Vuillard and the Art of Japan

Fondation de l’Hermitage 

23.06 – 29.10.2023  

In the summer of 2023, the Fondation de l’Hermitage is revisiting the work of Nabi master Édouard Vuillard (1868-1940), seen through the lens of Japonism that took Paris by storm at the turn of the 20th century. Centred on the delicate landscape held at l’Hermitage, La Maison de Roussel à La Montagne (1900), the exhibition shows the crucial influence of Japanese art on Vuillard’s work. The artist was a great collector of ukiyo-e prints, in which he found formats of a kind hitherto unknown in the Europe, radical compositions and framing, and unusual motifs, all of which greatly enriched his aesthetic language. Around a hundred paintings and engravings of scenes of everyday life and nature, created by Vuillard between the 1890s and the First World War, are shown here in dialogue with some fifty Japanese masterpieces.    

JAPONISM IN VOGUE 

It was almost certainly the great exhibition of Japanese art of 1890 at the École des Beaux-Arts that fostered Vuillard’s interest in Japanese aesthetics, which had hitherto remained largely unknown on the academy circuits. While all the Nabi painters appreciated Japanese art – and first among them Pierre Bonnard, who was known as the “Nabi japonard” – it was Vuillard who collected the greatest number of prints, acquiring a total of 180 for low prices at Le Bon Marché and Printemps. These works depicting landscapes, geishas or kabuki actors are by Japanese woodcut masters such as Hiroshige, Hokusai, Kunisada, Kuniyoshi, Eisan and Utamaro. Some of the works can be seen pinned to the wall in photographs of Vuillard’s studio living-room. His collection also contained several illustrated books, including volume 6 of Hokusai’s Manga.   

REVITALISING THE CODES OF WESTERN PAINTING 

In the years 1890-1914 Vuillard’s paintings, drawings and lithographs were deeply imbued with references to Japanese art. Like the ukiyo-e masters, he celebrated everyday life and nature. Avoiding any facile exoticism, he enriched his art by freely adopting Japanese codes, which offered him entirely new formats, viewpoints and asymmetrical compositions. Often he abandoned Albertian perspective, creating a sense of space through the bold juxtaposition of a close foreground with a distant background. He also turned away from portraying relief and three-dimensional shapes, instead exploring the potential of plain colours, arabesques and textural effects to create forms.   

THEMED PRESENTATION 

The exhibition is organised around the different genres in which Vuillard worked, seen through the lens of Japanese aesthetics. The artist’s highly personal approach is explored through Scenes of ordinary life, Screens and kakemonos, Prints and graphic arts and The Wonder of Nature. Also on display is a group of paintings by Vuillard’s Nabi friends who were greatly influenced by Japanese art, including Pierre Bonnard, Maurice Denis, Paul Élie Ranson and Félix Vallotton.  

CATALOGUE  

The exhibition is accompanied by a richly illustrated book containing several essays on the artist and his work by Marina Ferretti, Isabelle Cahn, Matthias Chivot and Corinne Currat. The editor is Marina Ferretti and the catalogue is copublished with Snoeck in Ghent.   

EXHIBITION CURATORS 

Sylvie Wuhrmann Director, Fondation de l’Hermitage Corinne Currat Assistant Curator, Fondation de l’Hermitage  LENDERS Many museums have lent works for this exhibition, including Musée d’Orsay et Musée National Picasso-Paris, Musée des Beaux-Arts (Rheims), Musée de l’Annonciade (Saint-Tropez), Staatsgalerie Stuttgart, The National Gallery of Sofia, Statens Museum for Kunst (Copenhagen), Musée d’art et d’histoire de Genève, Musée Jenisch Vevey, Kunst Museum Winthertur, Tate (London), The Fitzwilliam Museum (Cambridge).

Images

Édouard Vuillard
La Maison de Roussel à La Montagne, vers 1900
Huile sur carton, 29,5 x 33 cm
Fondation de l’Hermitage, Lausanne, legs de Lucie Schmidheiny, 1998
© photo Eric Frigière, Saint-Légier

Édouard Vuillard
Deux femmes sous la lampe, 1892
Huile sur toile marouflée sur bois, 33 x 41,5 cm
Centre Pompidou, Paris. Musée national d’art moderne-Centre de création industrielle
En dépôt au musée de l’Annonciade, Saint-Tropez
Legs de Georges Grammont, 1959
© photo Collection Musée de l’Annonciade, Saint-Tropez

Édouard Vuillard
Au lit, 1891
Huile sur toile, 74 x 92 cm
Musée d’Orsay, Paris, legs verbal d’Édouard Vuillard, exécuté grâce à M. et Mme K. X. Roussel, beau-frère et sœur de l’artiste, 1941
© photo RMN-Grand Palais (musée d’Orsay) / Sylvie Chan-Liat

Édouard Vuillard
Le Crépuscule à Pouliguen, 1908
Peinture à la colle sur papier, marouflé sur toile, 78 x 148 cm
Collection particulière
© photo DR

Édouard Vuillard
Villeneuve-sur-Yonne, vue du Relais vers l’entrée du parc, 1897-1899
Huile sur carton, 40,8 x 29,5 cm
Collection particulière, Suisse
© photo Peter Schälchli, Zurich

Édouard Vuillard
Femme de profil au chapeau vert, vers 1891
Huile sur carton, 21 x 17 cm
Musée d’Orsay, Paris, dation, 1990
© photo RMN-Grand Palais (musée d’Orsay) / Jean-Marc Anglès

Utagawa Kunisada (Toyokuni III)
[Femme se coiffant, un miroir dans la main], vers 1800-1865
Gravure sur bois en couleurs sur papier japon, 36 x 24,4 cm
Musée Jenisch Vevey – Cabinet cantonal des estampes, Collection de la Ville de Vevey
© photo Musée Jenisch Vevey / Julien Gremaud

Édouard Vuillard
Les Gros Nuages, 1909
Pastel sur papier, 24 x 31 cm
Collection particulière, Paris
© photo de Bayser

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Édouard Vuillard
L’Avenue, planche 2 de la série Paysages et intérieurs, 1899
Lithographie, 33 x 45 cm
Collection particulière
© photo Peter Schälchli, Zurich

Édouard Vuillard
Le Salon des Natanson, rue Saint-Florentin, 1897-1898
Huile sur papier, contrecollé sur panneau parqueté, 45,5 x 51,5 cm
Collection Emil Bührle, en dépôt au Kunsthaus Zürich
© photo Collection Emil Bührle

Édouard Vuillard
Marine (Saint-Jacut), 1909
Peinture à la colle sur papier marouflé sur toile, 70,8 x 87 cm
Collection particulière
© photo Peter Schälchli, Zürich

Édouard Vuillard
Les Collines bleues, 1900
Huile sur carton, 42,5 x 68 cm
Kunsthaus Zürich, legs du Dr Hans Schuler, 1920
© photo Kunsthaus Zürich

Édouard Vuillard
Grand-mère et enfant au lit bleu, 1899
Huile sur carton, 46,5 x 53 cm
Kunst Museum Winterthur
© photo SIK-ISEA, Zürich / Lutz Hartmann

Édouard Vuillard
Pierrot, 1890-1891
Pinceau, encre et aquarelle sur crayon léger sur papier rigide jauni, découpé en forme d’éventail uchiwa, 20,4 x 17,3 cm
SMK, National Gallery of Denmark
© photo SMK / Jakob Skou-Hansen

Art of Enterprise: Israhel van Meckenem’s 15th-Century Print Workshop

Chazen Museum of Art at the University of Wisconsin–Madison 

Dec. 18, 2023-March 24, 2024 

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Discover parallels between the business of 15th-century printmaking and today’s branding practices in “Art of Enterprise: Israhel van Meckenem’s 15th-Century Print Workshop,” on view Dec. 18, 2023-March 24, 2024 at the Chazen Museum of Art at the University of Wisconsin–Madison. The exhibition will be the first in the United States to present new research about the role Israhel van Meckenem (German, 1440/1445-1503) played in developing printmaking as a fine art and will feature more than 60 objects that place his important engravings alongside images he copied from his contemporaries, including Master E.S., Martin Schongauer and Albrecht Düre

       “Israhel van Meckenem was the first printmaker to experiment with using his name as a brand or a trademark,” said exhibition curator James Wehn, the Chazen’s Van Vleck curator of works on paper. “‘Art of Enterprise’ presents a new opportunity to look at Israhel van Meckenem as not only a printmaker but an entrepreneur during a time when there was no concept of copyright or legal protections for intellectual capital like we have today. The works on view illuminate how longstanding copy culture collided with the new ability to replicate an image through printmaking and, as a result, prompted emerging concepts of authenticity and authorship.”

       The exhibition explores the business of printmaking in the late 15th century, focusing on Israhel's operation of a productive workshop during the initial rise of printed text and images in Europe. The engravings in the exhibition highlight Israhel’s primary audiences and the ways they used engravings. The exhibition will also explore his strategic use of materials like paper and copper, as well as the development of new products, including intricate ornamental designs, engraved indulgences, scenes of everyday life and the earliest printed self-portrait.

       Regarded by some as more of an editor or publisher than an artist, many of Israhel’s prints are direct copies of works that were already in the marketplace. Except for minor changes, such as the repositioning of a limb or adjustments to small details in the background, Israhel produced works nearly identical to images by other artists and signed his name to the work.

       “Art of Enterprise” will include engravings “Saint Peter” and “Saint John” that were unknown to print historians until recently and are new to the Chazen’s permanent collection. Joined by “Saint Judas Thaddeus” from the same series of apostles likely produced around 1470, they will appear alongside source material by Master E.S. on loan from The Albertina Museum in Vienna. Placing the works together will encourage close looking as visitors discover slight differences between Israhel’s depictions and Master E.S.’s work.

       In contrast to the 21st-century practice of putting prints in frames for display, many of Israhel’s works were distributed throughout Europe and used in manuscripts, often of devotional nature. “Album with Twelve Engravings of The Passion, a Woodcut of Christ as the Man of Sorrows, and a Metalcut of St. Jerome in Penitence,” on loan to the Chazen from the Metropolitan Museum of Art, presents an example of Israhel’s Passion series in a bound prayerbook.

       “In the late 15th century, when Israhel was copying existing images, the value was in the labor and the materials and not in the image. Today, we face similar questions about authorship and the value of intellectual capital with AI technology. ‘Art of Enterprise’ will present Israhel van Meckenem’s work and encourage visitors to consider concepts of originality that were called into question then and remain relevant in today’s digital world,” Wehn said.

       “Art of Enterprise: Israhel van Meckenem’s 15th-Century Print Workshop” is organized by the Chazen Museum of Art. The exhibition includes approximately 10 works from the Chazen’s collection and loans from nine other institutions, including The Albertina Museum (Vienna, Austria); The Metropolitan Museum of Art (New York, New York); The Museum of Fine Arts, Boston; and The National Gallery of Art (Washington, D.C.).

# # #

About the Chazen Museum of Art
The Chazen Museum of Art makes its home between two lakes on the beautiful campus of the University of Wisconsin–Madison. Within walking distance of the state capitol, it sits squarely in the heart of a vibrant college town. The Chazen’s expansive two-building site holds the second-largest collection of art in Wisconsin, and at 166,000 square feet, is the largest collecting museum in the Big 10. The collection of approximately 24,000 works of art covers diverse historical periods, cultures and geographic locations, from ancient Greece, Western Europe and the Soviet Empire to Moghul India, 18th-century Japan and modern Africa. For more information: chazen.wisc.edu

Israhel van Meckenem (German, 1440/1444-1503), "Head of a Man Wearing a Turban." Engraving, last third of the 15th century. 20.8 x 13.1 cm. Albertina Museum, accession # DG1926/1273

Israhel van Meckenem (German, 1440/1444-1503), "The Five Foxes." Engraving on ivory laid paper, 1485–1495. 16.8 × 11.8 cm (6 5/8 × 4 11/16 in.). Art Institute of Chicago, Clarence Buckingham Collection, Reference Number 1940.1313

Israhel van Meckenem (German, 1440/1444-1503), "Double Portrait of Israhel van Meckenem and his Wife Ida." Engraving, ca. 1490. 13.1 x 17.8 cm, Albertina Museum accession #DG1926/938 

Alexander Calder and Joan Miró.

 Well, the archaeologist will tell you there's a little bit of Miró in Calder and a little bit of Calder in Miró.  – Alexander Calder

The gallery Maruani Mercier is pleased to announce a special tandem exhibition devoted to modernist giants  Alexander Calder and Joan Miró. Taking place from July 22 to August 31, 2023 at their seaside gallery space at Zeedijk 759 in Knokke, the exhibition presents paintings, drawings, engravings, collages, and bronze sculptures by the American and Spanish artists, who had forged one of the most important artistic dialogues in the 20^th century.

 

When Alexander Calder and Joan Miró met between the two great wars in 1920s Paris, the stars were aligned. The two found each other amidst the creative circles consisting of Braque, Dali, and Picasso, where many new ideas were exchanged. Though the rise of fascism forced them to return to their home countries, the two artists remained in contact, influencing, and exhibiting together until Calder’s death in 1976. Their combined interest in the cosmos and illusionary worlds took abstraction to new heights; this exhibition reveals these thematic commonalities, consisting of weightless organic forms, a penchant for pure colours, and sinuous lines. This is most evident in their works on paper, where both artists reveal their predilection for the stream of consciousness; dream-like compositions that nod to celestial symbolism. Miró's dreamlike and imaginative approach to art found resonance in Calder's ability to capture movement and transform space with his mobiles and stabiles, as well as his paintings and drawings.

 

Alexander Calder (b. Lawnton, PA in 1898) initially studied mechanical engineering but eventually shifted his focus to art. Calder's mobiles were a groundbreaking departure from traditional static sculptures composed of suspended elements that delicately balanced and moved in response to air currents, introducing a dynamic, ever-changing dimension to the art form. Calder also created stabiles, large-scale stationary sculptures of geometric shapes. His ability to imbue inanimate objects with a sense of vitality and movement was a defining aspect of his work. He received numerous accolades, including the prestigious Grand Prize for Sculpture at the Venice Biennale in 1952, marking the first time a sculptor had been honoured with this award. Today, Calder's works can be found in several prestigious museums around the world, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Tate Modern in London, the National Gallery of Art in Washington, D.C., and the Guggenheim Museum in Bilbao, among many others. Calder died in New York, NY in 1976.

 

Joan Miró (b. Barcelona, Spain in 1893) was influenced by the Fauves and Cubists early in his artistic career, though his style continuously evolved. After moving to Paris, he became associated with Surrealism even though he maintained a unique and personal approach. He embraced experimentation, pushing the boundaries of traditional art forms that resulted in a rich, varied body of work. His artistic contributions extended beyond the canvas and was involved in theatre productions and costume, and later created public sculptures that can be found in cities around the world. Miró received the Grand Prize for Graphic Work at the 1954 Venice Biennale, and his work is collected by major institutions including the Joan Miró Foundation in Barcelona, the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Reina Sofia Museum in Madrid, and the Tate Modern in London. Miró died in Palma, Spain in 1983.

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Schoelkopf Gallery is pleased to share the details on John Marin's *Full Moon Over the City, No. 1, *executed in 1949. *Full Moon Over the City, No. 1 *belongs to a pair of paintings John Marin produced in 1949 of a New York City night scene. The present work is the first of only two examples of this subject Marin painted that year and likely served as Marin's model in developing the second version of the composition, *Full Moon Over the City, No. 2. *Notably, he used experimental tools such as syringes to create varied textures across the surface of this work. John Marin, *Full... read more
Art History News2 months ago
Manet/Degas

* Musée d'Orsay * * March 28 to July 23, 2023* *The Met Fifth Avenue* *September 24, 2023–January 7, 2024* *Some 160 paintings and works on paper, including rarely loaned masterpieces, will illuminate the friendship and rivalry between these two giants of 19th-century French art* *Manet/Degas* examines one of the most significant artistic dialogues in the genesis of modern art. Born only two years apart, Édouard Manet (1832–1883) and Edgar Degas (1834–1917) were friends, rivals, and, at times, antagonists whose work shaped the development of modernist painting in Fran... read more
Art History News2 months ago
Salvador Dalí: The Image Disappears,
*Art Institute of Chicago* *February 18 through June 12, 2023* Salvador Dalí. *Apparition of Face and Fruit Dish on a Beach*, 1938. © Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York, 2022. Photo by Allen Phillips/Wadsworth Atheneum *Salvador Dalí: The Image Disappears*, explores the pivotal decade of the 1930s, when Salvador Dalí emerged as the inventor of his own personal brand of Surrealism. This installation of 50 paintings, sculptures, drawings, collages, along with a rich selection of books and ephemera—on view from February 18 through J... read more
Art History News2 months ago
Van Gogh and the Avant-Garde: The Modern Landscape

Art Institute of Chicago (May 14–September 4, 2023) Van Gogh Museum, Amsterdam (October 13, 2023–January 14, 2024) Vincent van Gogh. *Fishing in Spring, the Pont de Clichy (Asnières)*, 1887. The Art Institute of Chicago, gift of Charles Deering McCormick, Brooks McCormick, and the Estate of Roger McCormick. During an intensely creative period between 1882 and 1890, Vincent van Gogh and other notable Post-Impressionists found new inspiration in the changing landscape just outside of Paris. On view at the Art Institute of Chicago May 14 through September 4, 2023, *Van Gogh and t... read more
Art History News2 months ago
Van Gogh in Auvers-sur-Oise. His Final Months

*Van Gogh Museum* *12 May to 3 September 2023* [image: vangoghmuseum-s0149V1962-800(1).jpg] *Wheatfield with Crows*, Vincent van Gogh, 1890, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) From 12 May, the Van Gogh Museum presents a major exhibition on Vincent van Gogh’s final months. The artist was immensely productive during the period that he spent in the northern French village of Auvers-sur-Oise, and where he created several of his best-known paintings, including *Wheatfield with Crows* (1890, Van Gogh Museum, Amsterdam) and *Dr Paul Gachet *(1890, Musée d’Orsay, Pa... read more
Art History News2 months ago
AMAZING. The Würth Collection at the Leopold Museum.

Around 200 works by 75 artists illustrate the (amazing) variety of Modernist and contemporary art production in the most comprehensive exhibition of the Würth Collection to date in Austria The Würth Collection is among the largest private collections in Europe and one of the most eminent art collections worldwide. The collector Prof. Reinhold Würth gave the Leopold Museum’s Director Hans-Peter Wipplinger carte blanche to choose around 200 masterpieces from the collection’s approximately 19,000 works for the exhibition AMAZING. The Würth Collection at the Leopold Museum. The p... read more

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Latest Art History News

Storied Strings: The Guitar in American Art The Frist Art Museum May 26–August 13, 2023 1. Al Aumuller. *Woody Guthrie, half-length portrait, facing slightly left, holding* *guitar*, 1943. Gelatin silver print; 8 1/8 x 8 6/8 in. Prints and Photographs Division, Library of Congress, Washington D.C. 2. Michael C. Thorpe. Sister Rosetta Tharpe, 2021. Fabric; 46 x 33 1/4 in. Private collection, courtesy of LaiSun Keane, Boston 3. Lonnie Holley. *The Music Lives after the Instrument Is Destroyed*, 1984. Burned musical instruments, artificial flowers, and wire; 33 x 36 x 3 in. Souls Grow... read more 

KLimt at the Belvedere

 My daughter's visit:

Bethany Kantrowitz Kutz

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Klimt..style changing and evolving

Bethany Kantrowitz Kutz

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Tourguide is pointing out the unfinished parts. He died. (Klimt, not the tourguide)