Tag: paintings and drawings

“Moving Spirit” Group Show – Las Vegas – Nevada

Remy Holwick


Until January 29, 2012 – Sin City Callery

At the center of each of us is an “anima motrix” or “moving spirit.”  In the 17th century, the astronomer Johannes Kepler used the term to describe the gravitational power of the sun that caused the order and orbit of the planets. In the context of the current Sin City Gallery exhibition, “anima motrix,” it is interpreted as the incredible gravitational power of female sexuality that is the driving force that pervades our existence and orders our lives.

The new art show for January at Sin City Gallery features three female artists, Remy Holwick, Lolita Develay, and Melissa Herrington, who have each been carefully selected for their strong and provocative vision as affected by this “moving spirit.”  This exhibition, running through Jan. 29, is composed of a variety of paintings and drawings from these three intrepid women.

Remy Holwick spent her childhood in Hawaii. She is formerly a fashion runway model for the likes of Calvin Klein and Giorgio Armani and has worked as an artistic director for various fashion lines. Holwick is currently launching her own line of denim. She studied at Reed College in Portland and is an accomplished artist currently living in Los Angeles.

Lolita Delevay

 

Lolita Develay is currently an MFA candidate at University of Nevada, Las Vegas. Her hyper-detailed style gives the fantastical reality and lends a suspension of disbelief to her varied subjects.

Melissa Herrington


M
elissa Herrington currently lives in Los Angeles. Her works are imbued with a transcendent, ethereal quality to her subjects, both abstract and literal, created by her delicate techniques of layering and juxtaposed materiality. She addresses female subjects living autonomously in a world she defines.

Anima Motrix is being curated by Jessica Lo whose philosophy is, in the words of the famous critic Alexander Woollcott, “Nothing risqué, nothing gained.”

Gallery Hours


Sir Stanley Spencer Between Heaven and Earth – Rotterdam – Netherlands

Sir Stanley Spencer - Kunsthal NL


From September 17, 2011 to January 15, 2012 – Kunsthal Rotterdam

The Kunsthal Rotterdam presents for the first time on the European continent a comprehensive overview of work by Sir Stanley Spencer (1891-1959), one of the most important British artists of the twentieth century. His oeuvre is characterised by a wealth of themes that include biblical stories, landscapes, self portraits and domestic scenes. With his figurative, narrative style of painting and his choice of subjects, Spencer has contributed significantly to the development of modern art. He deals with his turbulent life through his paintings, also incorporating countless contrasts and visionary fantasies. In this exhibition, over eighty paintings and drawings from Stanley Spencer are placed in an art historical context by including twenty works of English contemporaries such as Lucian Freud and Dora Carrington. Spencer’s artistic influence in the Netherlands is illustrated using several works by Dick Ket and Charley Toorop, in which work Spencer’s influence is clearly visible.
Poignant Realism

Stanley Spencer. Family Group: Hilda, Unity and Dolls, 1937, Leeds Museum and Galleries/ The Bridgeman Art Library


A
s a young artist, Stanley Spencer was a great admirer of Italian Renaissance art by Giotto, romantic Pre-Raphaelite art, and later Paul Gauguin, whose work he saw in London. Spencer spent most of his life in Cookham, a village that played an important role in many of his works and also served as a backdrop for his narrative images. Certain major events such as his active participation in the First World War and his unhappy love life formed the inspiration to his paintings. Spencer developed a poignantly realistic style by placing the most intensive of his life experiences in faithful reproductions of his beloved home surroundings. His fascination with ‘earthy’ materials like dust, dirt and rubbish form a stark contrast with his ‘heavenly’ renditions of Christ. Spencer allows reality to dominate in his silent landscapes and intimate portraits, while fantasy and joie de vivre enjoy their heyday in top works such as ‘TheResurrection, Cookham’ and the ‘Beatitudes’ series. Spencer’s work brings together countless aspects of life, including love, sexuality, death, religion, reality and fantasy.
Generous Art Loans

The exhibition comprises a large selection of Stanley Spencer’s best work from museum collections and private collections such as that of Andrew Lloyd Webber. The Tate Britain and the Stanley Spencer Gallery in Cookham have very generously allowed a large number of the most important works from their collections to be exhibited. The exhibition is the result of new research performed by guest curator Alied Ottevanger.

Museum Hours


Charlotte Beaudry: Skin Deep – Bruxelles – Belgium

Untitled, mixed media on paper, 220 x 320 cm, 2008


From September 10 to October 22, 2011 – Galerie Aliceday

Charlotte Beaudry (b. 1968, Huy, Belgium) is a contemporary Belgian painter. Her paintings and drawings are figurative, but not realistic. In pursuit of her contemporary and radical vision of a certain femininity, Charlotte Beaudry evokes the turbulence of an unstable emotional universe, putting her androgynous teenager models through a choreographic repertoire in a pictorial space. Charlotte Beaudry is represented by Aliceday, Brussels and Von Bartha Garage, Basel.

“She departs from photographs she makes herself or downloads from the internet. Usually Beaudry focuses on a certain idea she explores from the perspective of the painter in a series of works. She translates certain shapes and images in a personal style, highlighting particular aspects, revealing specific features and linking these with a certain atmosphere or emotion. Beaudry invariably depicts her subjects frontally, almost filling the entire composition. She never pays attention to situating the scene or the object — there is no room for the context. It is as if she zooms in on the meticulously chosen objects and presents a close-up of situations we never experience that close or from this perspective. By isolating the subjects and as it were portraying them, the artist raises questions about the status of images. It is as if she seeks to tell us something about the abstract character of images. By entirely eliminating the context, the message or the story about or behind the images, Beaudry apparently wants to emphasize their significance. Some of the images are reminiscent of michelangelo antonioni’s famous film Blow-up, in which a photographer becomes obsessed with a photograph. Seeking to find out what it is exactly that can be seen on the photograph, he blows up the image to such a scale that it no longer relates to reality. Similarly, Beaudry depicts reality on the canvas, recognizable and strange at the same time. Because of the isolation of the subjects, some of the images breathe a certain melancholy. a helmet, a megaphone, a bracelet or a catapult—their isolation lends them a certain sadness. Though Beaudry’s paintings are all autonomous, their meaning is often enhanced by relating them to other works that belong to the same series or period. The combination of images such as the catapult and the megaphone emphasize their connotation with aggression. They turn into metaphors of the human condition that refer to a sentiment of oppression, the longing to communicate or cry out. Still another series of smaller works zooms in on aspects of identity and the urge to be distinguish the self from the other. Six cups, of the sort awarded for winning a sports event, are portrayed in close-up. But unlike in the news, the winner is absent, and so is any reference to the meritorious act that is symbolized by the trivial metal cup. Yet another series zooms in on the ribbons awarded to the winners of beauty pageants. Beaudry’s paintings feature a fragment of a ribbon with a reference to the contestant’s country of origin, but the ribbon is depicted anonymously, against an abstract background. Five paintings of identical Buddhas, apart for the size, are arranged from large to small, like a series of interchangeable russian dolls that have lost their identity. Through the subjects depicted, the various paintings provide food for thought about news events, sporting achievements, top models, film stars, etc…”© Eva Wittocx

Galerie Hours


Francesco Clemente, Solo Show – Frankfurt – Germany

Francesco Clemente, Alba, 1997, Oil on linen, 117,8 x 233,7, Courtesy by the artist


From June 8 to September 4, 2011 – Schirn Kunsthalle Frankfurt

Francesco Clemente, who was born in Naples in 1952, has pioneered an extraordinary pictorial language that draws on a variety of timeless symbols, myths, cultures, and philosophies. Frequently charged with eroticism, his oeuvre also has a profound religious quality. The variety of mediums which he employs and the subject matter of his work is deeply informed by Clemente’s nomadic artistic life. Since the 1970s he has continually travelled between Italy and India adding New York City to his preferred places of residency since 1980.

This exhibition at the Schirn Kunsthalle is the first comprehensive showing of his paintings and drawings in Germany in more than a quarter century. It brings together more than forty works made between 1978 and 2011. Taking as its starting point Clemente’s early works on paper, the show also includes not just large format paintings but also more recent, spectacular monumental watercolors. The exhibition, which has been conceptualized in close cooperation with the artist, brings to light for the first time the close resemblance of Clemente’s aesthetic to the manner in which references are actualized in a palimpsest: effacement, partial erasure, and superimposition of writing surfaces. In so doing it reveals a concern at the centre of his oeuvre: Clemente’s conviction in his role as an artist as a kind of universal witness of consciousness.

Museum Hours


Max Liebermann, Pioneer of Modern Art – Bonn – Germany

Max Liebermann In den Zelten (Beer Garden in Leiden), 1900 Hamburg, Hamburger Kunsthalle © bpk ׀ Hamburger Kunsthalle ׀ Elke Walford


April 21 to September 11, 2011 – Art and Exhibition Hall of the Federal Republic of Germany

Max Liebermann (1847–1935) is celebrated as one of the most important pioneers of Modernism. His life’s work, both as an artist and as a cultural policy maker, spans six decades and had a decisive impact on contemporary artistic discourse from the time of the foundation of the German Empire in 1871 until well into the final years of the Weimar Republic. Drawing on the Dutch Old Masters Rembrandt and Frans Hals as well as on the French Impressionists, Liebermann created an oeuvre of rare stylistic and thematic breadth.
Chronologically arranged, the exhibition presents approximately one hundred paintings and drawings by Liebermann, offering a unique insight into all phases of the artist’s work. Throughout his long career he successfully and almost programmatically avoided stagnation, consistently keeping his style and his repertoire of motifs fresh and pertinent.

The exhibition covers a wide range of topics and showcases the artist’s most important groups of works. His early paintings of earthy peasant subjects are distinguished by a subdued palette. It was not until the mid-1880s that the artist began to plunge his motifs of bourgeois pastimes – the world of outdoor cafes, seaside amusements and polo matches – in the dappled sunshine of the French Impressionists, without, however, copying their technique.

After 1900, Liebermann became a much sought-after portraitist. A representative number of the artist’s insightful self-portraits add a personal touch to the display. The exhibition ends with Liebermann’s spectacular late works, painted in his summerhouse on the Wannsee lake in Berlin from about 1910. The myriad views of his garden, allowed Liebermann to experiment with unprecedented freedom, creating a body of work in which art and nature converge in happy synthesis.

Art Center Hours


Bonnard in Normandy – Giverny – France

Pierre Bonnard Décor à Vernon (La Terrasse à Vernon) 1920-1939. Oil on canvas, 148x194,9 cm New York, The Metropolitan Museum of Art, 68.1 Gift of Florence J. Gould, 1968 . © The Metropolitan Museum of Art Dist. RMN, image of the MMA


Until the 3rd of July 2011 – Musée des Impressionnismes Giverny

Pierre Bonnard loved Nature and gardens. As of 1900 he used to spend a part of the year in the countryside. Between 1910 and 1938, he lived near Giverny and shared his time between Normandy and the south of France. As a reference to the artist’s Normand period the musée des impressionnismes has managed to bring together nearly 80 paintings and drawings from some twenty French and foreign museums – Orsay, the Pompidou Center, the future Bonnard museum in Cannet, the Metropolitan Museum of Art, the Brooklyn Museum …- as well as from private collections.

In 1910, Bonnard rented La Roulotte, a house located in Vernonnet, five kilometers from Giverny, which would become a recurrent theme in his work. In 1912 he bought it and stayed there regularly until 1938. And as of then he settled definitely in Cannet, near Cannes. Throughout these years the artist painted over one hundred landscapes inspired by Vernonnet and its surroundings.

This period is the least studied for it is often considered as one of transition between the production of his youth and that at Cannet. And yet, it was one that was particularly rich. At the turn of the century, Bonnard drifted away from the Nabi aesthetic and searched for a new language. His art turned progressively towards a stronger expression in which colors were freer, and his search ran parallel to that carried out at the same period by his friend and neighbor, Claude Monet.
Bonnard treated all themes at that time: landscapes in particular, but interior scenes as well, nudes or still lives, not to mention decorative painting often inspired from the landscapes along the embankments of the Seine. Around the paintings and drawings chosen to present this productive period, the exhibition adds an ensemble of the artist’s photographs in Normandy, as well as an important section of documents, correspondence and archives.  Art of the Day

Museum Hours


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