Wednesday, May 10, 2023

Van Gogh in Auvers-sur-Oise. His Final Months

Van Gogh Museum

12 May to 3 September 2023

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, Paris). This is the first exhibition to offer an overview of what was a brief yet crucial final phase in Van Gogh’s artistic development.

Van Gogh in Auvers. His Final Months brings together loans from museums and private collections all over the world, including masterpieces like The Church at Auvers (1890, Musée d’Orsay, Paris), Adeline Ravoux (1890, private collection) and Blossoming Chestnut Branches (1890, Emil Bührle Collection, Zurich). Visitors will have a unique opportunity to view many works by Vincent van Gogh that have never previously been shown together.

Van Gogh in Auvers was organized in collaboration with the Musée d’Orsay in Paris, which has loaned eight paintings as an exception for this special project.

Emilie Gordenker (Director, Van Gogh Museum): ‘We are delighted to be able to present this wonderful exhibition to the world during the year in which the Van Gogh Museum celebrates its fiftieth anniversary. Many of the works have never been shown in the Netherlands before and will be here for the very first time. On this occasion it is fair to say that Van Gogh in Auvers is a once-in-a-lifetime exhibition.’

Official trailer of the exhibition.

Crucial final phase
Vincent van Gogh arrived in the village of Auvers-sur-Oise, near Paris, on 20 May 1890, having spent a year at an asylum in the south of France. He hoped that a new location, where he could come and go freely while being closer to his brother Theo in Paris, would enable him to cope more effectively with his mental condition. Auvers was chosen because of the presence of Dr Paul Ferdinand Gachet (1828–1909), a physician specializing in the treatment of melancholia, who would be able to support Van Gogh. Gachet’s circle of friends included many artists and he himself painted and etched in his spare time.

Auvers seemed like an ideal setting for Van Gogh, who set to work immediately with a sense of hope and fresh ambition. He took a room at an inn, from which he explored the village and its surroundings, capturing them in a large number of landscapes and village views. There were also regular visits to Gachet’s place, where he painted colourful floral still lifes and several exceptional portraits, among them Dr Paul Gachet (1890, Musée d’Orsay). Van Gogh was highly productive in Auvers. He often created more than one painting a day, while freely experimenting with new approaches to colour, brushwork, formats and subjects.

Inspiring as his new surroundings were, feelings of failure, loneliness and melancholy gradually gained the upper hand, culminating in Van Gogh’s decision to take his own life. He died on 29 July, and was accompanied to his final resting place in Auvers cemetery by his brother Theo, Dr Gachet and a handful of friends and acquaintances the following day. His reputation as a painter was still limited at the time, but he left behind a magnificent body of work.

Exceptional loans 
The exhibition brings together fifty paintings and more than thirty drawings from Auvers. Eight paintings from the Musée d’Orsay, which originally belonged to Gachet’s children, have been loaned for this one time to the exhibition, including masterpieces like The Church at Auvers (1890) and Self-Portrait (1889).

A similarly exceptional loan is Adeline Ravoux (1890), which belongs to a private collection. Van Gogh’s remarkable painting of the innkeeper’s daughter has not been exhibited since 1955 and is being shown in the Netherlands for the first time. The expressively painted Blossoming Chestnut Branches (1890) from the Emil Bührle Collection in Zurich, which has also never visited this country before, is one of Van Gogh’s most impressive still lifes.

Another spectacular inclusion is the series of ten panoramic landscapes painted in his final weeks, which will be reunited for the run of the exhibition. They include Fields Near Auvers (1890, Belvedere Museum, Vienna) and Undergrowth with Two Figures (1890, Cincinnati Art Museum). 

Dr Gachet & Van Gogh. Experiments in Etching
The exhibition Van Gogh in Auvers is accompanied by a small-scale presentation titled Dr Gachet & Van Gogh. Experiments in Etching. It features the Van Gogh Museum’s various prints of the only etching the artist ever made. The exhibition sets the prints in the context of Gachet’s atelier. During his stay in Auvers-sur-Oise, Van Gogh experimented with the etching technique for the first time. The print he made with Gachet testifies to the special bond they shared. The doctor’s practice was in Paris, but in 1872 he bought a second home in Auvers where he installed an etching press and began to produce etchings under the pseudonym ‘Paul van Ryssel’. Gachet inspired a number of artists to experiment with printmaking in Auvers from as early as 1873, Paul Cézanne, Camille Pissarro and Armand Guillaumin among them. Van Gogh also produced his first and only etching at Gachet’s, which he not only printed using black ink but also experimented with different colours. Dr Gachet & Van Gogh stems from a research project supported by the Gerda Henkel Stiftung.

Images

Vincent van Gogh

Doctor Paul Gachet

Monday, May 8, 2023

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 presentation invites visitors to embark on a unique journey through more than 100 years of art history. One emphasis within the presentation of the collection is on Classical Modernism, showcasing highlight works by Edvard Munch, Pablo Picasso, Max Liebermann, Gabriele Münter, Max Beckmann, Max Pechstein and Hans Arp. Another focus is on contemporary art, represented with works by Fernando Botero, Per Kirkeby, the married artist couple Christo and Jeanne Claude, Gerhard Richter, Georg Baselitz and Anselm Kiefer, as well as by outstanding Austrian artists, including Fritz Wotruba, Maria Lassnig, Arnulf Rainer and Erwin Wurm.

“In a nod to the museum’s founder and passionate collector Prof. Rudolf Leopold, the Leopold Museum continuously shines the spotlight on other important private collections of international renown through presentations of these compilations’ highlights. I am certain that the multi-faceted collection presentation Amazing. The Würth Collection offers not only a fascinating overview of the triumphant path of Modernism but, in our times of multiple crises, will also nourish visitors’ minds and emotions, allowing for a sensual adventure as well as a cognitive experience.”

Hans-Peter Wipplinger, Director of the Leopold Museum and curator of the exhibition

For this exhibition, the Leopold Museum has decided to dedicate two museum floors to a temporary exhibition for the first time. The largely chronological presentation shines the spotlight on various stylistic movements and individual emphases. The works presented in the exhibition range from Impressionism, Expressionism and Cubism, all the way to Surrealism and different forms of abstract art. Art after 1945 features with important works by Georg Baselitz, Fernando Botero, Christo and Jeanne-Claude, Anselm Kiefer, Per Kirkeby and Gerhard Richter.

Images Below

CLASSICAL MODERNISM FROM THE WÜRTH COLLECTION

Impressionism
The exhibition kicks off with the pioneer of Modernism Max Liebermann, who was one of the main exponents of German Impressionism. The co-founder of the Berlin Secession initially depicted scenes from rural and industrial work environments, which prompted critics to disrespectfully call him a socialist. Around 1900, he shifted his focus to depictions of the lives of the bourgeoisie. With his love of experimentation, the artist united Impressionist elements with an expressive style and influenced subsequent generations of artists. The works by French Impressionists, including Alfred Sisley and Camille Pissarro, chosen for this exhibition are characterized by depictions of fleeting moments, such as atmospheric lighting. The Impressionists painted quickly, intuitively, subjectively and often directly in nature. From the 1880s, Impressionism spread throughout Europe, with exponents including Paul Baum in Germany, and one of the co-founders of the Vienna Secession, Josef Engelhart, in Austria.

Expressionism
Another emphasis within the exhibition is dedicated to Expressionism. The selection ranges from pioneers of Expressionism, such as Edvard Munch and Ferdinand Hodler, via the early Expressionist Paula Modersohn-Becker to examples from the artists’ association Die Brücke, whose members, including Ernst Ludwig Kirchner and Erich Heckel, aspired to a life reform in tune with nature in protest against industrial society. The artists surrounding the editors of the Munich almanac Der Blaue Reiter, Wassily Kandinsky and Franz Marc, – such as August Macke and Lyonel Feininger, created highly expressive works. Kandinsky and Gabriele Münter, to whom the Leopold Museum is dedicating a retrospective exhibition in the autumn, as well as Alexej von Jawlensky and Marianne von Werefkin, created Expressionist works of intense colors together from 1908.

Max Beckmann and Pablo Picasso
Two adjacent rooms showcase works by Max Beckmann and the Cubist painter Pablo Picasso. Though they never met, they closely followed each other’s progress. Beckmann, who described himself as an artistic loner, refused to be swept up by the avant-garde movements of his time. Convinced that art had to arrive at a “transcendental objectivity”, he explored the existential dependencies that individuals are exposed to. Picasso’s work, by contrast, is dominated by a zest for life and sensual pleasure. The universally talented artist was unsurpassed in terms of creative power, stylistic range and innovations in various media.

Constructivist Tendencies of Abstraction
The exhibition presents numerous works by Hans Arp, who was a key figure on the art scene of his time. With his biomorphous works, the protagonist of Organic Abstraction created a counter world to the rationalism of a technologized and reason-oriented society. The artists’ association Abstraction-Création, founded in Paris in 1931, united different approaches to the theme of abstraction, among them concrete, constructivist and geometric tendencies. This melting pot of artists also included Sonia Delaunay-Terk.

Surrealist Oneiric Worlds
Max Ernst’s contacts within Dada centers in Zurich and Berlin encouraged him to found the Cologne Dada Group together with Arp after World War I. In 1922, he moved to Paris, where he became a protagonist of the Surrealist movement. His interest in experiments and coincidence led to innovative collages and assemblages, and to his discovery of the frottage technique. With his fantastical pictorial inventions, he created mysterious oneiric worlds. René Magritte, the most important exponent of Belgian Surrealism, combined naturalistic objects within unusually ambivalent depictions and questioned the illusory nature of reality.

Adventure of Abstraction
Two rooms are devoted to the adventure of abstraction, i.e. to the rejection of representational painting in its various forms. Works by artists including František Kupka, Johannes Itten, Max Bill and Sonia Delaunay-Terk illustrate the variety of design principles, which range from post-Cubist variations, geometrical variants and abstract color lyricism, all the way to Modernist tendencies inspired by the Bauhaus School.

Contemporary Art from the Würth Collection
The second part of this exhibition level showcases the Würth Collection’s compilation of contemporary art from the 20th and 21st centuries. Prof. Reinhold Würth owns a work complex of some 100 works from all the periods of the artists’ oeuvre by Christo and Jeanne-Claude, which Christo himself called the largest and most eminent compilation of their works worldwide. Making things and landscapes perceptible in a new way was the common theme of all their wrapped objects. The following room is dedicated to the paintings and chalk drawings by the Columbian artist Fernando Botero, who is renowned for his grotesque and voluminous human depictions. Next, we encounter the neo-expressive landscape visions of the Danish artist Per Kirkeby. A powerful contrast to these exhibits is provided by the works, characterized by a great diversity of themes, of Gerhard Richter, who is considered one of the most influential international artists today.

Austrian Positions in the Würth Collection
Particularly remarkable is the Würth Collection’s special emphasis, comprising more than 1,300 works, on Austrian art after 1945. This largest compilation of Austrian art outside of Austria is presented with select examples over two exhibition rooms. The tightly packed display starts with Maria Lassnig, Arnulf Rainer, the Actionists Hermann Nitsch and Günter Brus, and leads via Christian Ludwig Attersee, the abstract painter Jürgen Messensee and Kurt Kocherscheidt, a member of the artists’ group Wirklichkeiten [“Realities”], to exponents of the Neue Wilde [New Fauves] movement, including Hubert Scheibl, Herbert Brandl and Gunter Damisch, who from the 1980s depicted their subjective emotions in an expressive and abstracting manner.

International Sculpture in the Würth Collection
A central part of the Würth Collection is made up of examples of international sculpture, which feature in the exhibition with works by Anish Kapoor and Tony Cragg. Renowned Austrian sculptors shown in the presentation include Fritz Wotruba, who strove towards reduction and harmony, as well as the political realist Alfred Hrdlicka.

Further exhibition rooms are dedicated to Markus Lüpertz, Georg Baselitz and Anselm Kiefer. Lüpertz’s oeuvre focuses on the re-interpretation of contemporary and art history from Antiquity to Modernism. Baselitz achieved international renown in the 1970s and 80s with his neo-expressive motifs, which he painted upside down. The exhibition at the Leopold Museum includes a sculpture by Baselitz, measuring more than three meters tall, as well as exhibits from his series Remixes, started in 2005. The exhibition Amazing closes with a room dedicated to Anselm Kiefer. In his often monumental works, the painter and sculptor reflects history, explores remembrance and leads his viewers into the darkest recesses of human existence and actions.

Images

ALFRED SISLEY 1839–1899

Sunset at Moret, 1892

Oil on canvas | 50.5 × 61.4 cm

Würth Collection

Photo: Philipp Schönborn, Munich

PAUL BAUM 1859–1932

View of Zeeland, c.1895

Oil on canvas | 61.8 × 78.1 cm

Würth Collection

Photo: Archives Museum Würth

MAX LIEBERMANN 1847–1935

Nannies in the Tiergarten, 1898

Oil on canvas | 64 × 108 cm

Würth Collection

Photo: Ivan Baschang, Munich/Paris

CAMILLE PISSARRO 1830–1903

Road to Berneval-le-Petit (House Thierain), 1900

Oil on canvas | 64.8 × 54.6 cm

Würth Collection

Photo: Philipp Schönborn, Munich

JOSEF ENGELHART 1864–1941

At the Wörthersee, 1900

Oil on canvas | 46 × 71.5 cm

Würth Collection

Photo: Volker Naumann, Schönaich

PAULA MODERSOHN-BECKER 1876–1907

Girl with Hat between Birch Trunks, c. 1902

Oil on painting folder | 47.1 × 51.8 cm

Würth Collection

Photo: Volker Naumann, Schönaich

PIET MONDRIAN 1872–1944

Zeeland Girl, 1909

Oil on canvas | 63 × 48.5 cm

Würth Collection

Photo: Ivan Baschang, Munich/Paris

AUGUST MACKE 1887–1914

Circus World II: Pair of Athletes, Clown and Monkey, 1911

Oil on canvas | 54 × 39.5 cm

Würth Collection

Photo: Archives Museum Würth

LYONEL FEININGER 1871–1956

Landing Stage, 1912

Oil on canvas | 45 × 61 cm

Würth Collection

Photo: Foto Schmelz – Jakob Jägli

ERNST LUDWIG KIRCHNER 1880–1938

Forest Interior with Pink Foreground, 1912/30

Oil on canvas | 121 × 91.5 cm

Würth Collection

Photo: Volker Naumann, Schönaich

LOVIS CORINTH 1858–1925

Sun in a Beech Forest, 1917

Oil on canvas | 90.5 × 80.3 cm

Würth Collection

Photo: Archives Museum Würth

ALEXEJ VON JAWLENSKY 1864–1941

Mystical Head: Raven’s Wings I (Lotte Bara), 1917

Oil on cardboard | 40 × 31 cm

Würth Collection

Photo: Philipp Schönborn, Munich

EDVARD MUNCH 1863–1944

Vampire, 1917

Oil on canvas | 85 × 110 cm

Würth Collection

Photo: Archives Museum Würth

MAX ERNST 1891–1976

The Birds Cannot Disappear, 1923

Oil on plaster on canvas | 43 × 96 cm

Würth Collection Photo: Foto Schmelz

GABRIELE MÜNTER 1877–1962

Garden with Acacia, 1924

Oil on cardboard | 32.9 × 40.8 cm

Würth Collection

Photo: Volker Naumann, Schönaich

RENÉ MAGRITTE 1898–1967

The Age of Miracles, 1926

Oil on canvas | 120.6 × 80 cm

Würth Collection

Photo: Walter Klein, Düsseldorf

MAX BECKMANN 1884–1950

Quappi in Blue in a Boat, 1926/50

Gouache and oil on paper on canvas | 88.5 × 58 cm

Würth Collection

Photo: Volker Naumann, Schönaich

FRANTIŠEK KUPKA 1871–1957

Series C V (V34), 1938/46

Oil on canvas | 65.5 × 65.5 cm

Würth Collection

Photo: Ivan Baschang, Munich/Paris

PABLO PICASSO 1881–1973

The Orange-Colored Blouse – Dora Maar, 1940

Oil on canvas | 73 × 60 cm

Würth Collection

Photo: Philipp Schönborn, Munich

EMIL NOLDE 1867–1956

Light Magic, 1947

Oil on canvas | 69.5 × 56 cm

Würth Collection

Photo: Volker Naumann, Schönaich

SONIA DELAUNAY-TERK 1885–1979

Color Rhythm, Paris, 1954

Gouache on paper | 57 × 76 cm

Würth Collection

Photo: Volker Naumann, Schönaich

MAX BILL 1908–1994

Concentration towards Light, 1964

Oil on canvas | 113 × 113 cm

Würth Collection

Photo: Ivan Baschang, Munich/Paris

GERHARD RICHTER *1932

Villa S. – House Sohl, 1972

Oil on canvas | 70 × 100 cm

Würth Collection

Photo: Archives Museum Würth

RUDOLF HAUSNER 1914–1995

Sad European, 1977

Acrylic and resin oil glazes on hardboard | 70 × 60 cm

Würth Collection

Photo: Philipp Schönborn, Munich

PER KIRKEBY 1938–2018

Winter II, 1985

Oil on canvas | 200 × 130 cm

Würth Collection

Photo: Archives Museum Würth

MARIA LASSNIG 1919–2014

Dinner Party II, 1986

Oil on canvas | 140 × 200 cm

Würth Collection

Photo: Volker Naumann, Schönaich

MARKUS LÜPERTZ *1941

Poussin – Apollo II, 1990

Oil on canvas | 250 × 200 cm

Würth Collection

Photo: Philipp Schönborn, Munich

ANSELM KIEFER *1945

The Golden Fleece, 1993/94

Mixed media on canvas | 190 × 280 cm

Würth Collection

Photo: Ivan Baschang, Munich/Paris

GUNTER DAMISCH 1958–2016

Red Path White Field, 2004/05

Oil on canvas | 210 × 210 × 4 cm

Würth Collection

Photo: Ralph Feiner, Malans

FERNANDO BOTERO *1932

Mademoiselle Rivière, after Ingres, 2005

Oil on canvas | 205 × 144 cm

Würth Collection

Photo: Archives Museum Würth

GEORG BASELITZ *1938

The Big Night of that Time (Remix), 2008

Oil on canvas | 300 × 250 cm

Würth Collection

Photo: J. Littkemann, Berlin

REINHOLD WÜRTH AND HIS COLLECTION
Establishing the Würth Group
The entrepreneur and patron of the arts, Prof. Reinhold Würth (*1935), began collecting art in the 1960s. Over the following six decades, he compiled thousands of exquisite artworks from the fields of painting, sculpture and graphic art from the late 14th century to the present. Prof. Reinhold Würth took over the company of his father in 1954, at the age of only 19, after the father’s untimely death, and, over the following four decades, turned the two-man enterprise into a globally successful business group and international market leader in the field of fastening and assembly technology.

Art at Würth
In Künzelsau, the company’s headquarters, Würth opened the Museum Würth in 1991 as the first in a series of museums. In 2020, the latest cultural institution, the Museum Würth 2, was integrated into the arts and congress center Carmen Würth Forum designed by David Chipperfield Architects. It is the 15th in a string of museums and art forums operated by the company all over Europe as an expression of lived corporate culture. Prof. Reinhold Würth and his wife Carmen are confident that art, as well as literature and music, is able to overcome cultural, social and language barriers, and to promote universal commonalities.å