Tag: oil on canvas

Focus on Rubens – Brussels – Belgium

Peter Paul Rubens Pan and Syrinx, 1617 Oil on panel 40 x 61 cm Staatliche Museen, Kassel Photo Ute Brunzel

Peter Paul Rubens Pan and Syrinx, 1617 Oil on panel 40 x 61 cm Staatliche Museen, Kassel Photo Ute Brunzel

Thursday 25.09.2014 to Sunday 04.01.2015 – Bozar – Centre for Fine Arts
The influence of an old master on the generations that followed.
Rubens was the Quentin Tarantino of his day, making Flanders one of the world’s foremost regions for painting. The Flemish master-painter developed his own personal style, crafting scenes that exuded lust and were marked by violence, as well as compassion and elegance.

Honoré Daumier Woman Pursued by Satyrs, 1850 Oil on canvas 131.8 x 97.8 cm The Montreal Museum of Fine Arts, Adaline Van Horne Bequest Photo The Montreal Museum of Fine Arts, Brian Merrett

Honoré Daumier Woman Pursued by Satyrs, 1850 Oil on canvas 131.8 x 97.8 cm The Montreal Museum of Fine Arts, Adaline Van Horne Bequest Photo The Montreal Museum of Fine Arts, Brian Merrett


T
hese themes inspired artists all over the world for many centuries to come. In this unique exhibition by BOZAR, in collaboration with the Royal Museum of Fine Arts Antwerp and the Royal Academy of Arts in London you can rediscover the work of this indomitable genius that has withstood the test of time as well as that of his heirs. You can also see canvases by Van Dyck, Watteau, Delacroix, Manet and Kokoschka as well as engravings by Rembrandt and Picasso.

Bozar – Centre for Fine Arts


Picasso and Spanish Modernity – Florence – Italy

Pablo Picasso (Malaga 1881–Mougins 1973) Portrait of Dora Maar 27 March 1939, oil on panel, 60 x 45 cm. Collection of the Museo Nacional Centro de Arte Reina Sofía,Madrid, DE01840

Pablo Picasso (Malaga 1881–Mougins 1973) Portrait of Dora Maar 27
March 1939, oil on panel, 60 x 45 cm.
Collection of the Museo Nacional Centro de Arte Reina Sofía,Madrid, DE01840


From 20 September 2014 to 25 January 2015 – La Mostra – Fondazione Palazzo Strozzi

The exhibition explores the major themes developed throughout the career of a painter who had the greatest impact on the history of the 20th century: art reflecting on art and on the relationship between the real and the super-real* and between nature and culture, the artist’s heartfelt involvement in the tragedy of unfolding history, the emergence of the monster with a human face, and the metaphor of erotic desire as a primary source of inspiration for the artist’s creativity and world vision.The exhibition also allows visitors to explore Picasso’s multi-faceted personality, the almost symbiotic bond that existed between his art and his life, between the work that he created and the time of his life in which he created it, while History with a capital “H” frequently made powerful inroads both into his pictures and into his life.

Juan Gris (Madrid 1887–Boulogne-Billancourt1927) Harlequin with Violin 1919, oil on canvas, 91.7 x 73 cm. Collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, DE01560

Juan Gris (Madrid 1887–Boulogne-Billancourt1927) Harlequin with Violin
1919, oil on canvas, 91.7 x 73 cm.
Collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, DE01560


P
icasso and Spanish Modernity comprises some ninety works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving and even a film by José Val del Omar, thanks to the Fondazione Palazzo Strozzi’s synergistic cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art on display include such celebrated masterpieces as Woman’s Head
(1910), Portrait of Dora Maar(1939) and The Painter and the Model (1963) by Picasso, Siurana, the Path(1917) and Figure and Bird in the Night (1945) by Miró and Dalí’s Arlequin (1927), along with Picasso’s drawings, engravings and preparatory paintings for his hugemasterpiece Guernica (1937), none of which have been displayed outside Spain in such vast numbers before now.

Fondazione Palazzo Strozzi


Harvest – Brisbane – Australia

Alexander COOSEMANS - Flanders 1627-1689 - Still life c.1650 - Oil on canvas - 58.2 x 83.5cm Bequest of The Hon. Thomas Lodge Murray Prior, MLC 1892 Collection: Queensland Art Gallery | Gallery of Modern Art

Alexander COOSEMANS – Flanders 1627-1689 – Still life c.1650 – Oil on canvas – 58.2 x 83.5cm
Bequest of The Hon. Thomas Lodge Murray Prior, MLC 1892
Collection: Queensland Art Gallery | Gallery of Modern Art


From june 28 to september 21 2014 – Queensland Art Gallery –  GOMA

‘Harvest’ explores the production, consumption and symbolism of food. It takes as a point of departure colonial legacies and globalisation, labour and consumption in relation to the food industry. The exhibition will include over 100 works from all areas of the Gallery’s Collection, and will be presented in conjunction with the Australian Cinémathèque program ‘Harvest: Food on Film’.

The exhibition draw on the Gallery’s historical and contemporary collections to consider the social, political and aesthetic implications of food production, distribution and consumption.

‘Food has long given sustenance to the artistic imagination – from the exotic foods and spices pictured in seventeenth-century northern European still-life paintings to contemporary artists’ renderings of global brands,’

‘On entering the Gallery audiences will encounter a major new wallpaper commission from California-based artist duo Fallen Fruit (David Burns and Austin Young) whose public projects and site-specific installations work with fruit as a motif or material.

The relationship between food and art has never been so richly illustrated or explored than it will be in this exhibition. For food and art lovers alike, ‘Harvest’ explores the Gallery’s Collection in a very different light.’

‘In those 100 works are include the new acquisitions such as Mika Rottenberg’s video installation Mary’s cherries 2004, a fantastical comment on the absurdity of modern means of production and Yael Bartana’s photographs recreating imagined ‘lost’ images by Jewish-German photographers Leni and Herbert Sonnenfeld,’

Shirana Shahbazi, Iran/Switzerland b.1974; Sirous Shaghaghi, Iran / Still life: Coconut and other things 2009 / Synthetic polymer paint on canvas / Gift of the artist through the Queensland Art Gallery Foundation 2010 / Commissioned as part of a workshop for Kids’ APT6 / Collection: Queensland Art Gallery / © The artist

Shirana Shahbazi, Iran/Switzerland b.1974; Sirous Shaghaghi, Iran / Still life: Coconut and other things 2009 / Synthetic polymer paint on canvas / Gift of the artist through the Queensland Art Gallery Foundation 2010 / Commissioned as part of a workshop for Kids’ APT6 / Collection: Queensland Art Gallery / © The artist

Xu Zhen’s ShangART Supermarket 2008 recreates a fully stocked convenience store in the gallery space, while Aernout Mik’s video Pulverous 2003 shows a group of people fastidiously, often violently, demolishing the contents of a different kind of supermarket.

Also featured will be Rirkrit Tirvanija’s Untitled (lunch box) 2009, a fortnightly Thai lunch that four random Gallery visitors can sample, and Danish trio Superflex’s video documenting the inundation of a replica fast food restaurant in Flooded McDonald’s 2009.

Contemporary works by Aboriginal and Torres Strait Islander artists included in the show trace ongoing connections between food, country, and cultural knowledge, such as Evelyn McGreen’s spirit basket linocuts and Emily Kame Kngwarreye’s yam dreaming paintings.

Queensland Art Gallery


Belonging – Dunedin – New Zealand

William Dobson - Charles Gerard, 1st Earl of Macclesfield 1645 - oil on canvas - Collection Dunedin Public Art Gallery

William Dobson – Charles Gerard, 1st Earl of Macclesfield 1645 – oil on canvas – Collection Dunedin Public Art Gallery


5th Apr 2014 to 31st Mar 2015 – Dunedin Art Museum

Works from the Dunedin Public Art Gallery – This exhibition delves into the Gallery’s holdings to showcase a rich range of popular European masterpieces, rarely seen treasures and a sampling of more contemporary artworks.  A Gallery’s collection often reflects a sense of communal identity and place for its audience, which this exhibition will tease out through some of its most highly regarded and well known items.

Dunedin Public Art Gallery


Turner and the Sea – London – United Kingdom

J.M.William Turner - Staffa, Fingal's Cave - 122 x 91.5 cm - oil on canvas 1832 - Yale University Art Gallery, New Haven, Connecticut, USA

J.M.William Turner – Staffa, Fingal’s Cave – 122 x 91.5 cm – oil on canvas 1832 – Yale University Art Gallery, New Haven, Connecticut, USA


From 22 November 2013 to 21 April 2014 – National Maritime Museum

According to the legend Turner asked to be tied to the mast of his ship. Not to imitate Ulysses and resist the call of the mermaids, but rather to be able to closely observe a storm … This anecdote, whether it is apocryphal or not, only confirms the close relationship Turner (1775-1851) had with the sea. The English painter chose it as his main subject in half of his paintings, ranging from traditional seascapes to pre-Impressionist renderings. It is therefore no surprise both seasoned sea-dogs and armchair aesthetes have been awaiting this retrospective for a long time. It groups together pieces brought in from abroad, such as his Whale ship from the Metropolitan Museum in New York or his The wreck of a transport ship at the foundation Calouste Gulbenkian foundation in Lisbon.

J.M.William Turner - The Battle of Trafalgar, 21 October 1805 - National Maritime Museum

J.M.William Turner – The Battle of Trafalgar, 21 October 1805 – National Maritime Museum

This is also an opportunity for visitors to see one of his masterpieces, his version of the battle of Trafalgar. The nearly 4-meter long painting, the only royal commission the painter ever received throughout his career, was greatly criticized for its lack of veracity by those who lived the event.

National Maritime Museum


Zurbarán – Ferrara – Italy

Zurbaran - The Vision of Saint Peter Nolasco -1629 - Oil on canvas, cm 179 x 223 - Madrid, Museo Nacional del Prado

Zurbaran – The Vision of Saint Peter Nolasco -1629 – Oil on canvas, cm 179 x 223 – Madrid, Museo Nacional del Prado


14 September 2013 to 6 January 2014 – Ferrara, Palazzo dei Diamanti

This exhibition dedicated to Zurbarán (1598 – 1664) is an opportunity to admire for the first time in Italy the masterpieces of one of the greatest interpreters of Baroque and religious counter-reformation art.

Zurbaran - XII Benjamin - Oil on canvas, cm 198 x 102 (c. 1640-45, Private collection)

Zurbaran – XII Benjamin – Oil on canvas, cm 198 x 102 (c. 1640-45, Private collection)


R
igorously selected works coming from museums and private collections in Europe and America retrace the key stages in Zurbarán career. Beginning with the early works with which the artist established his reputation in Seville (which was one of the centres of art in Spain, as was Florence in Italy), such as The Vision of St Peter Nolasco (1629, Madrid, Museo del Prado) or the later St Francis of Assisi in his tomb (1630-34, Milwaukee Art Museum), with their dramatic luminosity and contrasts inspired by the solemn works of Caravaggio and Ribera, to the sober lyricism of his later works dating from his Madrid period and his contact with Velázquez. In these, a lighter atmosphere prevails, and glimpses of cheerful landscapes and domestic details are revealed, as in the Immaculate Conception with St Joachim and Saint Anne (c. 1638-40, Edinburgh, Scottish National Gallery) or the Virgin and Child with the Infant St John (1662, Bilbao, Museo de Bellas Artes).

Zurbaran - Cup of Water and a Rose - Oil on canvas, cm 21,2 x 30,1(c. 1630, London, The National Gallery)

Zurbaran – Cup of Water and a Rose – Oil on canvas, cm 21,2 x 30,1(c. 1630, London, The National Gallery)


W
hat most advances formal renewal is without doubt the still lifes and depictions of allegorical themes, such as A Cup of Water and a Rose (c. 1630, London, The National Gallery) and Agnus Dei (c. 1634-40, San Diego Museum of Art). The poetic refinement of these paintings, in which the objects are set in a rarefied and silent atmosphere, is left to the simplicity of the composition, to the purity of the forms, and the way he uses the lighting. In these small pictures, as in the many still lifes to be found within various paintings, Zurbarán renders the forms as though purified by the light, in a crystalline vision of great detail and quiet monumentality.

Zurbaran - Saint Casilda - Oil on canvas, cm 171 x 107(c. 1635, Madrid, Museo Thyssen-Bornemisza)

Zurbaran – Saint Casilda – Oil on canvas, cm 171 x 107(c. 1635, Madrid, Museo Thyssen-Bornemisza)


A
mong the artist most original inventions are the great figures of the saints. These sophisticated portraits were immensely popular and were made in series especially for the New World. The sequences reunited in this exhibition include notable works such as Saint Casilda (c. 1635, Madrid, Museo Thyssen-Bornemisza), Benjamin (c. 1640-45, Private collection) and Saint Ursula (Genua, Palazzo Bianco), showing the artist ability to depict sacred episodes with charm and elegance, thanks to the poses, the masterly way the draperies are rendered and the brilliant palette. These majestic figures, turned towards the viewer like protagonist of a portrait, now as then, exercise a magnetic charm.

Palazzo dei Diamanti


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