Madrid

Paz Errázuriz’s photography – Madrid – Spain

Evelyn I, Santiago, from the series Adam’s apple, 1987 Gelatin-silver print Daros Latin America Collection, Zürich

Evelyn I, Santiago, from the series Adam’s apple, 1987
Gelatin-silver print
Daros Latin America Collection, Zürich

 

Until February 28th, 2016 – FUNDACIÓN MAPFRE Bárbara de Braganza – Exhibition Hall
Paz Errázuriz’s photography emerged in her native country, Chile, in the first half of the 1970s in a political context dominated by the brutality of the Pinochet dictatorship.

special-forces

Her first steps were influenced by an extremely tense and uncertain social situation which affected the lives of opponents of the coup d’êtat. Going out on the street with a camera was risky for anyone aiming to capture events as they happened and was also perceived as a threat by the military regime. It was even less common to see a woman undertaking the type of investigations characteristic of photography.

In 1980 Paz Errázuriz presented her first solo exhibition, entitled Personas [People], at the Instituto Chileno-Norteamericano in Santiago. The following year she and some fellow photographers co-founded the Asociación de Fotógrafos independientes (AFI).

Miss Piggy II, Santiago, from the series The circus, 1984 Vintage gelatin-silver print Courtesy of the artist

Miss Piggy II, Santiago, from the series The circus, 1984
Vintage gelatin-silver print
Courtesy of the artist

During that dark period, Errázuriz’s self-taught photographic gaze focused on homeless people sleeping rough, scraping a living or destitute. This series, Los dormidos [The sleepers], offers a notably unheroic vision of the country, immersed in poverty. Also at that time and throughout the 1980s, Errázuriz turned her inquisitive eye on the lifestyles of the country’s wealthy classes, who displayed their fortunes in the areas of Las Condes and La Dehesa in Santiago.

Fundacion Mapfre


Camille Pissaro – Madrid – Spain

Camille Pissarro - Field of Cabbages, Pontoise - 1873 - Carmen Thyssen-Bornemisza Collection on deposit with the Museo Thyssen-Bornemisza, Madrid

Camille Pissarro – Field of Cabbages, Pontoise – 1873 – Carmen Thyssen-Bornemisza Collection on deposit with the Museo Thyssen-Bornemisza, Madrid


From 04 June to 15 September 2013 – Museo Thyssen-Bornemisza

The Museo Thyssen-Bornemisza presente the first monographic exhibition in Spain on the Impressionist painter Camille Pissarro (1830-1903). A key figure within Impressionism (he wrote the movement’s foundational letter and was the only one of its artists to take part in all eight Impressionist exhibitions from 1874 to 1886), Pissarro was nonetheless eclipsed by the enormous popularity of his friends and colleagues, in particular Claude Monet. Over 80 works – views of the Seine, Parisian perspectives, portraits and self-portraits –and among them the venerable with the long white beard – show how Pissarro was a gifted guardian of the temple. But he never dared the chromatic audacities Monet imagined or the virtuoso group scenes Renoir was so successful at.

Camille Pissarro - Self Portrait - oil on canvas - 1903 - 41 X 33 cm - Tate Britain

Camille Pissarro – Self Portrait – oil on canvas – 1903 – 41 X 33 cm – Tate Britain


T
he exhibition aim to restore Pissarro’s reputation and presenting him as one of the great pioneers of modern art. Landscape, the genre that prevailed in his output, will be the principal focus of this exhibition, which offers a chronologically structured tour of the places where the artist lived and painted: Louveciennes, Pontoise and Éragny, as well as cities such as Paris, London, Rouen, Dieppe and Le Havre. While Pissarro is traditionally associated with the rural world, to which he devoted more than three decades of his career, at the end of his life he shifted his attention to the city and his late output is dominated by urban views.

Museo Thyssen-Bornemisza


The Young Van Dyck – Madrid – Spain

Self-portrait – Van Dyck – Oil on panel, 43 x 32.5 cm – ca. 1615 – Vienna, Gëmaldegalerie der Akademie der Bildenen Künste


20 november 2012 – 3 march 2013 – Museo Nacional del Prado

The Prado had no problem setting up with the help of the Boijmans van Beuningen museum in Rotterdam and a great number of international lenders, a very wealthy exhibit with some one hundred works of art that show the fullness of the youth’s genius.

Drunken Silenus, Van Dyck, oil on canvas, 107 x 90 cm, Dresden, Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen


B
etween approximately 1613 and 1618, the year when he registered as a master in the painters’ guild, Van Dyck worked in a variety of styles. In what are probably his earliest pictures he appears tentative in his rendering of anatomy. But even then he shows a strong personality and an experimental bent, which can be seen in his taste for rugged types and textured surfaces, both of which are different from what was common in Antwerp at the time.

Paintings such as the Drunken Silenus and The Lamentation are more accomplished than pictures displayed earlier in this exhibition. They show Van Dyck experimenting with modes of expression associated with Venetian and early Netherlandish painting… read more on the museum site

Museo Nacional del Prado


Edward Hopper – Madrid – Spain

Edward Hopper (Nyack, 1882 - New York, 1967). Hotel Room. 1931 - Oil on canvas - 152.4 x 165.7 cm. Thyssen-Bornemisza Museum, Madrid.


Until the 16th of September 2012 – Museo Thyssen-Bornemisza

The exhibition Hopper is the result of a collaborative project between the Museo Thyssen-Bornemisza and the Réunion des Musées Nationaux de France. These are two particularly important institutions with regard to Edward Hopper, given that Paris and early 20th-century works of art were key reference points for the artist, while the Museo Thyssen-Bornemisza in Madrid houses the most important collection of his work outside the USA.

Edward Hopper, Morning Sun, 1952, huile sur toile, 71,4 x 101,9 cm, Columbus Museum of Art, Ohio, Howald Fund Purchase (exposition au musée Thyssen-Bornemisza, Madrid)


D
espite their enormous popularity and apparent accessibility, Hopper’s paintings are among the most complex phenomena within 20th-century art in the opinion of the exhibition’s two curators, Tomàs Llorens (Honorary Director of the Museo Thyssen-Bornemisza) and Didier Ottinger (Associate Director of the MNAM/Centre Pompidou). In order to demonstrate this point the exhibition will be organised into two parts: a first half that covers the artist’s formative years from approximately 1900 to 1924, represented through a comprehensive selection of sketches, paintings, drawings, illustrations, prints and watercolours that will be complemented by works of artists as Winslow Homer, Robert Henri, John Sloan, Edgar Degas or Walter Sickert; a second half will cover the years 1925 onwards, that focuses on Hopper’s mature output and aims to illustrate his career in the most complete and wide-ranging manner possible. In order to do so, this section combines thematic groupings (recurring motifs and subjects in Hopper’s works) with an overall chronological ordering.

Museo Thyssen-Bornemisza


Emil Otto Hoppé. The study of the Street – Madrid – Spain

E.O. Hoppé - Gina Palerme caracterizada para Bric-a-Brac en el Palace Theatre, 1915. Silver gelatine, print original, Artist Estate collection


Until May 21 2012 – Foundation Mapfre

Emil Otto Hoppé (14 April 1878 – 9 December 1972) was a German-born British portrait, travel, and topographic photographer active between 1907 and 1945. Born into a wealthy family in Munich, he moved to London in 1900 originally to train as a financier, but took up photography and rapidly achieved great success.

He was “the only son of a prominent banker, and was educated in the finest schools of Munich, Paris and Vienna. On leaving school he served apprenticeships in German banks for ten years, before accepting a position with the Shanghai Banking Corporation. He never arrived in China. The first leg of his journey took him to England where he met an old school friend. Hoppé married his [old school friend’s] sister, Marion Bliersbach and stayed in London. While working for the Deutsche Bank, he was becoming increasingly enamoured with photography, and, in 1907, jettisoned his commercial career and opened a portrait studio. Within a few years E.O. Hoppé was the undisputed leader of pictorial portraiture in Europe. To say that someone has a “household name” has become a cliché, yet in Hoppé’s case the phrase is apt. Rarely in the history of the medium has a photographer been so famous in his own lifetime among the general public. He was as famous as his sitters. It is difficult to think of a prominent name in the fields of politics, art, literature, and the theatre who did not pose for his camera.”[1]

Although Hoppé was one of the most important photographic artists of his era and highly celebrated in his time, in 1954, at the age of 76, he sold his body of photographic work to a commercial London picture archive, the Mansell Collection. In the collection it was filed by subject in with millions of other stock pictures and no longer accessible by author. Most all of Hoppé’s photographic work—that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939—was accidentally obscured from photo-historians and from photo-history itself. It remained there for over thirty years after Hoppé’s death, and was not fully accessible to the public until the collection closed down and was acquired by new owners in America.

E.O. Hoppé - Elizabeth Bowes Lyon, duquesa de York, futura reina Isabel, Reina Madre 1923. Silver gelatine, print original, Artist Estate collection


In
1994 photographic art curator Graham Howe retrieved Hoppé’s photographic work from the picture library and rejoined it with the Hoppé family archive of photographs and biographical documents, reconstituting for the first time since 1954 the complete E.O. Hoppé Collection. After many years of cataloguing, conservation, and research, the rediscovery of E.O. Hoppé’s extraordinary output can now be seen for the first time in over sixty years.

Museum Hours


Chagall – Madrid – Spain

Marc Chagall (Vitebsk, 1887 - Saint-Paul de Vence, 1985). The Blue Circus (Le cirque bleu).- 1950-52- Oil on linen canvas - 232.5 x 175.8 cm - Centre Pompidou, Paris. Dación 1988. En depósito, Musée national du Message Biblique Marc Chagall, Niza. © RMN / Gérard Blot.


Until May 20th 2012, – Thyssen-Bornemisza Museum

For more than eighty years Marc Chagall cultivated an art practice inspired by love, memories, Russian and Jewish traditions, and the historical or artistic events he witnessed and in which he often played a part. This retrospective traces his artistic development chronologically and examines the main themes that pervade the work of this artist, who is essential in envisioning the twentieth century.

Marc Chagall - Portrait of Vava. 1953-1956. Oil on canvas. 95 x 73 - Private Collection


O
rganised by the Thyssen-Bornemisza Museum and Caja Madrid Foundation and curated by Jean-Louis Prat, President of the Comité Chagall, this exhibition will be the first major retrospective in Spain devoted to this Russian artist. Its principal aim is to highlight the prominent role played by Chagall within the history of art. The galleries of the Thyssen-Bornemisza Museum will display work from the artist’s early years and from his period in Paris, at that time capital of the avant-garde. In addition, there will be sections on Chagall’s experience in Revolutionary Russia and in France up to the time of his enforced exile to the United States in 1941. The exhibition space of Caja Madrid Foundation will focus on the artist’s American years and on his subsequent artistic evolution. Attention will be paid to his use of biblical subjects and his relationship with contemporary poets. Also on display will be works in other media such as sculptures, ceramics and stained-glass windows.

Museum Hours


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