Tag: oil on wood

The Age of Pieter Brueghel – Budapest – Hungary

Pieter Brueghel - The Sermon of St John the Baptist - 1566 - Oil on wood, 95 x 160,5 cm - Museum of Fine Arts, Budapest


From 15 June 2012 to 16 September 2012 – The Museum of Fine Arts

At a time of stormy historical events in the sixteenth-century the Netherlands underwent vast changes in its intellectual life and the arts. This century saw a deepening of the divide between medieval and modern cultures with Italian Humanism and Renaissance playing a major role in the formation of the new, humanistic system of values.

Up to now the Museum of Fine Arts has not stage an exhibition solely devoted to sixteenth-century Netherlandish drawings, since only a smaller part of these works was displayed in 1932 and 1967 in shows spanning two or more centuries. In the past decades European museums also failed to mount exhibitions providing a comprehensive picture of the great changes that took place in Netherlandish drawing between 1500 and 1600.

Pieter Brueghel -Schilder En Kenner - Painter and Connoisseur- 1565, approx. 25 x 21.6 cm. Pen and brown ink Albertina Vienna (Vien), Austria


T
he Budapest collection of drawings – similarly to other collections – does not have extensive enough material to present the art of all the prominent Netherlandish masters; therefore, for the sake of completeness, we will borrow some important sheets by Jan Gossaert, Pieter Brueghel, Roelandt Savery, Bartholomeus Spranger, Lodewijk Toeput and Frederick Sustris from the Albertina in Vienna. However, our collection is famous for some specialists, which significantly increases its importance. Among these, the rich and diverse landscape depictions deserve primary mention, since the museum is able to boast of complete series by Pieter Stevens, Paulus van Vianen, Frederick van Valckenborch, “the master of the Budapest sketchbook” and Anton Mirou. We also own landscape drawings of outstanding quality by Hans Bol, Jacques Savery, Jan Brueghel and Abraham Bloemart. We owe the invitation extended to our museum by the Louvre in 2008 to exhibit our sixteenth-century drawings mainly to our collection of landscape drawings which contains treasured rarities. Then only 80 of our drawings were showcased, while the upcoming exhibition will include another 40 sheets. The added works as well as the explanations and inspirational prefigurations for each drawing will illustrate the process of change with convincing power.

The exhibition to run from June will showcase rare figural sheets by masters from whom only a few drawings are known worldwide. Among such special works are the “Trionfi” (triumphal procession) series by Michiel Coxcie, a study sheet by Cornelis Engebrechtsz from a sketchbook, Frans Floris’ early, allegorical and mythological drawings and Egidius Sadeler’s red chalk study of the Roman Palatine Hill. The thematic and technical diversity of the drawings are rendered palpable by the outstanding figural works by the most important masters: Bernaert van Orley, Maarten van Heemskerck, Denys Calvaert, Pieter Candid, Frederick Sustris, Karel van Mander, Hendrick Goltzius and Jacques de Gheyn.

The Museum of Fine Arts


Trésor des Médicis – Paris – France

Agnolo Bronzino, Portrait of Eleonore of Toledo, oil on wood, 59 x 46 cm, Prague, Narodni Galerie, Photo: Narodni Galerie / Giraudon / The Bridgeman Art Library


From 29 September 2010 to 31 January 2011 – Musee Maillol

The Medici family – led by the beautiful Laurence – is somehow the symbol of Italian Renaissance. We can see in their wake Machiavel, Pico de la Mirandola and a host of phenomenal artists, from Fra Angelico to Ghirlandaio, from Michel-Angelo to Botticelli. Fortunately the aim of the exhibition is much wider: the Medici were not only unusual patrons (for painters, musicians and scientists like Galileo), they also participated in the early interest in Antiquity, and their collections were as wealthy in Roman bronzes and cameos as in paintings by their contemporaries. And the Medici saga did not end with Laurence who was confronted to strict Savonarole. The 150 objects exhibited remind us that the family continued in the XVIth and XVIIth centuries, in particular as cardinals and popes (Leo X), who trusted other creators such as Bronzino or Rubens, while accumulating a remarkable cabinet of curiosities.

Musee Hours


Artifices – Mazel Galerie – Bruxelles

Mazel Gallery – 18 of June to the tenth of July
For the last show of the season, Mazel Gallery is organizing a group clash with some “Guests” artists.
This selection of artists as diverse in their origins (France, Belgium, Korea, Slovakia) by their techniques (oil on wood  firecrackers sculptures, photographs, cloth copper, ceramics …) The name “Artifices” has emerged fairly quickly.
Indeed, “Artifices” with an “S” is needed in all sense of the term because it is both a creative explosion, perfectly embodied by the sculptures of firecrackers (Fireworks in French is “Feux d’artifices”) of Katarina Kudelova and an explosion of colors by Philippe Andrieu and  his “Neo-Fauve” palette.
But “Artifices” should be also seen as an illusion and an embellishment of reality. Thus Michel Fraile revives those stuffed animals scattered through the city while bringing us to reflect on the place of man on our little planet. Hwang Hosup
meanwhile combines the sacred image of Buddha to western eroticism in a subtle play of transparency between fabric printed pictures and transparent copper surfaces.
For its part Derenne Gregory manages to make “beautiful” the TV trays and feed our imagination Yet so often constrained by the universe to the ultra-formatted pursuit of perpetual ratings.
Finally Jimmy Bock plays both the impossible movement of buildings and the intensification of “sub colors “that the explosion of color with the New York Buzz result of the alchemy between  photographic overlays and  painting projection inspired by the master of “dripping” Jackson Pollock.    Map

Gallery Hours


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