Tag: sculptor

Nicolaus van Leyden, a XVth century sculptor – Strasbourg – France

Nicolas de Leyde, atelier, Sainte Barbe, Strasbourg, vers 1465 Provient de Wissembourg. Frêne, dos évidé, polychromie originale. New York, Metropolitan Museum of Art, The Cloisters. Berlin © bpk


Until July 8, 2012 – Œuvre Notre-Dame Museum

The sculptor Nicolaus van Leyden (c. 1430-1473) is considered to be one of the most important late 15th century artists north of the Alps, responsible for decisive innovations in both form and iconography. He was widely renowned in his lifetime for the modernity of his works and particularly for his skill in rendering facial traits. His importance was recognized essentially in the German-speaking areas of Europe, where he influenced the development of such widely famed sculptors as Veit Stoss, Michel Erhart or Tilman Riemenschneider. His work, however, is almost unknown to the general public and his background, career and output are shrouded in mystery, there being few extant works or written sources.

Nicolaus van Leyden’s European career included a notable period spent in Strasbourg between 1462 and 1467. He there executed several substantial works, in particular the epitaph for Canon Conrad of Bussnang in the St John Chapel of the Cathedral (signed and dated 1464) and especially the Great Door of the Chancellery, a building which, apart from a few fragments, has not survived.

Suite de Nicolas de Leyde, Vierge agenouillée d'une Annonciation, Vienne, vers 1480 Feuillu, polychromie originale. Slovaquie, Bratislava, Slovenska narodna galeria (dépôt de l’église de Vel’ky Biel). Photo : Pavol Breier


T
his is the first exhibition wholly devoted to Nicolaus van Leyden and it has been organized in collaboration with the Liebieghaus Skulpturensammlung Museum in Frankfurt, where it is on display from 27th October 2011 to 4th March 2012. It includes part of the artist’s work in wood and stone, among which are four sandstone busts of male figures in the keeping of the Œuvre Notre-Dame Museum in Strasbourg, including the celebrated melancholy Man leaning on his elbow. In particular, the exhibition bring together for the first time since the 19th century the two surviving fragments of the Strasbourg Chancellery portal decor, the Head of a bearded man,likewise belonging to the Œuvre Notre-Dame Museum, and its pendant, Head of a young woman, held by the museum in Frankfurt.

The exhibition brings together some 70 works, executed using various techniques and materials, from public and private collections in Europe and America, in particular Paris, Berlin, Amsterdam, New York and Chicago. It is being held in the Œuvre Notre-Dame Museum, the exhibition rooms of which have been specially fitted out for the occasion.

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Dora Gordine. Sculptor, Artist, Designer – Tallinn – Estonia


Dora Gordine - Chinese Head - Chinese Philosopher


From April 14 to August 5, 2012 – Adamson-Eric Museum

The work produced between 1924 and 1933 by Dora Gordine (1895(?)–1991), an artist with a fascinating destiny who was also linked with Estonia, is presented together with interior views of Dorich House, which she designed.

A major exhibition celebrating the colourful life and times of a woman once hailed as one of the finest female sculptors in the world o. This retrospective lifts the lid on sculptor, artist and designer Dora Gordine’s creative genius and flamboyant personality, giving members of the public unparalleled access to her work

Dora Gordine - Seated Female


D
escribed as fearless, feisty and with a voice like Zsa Zsa Gabor, Latvian-born Gordine first rose to prominence in Paris during the 1920s. Known in her heyday as much for her love of the high life as she was for her phenomenal talent, Gordine travelled the globe before eventually marrying into the aristocracy and settling in Kingston upon Thames in South West London in 1936. She quickly established herself as a darling of the capital’s cultural set, famous for her nude sculptures and stylish dinner parties. All that changed, however, when her husband, scholar the Hon. Richard Hare died suddenly in 1966. Grief-stricken, Gordine withdrew from the social whirl of the capital’s arts scene to become a virtual recluse until her own death in 1991.

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Pacific Standard Time – Art in Los Angeles 1950–1980 – Berlin – Germany

Hockney, David - A Bigger Splash - 1967; Acrylic on canvas, 242.5 x 243.9 cm (95 1/2 x 96 in)


15th of March to 10th of June 2012 – Martin-Gropius-Bau, Berlin

The exhibition project “Pacific Standard Time – Art in Los Angeles, 1950-1980” traces the development of the Los Angeles art scene during the post-war period, when the city on the Pacific hosted an impressively varied and versatile art scene, thus proving that it was more than Hollywood and a sprawling metropolis in the land of sunshine and palm trees. “Pacific Standard Time” features such internationally esteemed artists as John Baldessari, David Hockney, Edward Kienholz or Ed Ruscha as well as protagonists that are yet to be discovered like the abstract painters Helen Lundeberg and Karl Benjamin, the ceramicists Ken Price and John Mason, and sculptors such as De Wain Valentine.

Betye Saar: The Phrenologer’s Window, 1966


T
he mega show – over 60 institutions and galleries in Los Angeles were involved – is taking the two main core exhibitions of the Getty Museum and the Getty Research Institute to Europe. The sole European venue is the Martin-Gropius-Bau in Berlin.

What was the feminine element in the avant-gard movements of the West coast? This is an interesting filter to place on the exhibition “Pacific Standard Time” Whether we refer to performances to protest against the war in Vietnam (Suzanne Lacy and Leslie Labowitz-Starus), the vitality of the campuses as nests of creativity(with Martha Rosler in San Diego) or even the commitment of audacious collectors (in the footsteps of Betty Asher), a history of art in America after the war can surely not be drawn up in the masculine gender. But male chauvinists need not worry: with John Baldessari to Richard Diebenkorn, including Bruce Naumann and Edward Kienholz.

Judy Chicago: Big Blue Pink, 1971 - Sprayed acrylic lacquer on acrylic - Courtesy Tom Jancar Gallery, Los Angeles - © Judy Chicago, 1971 / VG Bild-Kunst, Bonn 2012, Foto: Donald Woodman


T
he section of the exhibition that was to be seen in Los Angeles’ Getty Museum under the title of “Crosscurrents in L.A. – Painting and Sculpture, 1950-1970”, presents painting and sculpture. In the second part that was to be seen in Los Angeles under the title of “Greetings from L.A. – Artists and Publics, 1950-1980”, posters, artists’ catalogues, postcards, invitation cards and other memorabilia are shown which offer a deeper insight into the networks of the Los Angeles art scene at that time. For Berlin the show has been supplemented to include photographs by Julius Shulman, whose architectural shots defined the image of the Californian lifestyle in the 1950s. His incomparable sensibility and intuitive feel for composition and the ‘critical moment’ established him as a master of his craft.

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Marek Chlanda – Transit – Krakow – Poland

Marek Chlanda, Transit (fragment), 2009-2010


From February 17, 2012 to April 29, 2012 – Museum  of Contemporary Art in Krakow

Transit, the exhibition of the work of Marek Chlanda, a Polish sculptor and graphic artist, presents over a hundred of his works – paintings and sculptures which combine into four well-meshed sequences.

Marek Chlanda, Transit (fragment), 2009-2010


D
ark visions create a cycle without a consistent narrative, creating a feeling of disquiet and loss in the viewer. Figurative and abstract scenes; real and unreal and dream-like sequences all intermingle. The work has been strongly influenced by The Forgotten Light by the oneiric Czech writer Jakub Deml. The book, as well as the exhibition Transit, transports the readers, and viewers, into the world of metaphysics.

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Giacometti and The Etruscans – Paris – France

Alberto Giacometti L’Homme qui marche I 1960, bronze, 183 x 26 x 95,5 cm Collection Fondation Maeght, Saint-Paul de Vence Photo : Claude Germain © Succession Giacometti / ADAGP, Paris 2011

Alberto Giacometti L’Homme qui marche I 1960, bronze, 183 x 26 x 95,5 cm Collection Fondation Maeght, Saint-Paul de Vence Photo : Claude Germain © Succession Giacometti / ADAGP, Paris 2011


From September 16, 2011 to January 8, 2012 – Pinacothèque de Paris

The Pinacothèque de Paris will present a new reading of the work of sculptor Alberto Giacometti. The exhibition, entitled Giacometti and The Etruscans, is the biggest event of the fall, expected by the specialists and artist’s fans for over fifty years.

Giacometti’s interest for the primitive figure can be found very early in the artist’s work. Etruscan art caused a considerable upheaval for Giacometti. He discovered this brilliant civilization in the archeological department of the Louvre during the exhibition on the Etruscan art and civilization in 1955 in Paris.

These strange and mysterious people created an outstanding art form, exceptional in its quality, richness and beauty, composed of sculpted sarcophagi and powerful warrior figures. They also developed a very slender sculpted figure form. The shock was such for Giacometti that he wanted to go further in his understanding of these people and its art.

This discovery made up one of the essential keys to the perception of his best known and most powerful form of creation : the representation of long vertical figures, extremely emaciated.
The artist travelled to Tuscany to further his research on this ancient civilization. In Voltterra he discovered the emblematic sculptured figure of the Etruscan world, L’Ombre du soir (The Evening’s shadow). None of the artist’s most famous figures, from the series of Femme de Venise (Woman of Venise) to that of the Homme qui marche (Man Walking) can be conceived without reference to this powerful and rangy etruscan figure.

L’Ombre du Soir, iiie siècle av. J.-C., bronze Volterra, Musée étrusque Guarnacci © Photo : Arrigo Coppitz


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he Pinacothèque de Paris shows this confrontation for the first time in Paris. L’Ombre du soir shall be accompanied by more than one hundred and fifty etruscan objects, exhibited alongside a thirty sculptures by Giacometti.

Museum Hours


Forever Feminine, Johannes Greenberg, Ferdi Sannamees – Tallinn – Estonia

Johannes Greenberg (1887 – 1951) Igavesti naiselik. 1943 Õli, vineer Eesti Kunstimuuseum Forever Feminine. 1943 Oil, plywood Art Museum of Estonia


Until the 13th of November 2011 – Adamson-Eric Museum – Art Museum of Estonia

The exhibition Forever Feminine  at the Adamson-Eric Museum, displays the part of the oeuvres of the painter Johannes Greenberg and the sculptor Ferdi Sannamees that values the eternally beautiful and harmonious aspects of femininity.

The exhibition clearly reflects the dynamic of the modernist tendencies of the first half of the 20th century, and highlights the unique work of two Estonian artists, Johannes Greenberg and Ferdi Sannamees. Both masters expressed the complex spiritual states of their portrayed people in a psychologically convincing and artistically remarkable way throughout their lives.

The talents of Johannes Greenberg (1887–1951) and Ferdi Sannamees (1895–1963) were supplemented by their study environments. After the acquisition of art education in their homeland, both artists had direct contacts with the various art centres of Europe. Munich, Dresden, Moscow and Paris are only a few of the metropolises where they studied, lived and showed their work.

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