotek

Glyptotek, Copenhagaen

From 19th March, 2017

Manet, Degas, Monet, Cézanne, van Gogh, Gauguin… the Glyptotek’s collection of French painting contains works by some of the greatest figures in art, just as it covers one of the most hectic epochs in art history. With over 200 works the exhibition displays the artistic diversity, which poured forth from France in the years 1809-1950. Through an original presentation of famous masterpieces and rarely seen major works the exhibition presents a visual narrative of 150 years of art which never manages to put down roots, and, for the same reason, is suffused with intensity and invention.

The Art Superpower

From the Romantic Period up to the Second World War France was the meeting point for the most innovative vanguard of artists. The accelerating modernity and cultural broad-mindedness of Paris as well as the attraction of rural settings in the provinces was the perfect climate for the most pioneering European avant-garde. The exhibition’s paintings, drawings and small sculptures bear witness to the fact that art in this period was, at times, a savage quest for originality. These artists were driven by a powerful impulse not merely to keep pace with, but also to be able to anticipate and create the expression and form of the time.

Ideal and Experiment

The exhibition, which is based exclusively on the Glyptotek’s own collection, spans the whole range in the development of art from the academic to the so-called modern. From the idealised painterly expression with its considerable technical wealth of detail, via the freer, experimental paintings, to full-blooded abstraction.  In this way the exhibition sums up the many stylistic currents of the period: Realism, Romanticism, Naturalism, and, most of all, Impressionism.

Backwards: 1950-1809

However, the development is far from linear and the art has a tendency to run rings around itself. The artists typically worked outside art historical categories. They moved in and out of the various groups, drew inspiration from their travels and, all in all, worked more dynamically and unpredictably.

The exhibition extends over three floors and juxtaposes artists, genres and techniques with chronology as the governing principle. It is, in fact, the chronology which briefly liberates painting from the constraints of being too closely associated with certain styles and has it assume the foreground as painting first and foremost. To further underline the free approach of the artists the exhibition is arranged according to a reverse chronology. Far from standing as a natural final destination, the modern painting of the 20th century becomes an introduction to a reversed stroll through the art of painting from the 19th century.

Vincent van Gogh, Landscape from Saint-Rémy, 1889, Ny Carlsberg Glyptotek

Paul Gauguin, Tahiti Woman with a Flower, 1891, Ny Carlsberg Glyptotek 

Claude Monet, Shadows on the Sea. The Cliffs at Pourville, 1882

 Paul Gauguin: Pape Moe Mysterious Water, 1894. Ny Carlsberg Glyptotek




 

American Artists in Europe: Selections from the Permanent Collection

 

The Hyde Collection

February 28 through June 11, 2017

 

Childe Hassam’s ‘Geraniums,’ painted in 1888/89, is part of The Hyde’s permanent collection and one of the work’s featured in its current show.

When Childe Hassam returned to the United States after living in Paris for three years, he brought with him an American form of Impressionism. His Hyde House favorite Geraniums will be exhibited — along with the works of other American artists who found inspiration overseas — in American Artists in Europe: Selections from the Permanent Collection, which opened Tuesday, February 28, in The Hyde Collection's Whitney-Renz Gallery.

The featured works are drawn from the Museum's permanent collection, highlighting American artists inspired by their travels. "Americans go as students or as established artists, but they both come back with distinctly American versions of movements they encountered in Europe," said Jonathan Canning, Curator of The Hyde.

Forebodings by Winslow Homer, Hyde Collection

When, for example, Winslow Homer tired of painting Americans, he traveled overseas in 1881 in search of strong-willed women exuding natural beauty. The revered painter found his muses on the rough shores of Cullercoats, England. He came back to the States with the subjects that would come to dominate his later years, fisherfolk and the power of the sea.

Before the Civil War, America lacked the cultural equivalents of artists' cafes, salons, and the Bohemian lifestyle that made Europe the center of Western culture. "Artists traveled wanting to see Europe's great cities, art collections, and monuments," Canning said. "It wasn't until after the war that Americans started to develop art academies and cultural institutions of their own."

American Artists in Europe: Selections from the Permanent Collection features works from Hassam; Homer, who traveled to England twice in the mid-1800s; 

Duveneck Frank Florentine Flower Girl 

Frank Duveneck, who traveled and taught extensively in Italy and Germany; 

Elihu Vedder, who found inspiration in Italy and eventually lived there permanently; 

and Leonard Freed, who traveled in Europe and Africa before settling in Amsterdam to photograph its Jewish community; among others.

American Artists in Europe runs through June 11 in Whitney-Renz Gallery.

William Eggleston Los Alamos

FOAM, Amsterdam
17 March – 7 June 2017

The American photographer William Eggleston (1939, Memphis Tennessee, US) is widely considered one of the leading photographers of the past decades. He has been a pioneer of colour photography from the mid-1960s onwards, and transformed everyday America into a photogenic subject. In William Eggleston – Los Alamos, Foam displays his portfolio of photographs that were taken on various road trips through the southern states of America between 1966 and 1974. The exhibition includes a number of iconic images, amongst which Eggleston’s first colour photograph.

William Eggleston, En Route to New Orleans, 1971–1974, from the series Los Alamos, 1965–1974 © Eggleston Artistic Trust 2004 / Courtesy David Zwirner, New York/London

Los Alamos starts in Eggleston’s home town of Memphis and the Mississippi Delta and continues to follow his wanderings through New Orleans, Las Vegas and south California, ending at Santa Monica Pier. During a road trip with writer and curator Walter Hopps, Eggleston also passed through Los Alamos, the place in New Mexico where the nuclear bomb was developed in secret and to which the series owes its name.

The over 2200 images made for Los Alamos were originally intended to be published in parts, but were forgotten over the years. The photographs were rediscovered almost 40 years after the project started. They were published and exhibited for the first time in 2003. The vibrant photographs of traffic signs, run-down buildings and diner interiors distinctly betray the hand of the wayward autodidact. His early work evidences his penchant for the seemingly trivial: before the lens of Eggleston’s ‘democratic camera’, everything becomes equally important.

Eggleston began Los Alamos ten years before his contested solo exhibition at MoMA in 1976, which placed colour photography on the map as a serious art form. At the time, colour photography in the fine arts was regarded as frivolous, or even vulgar. It earned Eggleston the scorn of many. However, this did not stop him from experimenting with the no longer used dye-transfer process, a labour-intensive and expensive technique that was mainly used in advertising photography. The process allowed the photographer to control the colour saturation and achieve an unparalleled nuance in tonality; a quality that also characterizes the 75 dye-transfer prints exhibited at Foam.

Images

Calm and Exaltation. Van Gogh in the Bührle Collection

4 March to 17 September 2017

Fondation Vincent van Gogh Arles 

 

 The exhibition Calm and Exaltation. Van Gogh in the Bührle Collection presents eight paintings by Vincent van Gogh. This selection allows us to see not only the different phases in the Dutch artist’s career, but also the vision of a collector, the Swiss industrialist Emil Bührle (1890–1956), for whom it was crucial that his collection should convey the stylistic development of each artist represented within it. Thus the thread running through his dazzling acquisitions of works by Van Gogh is the lightening and brightening of Vincent’s palette and his synthesis of different influences in his art. 

The Fondation Vincent van Gogh Arles has been granted the loan of six canvases from the Foundation E. G. Bührle Collection, Zürich, which holds in all seven works by Van Gogh. 

These six canvases are presented here alongside two other loans. 

The Old Tower (1884) 

and Peasant Woman, Head (1885) 

are early works painted in the Dutch town of Nuenen, 

while 

Bridges Across the Seine at Asnières, Paris, 1887 Oil on canvas, 53.5 x 67 cm Foundation E. G. Bührle Collection, Zürich

Bridges Across the Seine at Asnières (1887) 

Self-Portrait, Paris, 1887 Oil on canvas, 47 x 35.4 cm Foundation E. G. Bührle Collection, Zürich

and Self-Portrait (1887) 

date from the artist’s time in Paris, where he was inspired by Impressionism and Pointillism. 

Lastly,  

The Weeders, Saint-Rémy-de-Provence, 1890 Oil on paper, on canvas, 49.3 x 64 cm Foundation E. G. Bührle Collection, 

 The Weeders  

and  Blossoming Chestnut Branches  (both 1890) testify to the artistic maturity that Vincent attained at the end of his career. 

In  Blossoming Chestnut  Branches , Van Gogh shows us the exaltation of spring. The brushwork is resolutely energetic, the colours vibrant and the composition bold in its horizontality. 

Vincent’s extended stay in Provence is represented by two loans respectively issuing from a private collection and the Van Gogh Museum in Amsterdam. Although the clear light and bright colours of the South found their way into his paintings of this period, in 

Entrance to a Quarry , Saint-Rémy- de-Provence, mid-July 1889 Oil on canvas, 60 x 74.5 cm Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) 

Entrance to a Quarry (1889) Van Gogh returns to the more sombre palette he had favoured in the North. 


Writing to his brother Theo on 22 August 1889, Vincent says of Entrance to a Quarry : 

“And it was precisely a more sober attempt, matt in colour  without looking impressive, broken greens, reds and rusty ochre yellows, as I told you that from time to time I felt a desire to begin again with a palette like the one in the north.” 

 This palette of the North is that of the earth, made up of ochres and dark greens. Vincent van Gogh,

With Olive Orchard (1889), likewise painted in the countryside around Saint-Rémy, one of the artist’s favourite Provençal motifs takes its place in the exhibition. 

Exhibition curators: Bice Curiger, Lukas Gloor 


ABOUT THE ARTIST 

Vincent van Gogh is born on 30 March 1853 in Groot-Zundert in the Netherlands. At the age of 16 he joins Goupil & C ie , a firm of art dealers in The Hague, and subsequently works in the company’s offices in Brussels,  London and finally Paris. He gradually loses interest in the commercial art world and, in 1878–79, he becomes a lay preacher in a mining community in the Borinage area of Belgium. 

In August 1880 Van Gogh decides to become an artist. He wants to be a painter of everyday life, and, above all, of peasant life, following in the footsteps of artists such as Jean-François Millet. Landscapes and still lifes, too, become an important part of his oeuvre. 

In 1886 in Paris he discovers Japanese prints and he meets Impressionist artists. Convinced that colour is the key to modernity, Van Gogh leaves for Provence in search of bright light and vibrant colours. 

Dreaming of establishing a community of artists, in February 1888 he settles in Arles. Gauguin joins him in October, but their collaboration collapses in late December 1888. 

Disappointed and ill, in May 1889 Van Gogh has himself admitted to a psychiatric hospital in Saint-Rémy, where he remains for a whole year. He continues with his search for an expressive art based on colour and brush strokes, creating more than 500 paintings and drawings during his 27 months in Provence. 

In May 1890 Van Gogh moves to Auvers-sur-Oise, where in just over two months he produces the final  70 paintings of an oeuvre that comprises more than 2,000 works. He dies on 29 July 1890 at the age of 37.  Van Gogh’s artistic genius and the poignant story of his life transform him into a veritable international icon. 

During his stay at the Saint-Paul-de-Mausole psychiatric hospital in Saint- Rémy-de-Provence, Van Gogh turns to the surrounding countryside to enrich his geography as an artist. He tirelessly paints and draws new Provençal motifs: cypress trees, olive groves and hills. The low Alpilles range rising behind the hospital buildings provides Vincent with an opportunity to paint the rugged massif as well as the quarry located nearby. In 1889 he treats this latter in two canvases, of which he  executes the first in mid-July – just after suffering a fresh health crisis – and the second in October. 

Monet to Matisse: A Century of French Moderns

McNay Art Museum 
March 1 to June 4, 2017

The McNay Art Museum is proud to present Monet to Matisse: A Century of French Moderns (March 1 to June 4, 2017) in its newly reconfigured Tobin Exhibition Galleries. Curated by McNay Director Richard Aste and Brooklyn Museum Curator of European Painting and Sculpture Lisa Small, the exhibition includes nearly 60 paintings and sculptures from Brooklyn’s renowned European art collection as well as selections from the McNay’s prized holdings.

“Bringing Brooklyn’s French collection to the McNay is a reunion decades in the making,” says Aste. “Our founder, Marion Koogler McNay, was a visionary collector. Putting her keen collecting eye back on a par with those of her mostly male peers at the Brooklyn Museum, one of the nation’s pioneering art institutions, is powerful, appropriate, and long overdue.”

At the McNay, Monet to Matisse is organized by René Paul Barilleaux, Chief Curator/Curator of Contemporary Art, and Heather Lammers, Director of Collections and Exhibitions.


Indeed, the McNay boasts artworks from the same era—Modernism—and by many of the same artists featured in Monet to Matisse. To reinforce collecting-practice parallels between the McNay and Brooklyn and to highlight the McNay’s growing Modern art collection, the Museum is introducing paintings, sculptures, and prints typically exhibited in the main collection galleries to the Tobin Exhibition Galleries, along with key works on loan from private collectors. Notable examples include:

Paul Gauguin’s Portrait of the Artist with the Idol,

Raoul Dufy, French, 1877-1953
Seated Woman - Rosalie

1929

Oil on canvas

21 7/8 x 18 1/4in (55.6 x 46.4cm)

Bequest of Marion Koogler McNay


© Artists Rights Society (ARS), New York/ ADAGP, Paris

Raoul Dufy’s Seated Woman-Rosalie , and

Vincent van Gogh’s Women Crossing the Fields, all bequests of Marion Koogler McNay.


An iconic suite of ten Mary Cassatt aquatints, graciously donated to the McNay by prominent philanthropist and collector Margaret Batts Tobin in 1977

.

Claude Monet masterpiece Nympheas (Water Lilies)

 An arresting Paris-made still life by African American painter Lois Mailou Jones on loan from the Harmon and Harriet Kelley Foundation for the Arts.

Frederick Carl Frieseke’s The Bathers, an exquisite painting on loan from the collection of Marie and Hugh Halff.

Also on view in the McNay’s Charles Butt Paperworks Gallery is the complementary exhibition Sur Papier: Works on Paper by Renoir, Chagall, and Other French Moderns, drawn entirely from the Museum’s renowned prints and drawings collection.

Monet to Matisse: A Century of French Moderns celebrates France as a major artistic center of international Modernism from the mid-19th to mid-20th centuries. At the time, the genres of portraiture, landscape, the still life, and the nude were redefined in radical ways. The paintings, sculptures, and works on paper in this presentation exemplify the avant-garde movements that defined a hundred years, spanning early attempts to faithfully capture everyday life and concluding with introspective reflections of a disrupted landscape, beginning with the reign of naturalism and ending with the rise of abstraction.

Monet to Matisse: A Century of French Moderns is accompanied by an illustrated catalogue, co-authored by Rich Aste and Lisa Small, the exhibition’s organizers from the Brooklyn Museum. The catalogue includes an introductory essay (with a general overview of the exhibition and relevant social and artistic histories), brief thematic essays, and short interpretive entries on individual works of art.


 
 Claude Monet (French, 1840–1926).Rising Tide at Pourville (Marée montante àPourville), 1882. Oil on canvas,26 × 32 in. (66 × 81.3cm).Brooklyn Museum, Gift of Mrs. Horace O. Havemeyer, 41.1260




This exhibition is organized by the Brooklyn Museum.