Tag: edward hopper

American Modern: Hopper to O’Keeffe – New York – NY

 Edward Hopper. House by the Railroad. 1925. Oil on canvas, 24 x 29" (61 x 73.7 cm). The Museum of Modern Art, New York. Given anonymously. Digital Image © The Museum of Modern Art, New York, Digital Imaging Studio

Edward Hopper. House by the Railroad. 1925. Oil on canvas, 24 x 29″ (61 x 73.7 cm). The Museum of Modern Art, New York. Given anonymously. Digital Image © The Museum of Modern Art, New York, Digital Imaging Studio


Until January 26, 2014 – Museum of Modern Art – MoMA

American Modern: Hopper to O’Keeffe takes a fresh look at the Museum’s holdings of American art made between 1915 and 1950, and considers the cultural preoccupations of a rapidly changing American society in the first half of the 20th century.

Florine Stettheimer - Family Portrait, II - Oil on canvas 46 1/4 x 64 5/8" (117.4 x 164 cm)  -  1933 - The Museum of Modern Art

Florine Stettheimer – Family Portrait, II – Oil on canvas 46 1/4 x 64 5/8″ (117.4 x 164 cm) – 1933 – The Museum of Modern Art

American Modern includes paintings, drawings, prints, photographs, and sculptures by more than 50 artists, bringing together some of the Museum’s most celebrated masterworks, including pieces by Charles Burchfield, Stuart Davis, Edward Hopper, Georgia O’Keeffe, Charles Sheeler, Florine Stettheimer, Alfred Stieglitz, and Andrew Wyeth.

Andrew Wyeth - 1948 - Christina's World - Tempera on gessoed panel - 81.9 cm × 121.3 cm (32¼ in × 47¾ in) - Museum of Modern Art, New York City

Andrew Wyeth – 1948 – Christina’s World – Tempera on gessoed panel – 81.9 cm × 121.3 cm (32¼ in × 47¾ in) – Museum of Modern Art, New York City

Contextualizing these works across mediums and amid lesser-seen but revelatory compositions, American Modern offers these artists’ views of the United States in a period of radical transformation, expressed in a variety of visual styles, artistic movements, and personal visions.

Georgia O'Keeffe (American, 1887–1986) - Abstraction Blue - 1927 - Oil on canvas - 40 1/4 x 30" (102.1 x 76 cm) - Copyright:© 2013 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York

Georgia O’Keeffe (American, 1887–1986) – Abstraction Blue – 1927 – Oil on canvas – 40 1/4 x 30″ (102.1 x 76 cm) – Copyright:© 2013 The Georgia O’Keeffe Foundation / Artists Rights Society (ARS), New York

The selection of more than 100 works is organized thematically, depicting such subjects as urban and rural landscapes, scenes of industry, still-life compositions, and portraiture. Far from an encyclopedic view of American art of the period, the exhibition is a focused look at the strengths and surprises of MoMA’s collection in an area that has played a major role in the institution’s history.

Museum of Modern Art  – New York


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


Matijs van de Kerkhof. New Paintings – Amsterdam – The Netherlands

Matijs van de Kerkhof, z.t. 2011, 60 x 50 cm. olieverf op doek


From Saturday, March 31st, 2012 to Saturday, May 12th, 2012 – Gerhard Hofland – Gallery

Gerhard Hofland proudly presents its first solo exhibition of new paintings by Matijs van de Kerkhof (Nuenen,1977).

After studying at the art academy in Den Bosch for several years, Matijs van de Kerkhof has gone on to become a self-taught artist with a compelling and highly original oeuvre.

Van de Kerkhof generally paints group scenes that are dimly lit and infused with a sense of quiet menace. The protagonists, claustrophobic spaces, landscapes, houses and other props are rendered in seemingly casual, intuitive brushstrokes. Black, dark brown or dark blue are the dominant shades in his palette, and from which Van de Kerkhof conjures up scenes in warm hues. Shadows throw large darker areas over the painting. And light receives a similar treatment – mostly radiating from lamps or other unnatural sources, it slices through the dark spaces in sections or brighter bands.

Matijs van de Kerkhof, Zonder Titel 2011, 110 x 95 cm. acrylic on canvas


V
an der Kerkhof’s props and characters are culled from old snapshots found in family albums and re-envisioned in desolate, often disturbing, scenes.
Van de Kerkhof presents us with images in which the staged reality of Edward Hopper meets the psychotic nightmare world of Francis Bacon.
Matijs van de Kerkhof lives and works in Eindhoven and frequently exhibits his work throughout the region. His work was recently added to the portfolio of Henk Pijnenburg of Art Pijnenburg.

Gallery Hours


François Bard – Open Bard – Bruxelles – Belgium

François Bard - Paulette 2011 - oil on canvas - 195 x 150 cm.


Until the 11th of June 2011 – Mazel Galerie

The close centrings on the subject, the legs, the torsoes or faces put his work within an avant-gardist conception of painting, which has integrated the contribution of photography into contemporary art.

François Bard’s aesthetics is different from a large part of current painting which is influenced by the legacy of American Pop-Art or the new wave of Street Art, as his works are much closer to Edward Hopper, Giorgio de Chirico and Edouard Manet than to Andy Warhol.

His characters or his landscapes seem to be isolated within a space the boundaries of which are indefinite and allow us to escape « somewhere else ».
These large surface areas may evoke the desolate setting that is described in Dino Buzzati’s novel Tartars’Desert, one of his reference books.
The background which reveals endless surface areas focuses our attention on the subject, the small pieces of sentences and enigmatic words sprinkled on the surface of the canvasses.
The atmosphere which emanates from all these elements arouses the feeling that time is suspended and it conveys an unspeakable feeling of void.

The timelessness of his works is emphasized by choices in compositions which remind us of those made by masters of painting.
« Fait divers » or « No Man’s Land » are symptomatic of his taste for compositions drawn from famous names of the history of fine arts.
« L’Homme Mort » (« The Dead man ») which Edouard Manet painted between 1864 and 1865, depicting the body of a matador lying on the sand of the arena which itself refers to medieval sculpture and to the traditional countenance of recumbent statues, is a perfect illustration of this kinship.
Thanks to this centring, Manet gave his matador a Christ-like dimension, while François Bard gives his henchmen wearing gloves the appearance of peace-making angels, kinds of imaginary body-guards of a paranoid society which is afraid of the individuals who are part of it.
The artist fully assumes this biased view and claims that he is « on a sacred side of painting ».

However, far be it from him to establish a distance with those who watch his works, as his sources of inspiration and his models come from his daily life and  from people around him.
He asserts : « it is from daily life that I try to paint my imaginary world.»

But through his longing for timelessness and sublimation, the artist does talk about us in his paintings.
The link between his daily life and our world is to be seen in the realism and naturalism of his pictorial technique, strengthening the kinship between his work and Manet’s. Edouard Mazel

Galerie Hours


George Ault and 1940s America – Washington DC

George Ault, Bright Light at Russell's Corners, 1946, Smithsonian American Art Museum, Gift of Mr. and Mrs. Sidney Lawrence


March 11, 2011 – September 5, 2011 – Smithsonian American Art Museum

During the turbulent 1940s, artist George Ault (1891-1948) created precise yet eerie pictures—works of art that have come to be seen, following his death, as some of the most original paintings made in America in those years. The beautiful geometries of Ault’s paintings make personal worlds of clarity and composure to offset a real world he felt was in crisis.

To Make a World captures a 1940s America that was rendered fragile by the Great Depression and made anxious by a global conflict. Although much has been written about the glorious triumph of the Second World War, what has dimmed over time are memories of the anxious tenor of life on the home front, when the country was far distant from the battlefields and yet profoundly at risk. The exhibition centers on five paintings Ault made between 1943 and 1948 depicting the crossroads of Russell’s Corners in Woodstock, N.Y. The additional twenty-two artists represented in this exhibition include some as celebrated as Edward Hopper and Andrew Wyeth, while others are scarcely known to today’s art audiences. Taken together, their artworks reveal an aesthetic vein running through 1940s American art that previously has not been identified. From their remote corners of the country, these artists conveyed a still quietude that seems filled with potentialities.

To Make a World brings viewers back into the world of the American 1940s, drawing them in through the least likely of places and spaces: not grand actions, not cataclysmic events, not epoch-making personalities, posters, and headlines, but silent regions where some mystery seems always on the verge of being disclosed.

Museum Hours


The Adventure of Reality, International Realism – Rotterdam – Netherlands

From the 25th of September2010  to the 16th of January 2011 – Kunsthal Rotterdam, Museumpark
Kunsthal Rotterdam presents an extensive exhibition on realist art. Over one hundred and fifty paintings, sculptures, photographs and video works shed light on the wealth and diversity of realist art from 1850 up to now. The impressive survey contains work by numerous internationally renowned artists like Jean-François Millet, Walker Evans, Edward Hopper, Richard Estes, Duane Hanson and Thomas Ruff. On top of that, the work of a number of leading Dutch artists is presented, amongst whom Carel Willink, Rineke Dijkstra, Jan Worst and Aernout Mik. The exhibition is created in close cooperation with Kunsthalle Emden and the Kunsthalle der Hypo-Kulturstiftung in München.

Impressive Overview
On canvas, in photographs or in video projections: over the past hundred and fifty years artists represented reality in a variety of ways using divers media. The exhibition in the Kunsthal shows this versatility: from the lifelike figures of sculptor John DeAndrea to the detailed landscapes of photographer Michael Reisch. Works by important representatives of international realist art movements like The New Objectivity, Magic Realism and Hyperrealism are brought together. The exhibition offers a surprising survey of realist art, in which still life’s, portraits and landscapes are grouped together. Wonderful and interesting combinations are made between works. The powerful women’s portraits by Christian Schad from the Interbellum are seen together with the very detailed realistic photo portraits by Thomas Ruff from the eighties. A still life by magic realist Franz Radziwill is hung close to an assemblage by Daniel Spoerri from 1961.

Diversity and Connections
The exhibition puts realist art in a new perspective. It shows us the fact that, behind the technical refinement and virtuosity of realist art, the artist often wants to bring a social message about. This underlying layer of realist art binds together artists of different periods in realism, despite the immense diversity of subjects and chosen media. The sculpture entitled Two Workers created by American sculptor Duane Hanson in 1993, has a thematical link with August Sander’s photographs of street workers which were taken more than sixty years earlier. And Hanson’s social criticism can also be witnessed in paintings by social realists like Eugène Buland or Jean-François Millet from the nineteenth century. By pointing out the connections between artists from different periods in realism the exhibition is a true ‘Adventure of Reality’.

Museum Hours


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