Tag: sculptures

Fusion XI ~ Global Revelation – Miami – Florida

Courtney Einhorn

Courtney Einhorn


From October 1st, 2014 through December 15th, 2014 – Art Fusion Galleries

Featuring over 60 emerging to mid-career contemporary artists, this exhibition marks our 13th Anniversary and honors Miami’s exciting Art Basel season.  This collection celebrates the foresight underlying the immense spectrum of human creativity that spans across more than thirty three countries.  In honor of Miami’s annual Art Basel season, the artwork selection showcases a creative collection of unrivaled depth and quality that is truly global.

julia pappas

julia pappas


C
hosen works range from vibrant colorful mixed media paintings, contemporary figurative works, black and white and color photography to marble, bronze and mixed-media sculptures. “Fusion XI ~ Global Revelation” has been curated by Director William Braemer inspired upon the belief that each artist in their respective medium creates a visual connection with each viewer and an individual point of view.  Our collection invites audiences to experience an artistic global revelation. Art Fusion Galleries is  proud to host this exciting exhibition in our grand gallery space which boasts over 8,000 square feet of pristine contemporary gallery space.

Art Fusion Galleries


Niki de Saint Phalle – Paris – France

Cheval et la Mariée, 1963, 235 x 300 x 120 cm, tissu, jouets, objets divers, grillage, Sprengel Museum, Hanovre, © BPK, Berlin, dist. Rmn-Grand Palais / Michael Herling / Aline Gwose

Cheval et la Mariée, 1963, 235 x 300 x 120 cm, tissu, jouets, objets divers, grillage, Sprengel Museum, Hanovre, © BPK, Berlin, dist. Rmn-Grand Palais / Michael Herling / Aline Gwose


From September 17, 2014 to February 2, 2015 – Grand Palais

Niki de Saint Phalle (1930 – 2002) is one of the most renowned artists from the mid-twentieth century. Throughout her prolific career, Saint Phalle created a complex body of work in various media which was deeply embedded with socio-political issues. With themes ranging from joyful to profound to intellectual, the paradoxal nature of her work has yet to be fully explored. She was one of the first women to receive international acclaim and recognition during her lifetime, as well as successfully create a public persona. Similar to Warhol, Saint Phalle was able to use the media to skillfully guide the reception of her work

Cheval et la Mariée, 1963, 235 x 300 x 120 cm, tissu, jouets, objets divers, grillage, Sprengel Museum, Hanovre, © BPK, Berlin, dist. Rmn-Grand Palais / Michael Herling / Aline Gwose

Cheval et la Mariée, 1963, 235 x 300 x 120 cm, tissu, jouets, objets divers, grillage, Sprengel Museum, Hanovre, © BPK, Berlin, dist. Rmn-Grand Palais / Michael Herling / Aline Gwose


W
ithout any formal art training, Niki de Saint Phalle took her inspiration from Gaudi, Dubuffet and Pollock to invent, in the late 1950s, a singular world independent of any trend or art movement. Her entire career is sublimated by great themes and myths, which later articulated her entire oeuvre. The joyous, colourful side of her work is well known but its violence, commitment and radical stands have been forgotten. And this is equally true of her audacious performances, the political and feminist content of her work and her ambitious public sculptures.

Dolorès, 1968-1995, 550 cm, polyester peint sur grillage, Sprengel Museum, Hanovre,© 2014 Niki Charitable Art Foundation, All rights reserved. Donation Niki de Saint Phalle -

Dolorès, 1968-1995, 550 cm, polyester peint sur grillage, Sprengel Museum, Hanovre,© 2014 Niki Charitable Art Foundation, All rights reserved. Donation Niki de Saint Phalle -


T
his retrospective, the first major exhibition devoted to Niki de Saint Phalle in twenty years, presents a multifaceted artist, at once a painter, assembly artist, sculptor, printmaker, performer and experimental filmmaker, and takes a profoundly new look at her work. Over 200 works and archives, many unpublished, are set out in 2,000 square metres, organised by chronology and theme, and punctuated by screens showing the artist talking about her work. Models of architectural projects and a sculpture-fountain (Snake’s Tree) outside the Grand Palais will give visitors an idea of the scope and diversity of her public work

Musee du Grand Palais


Vanitas: fashion and art – Miami – Florida

Iris van Herpen - Ensemble, fall/winter 2011-12 - polyamide Collection of the Metropolitan Museum of Art, Purchase, Friends of the Costume Institute Gifts, 2012

Iris van Herpen – Ensemble, fall/winter 2011-12 – polyamide
Collection of the Metropolitan Museum of Art, Purchase, Friends of the Costume Institute Gifts, 2012


March 13, 2014 to July 20, 2014- Bass Museum of Art

Vanitas: Fashion and Art examines the theme of vanitas as expressed in avant garde ready-to-wear and haute couture as well as in contemporary paintings, sculptures, industrial design and new media.  As a meditation on the ephemerality of earthly pleasures and worldly accomplishments, vanitas artworks incorporate allusive imagery to suggest life’s transience and more explicit representations of momento mori.  Fashion, with its accelerated cycle of obsolescence, explicit manifestation of status and material success, and potential for a narcissistic self-regard, is therefore an especially apt medium for vanitas.

The exhibition will include works by contemporary designers and artists. The installation will also highlight rare examples of the Bass Museum’s remarkable collection of historic frames by incorporating them spatially in the installation to create a dynamic and interactive engagement of artworks and viewer.

Bass Museum of Art


The Springtime of the Renaissance – Paris – France

Donatello (Donato di Niccolò di Betto Bardi; Florence vers 1386-1466). Buste reliquaire de San Rossore, vers 1424- 1427, bronze fondu ciselé, doré et argenté. Pise, musée national de San Matteo, inv. 1720 © Scala, Florence.

Donatello (Donato di Niccolò di Betto Bardi; Florence vers 1386-1466). Buste reliquaire de San Rossore, vers 1424-
1427, bronze fondu ciselé, doré et argenté. Pise, musée national de San Matteo, inv. 1720 © Scala, Florence.


From September 26, 2013 to January 6, 2014 – Le Louvre museum

The Springtime of the Renaissance deals with the genesis of this major artistic and cultural movement, which first arose in Florence in the early years of the 15th century.

Sculpture, an essential aspect of this rebirth, is the central focus of this exhibition. Some 140 works are presented, including several monumental ones, grouped into ten thematic sections. In addition to sculptures, the exhibition also features paintings, drawings, manuscripts, silver and gold pieces and tin-glazed earthenware.

Donatello (Donato di Niccolò di Betto Bardi; Florentine, c. 1386–1466). Spiritelli from the Cantoria (Choir Loft) in the Duomo, 1439. Bronze with traces of gilding; marble bases (not originally part of the sculpture). Institut de France, Musée Jacquemart-André, Paris.

Donatello (Donato di Niccolò di Betto Bardi; Florentine, c. 1386–1466). Spiritelli from the Cantoria (Choir Loft) in the Duomo, 1439. Bronze with traces of gilding; marble bases (not originally part of the sculpture). Institut de France, Musée Jacquemart-André, Paris.


S
culptures by Donatello serve as one of the threads running through the exhibition, which presents several of the greatest masterpieces by this artist, considered by many as the most creative exponent of the Renaissance. However his works do not in any way eclipse the virtuosity of contributions by other illustrious sculptors, including Ghiberti, Michelozzo, Desiderio da Settignano and Mino da Fiesole.

Filippo Brunelleschi (Florentine, 1377–1446) or Nanni di Banco (Florentine, active c. 1405–1421). Madonna and Child (Fiesole Madonna), c. 1405–10. Polychromed and gilt terra-cotta. Diocesi di Fiesole, Fiesole, on loan to the Museo Bandini.

Filippo Brunelleschi (Florentine, 1377–1446) or Nanni di Banco (Florentine, active c. 1405–1421). Madonna and
Child (Fiesole Madonna), c. 1405–10. Polychromed and gilt terra-cotta. Diocesi di Fiesole, Fiesole, on loan to the Museo Bandini.


T
he ten sections of the exhibition form a coherent whole, placing emphasis in some cases on themes and styles, and in others on the social and cultural context serving as the unifying frame joining together the works on display.
The major influence of Greek and Roman antiquity is constantly present throughout all of the sections, showing how important works of antiquity had a key impact on artistic creation during this period. The panoply of rich and varied approaches on view, all intimately linked, help unveil the mysteries behind the flowering of the Florentine Renaissance.
Several of the works have been returned to their former glory after a vast two-year restoration campaign led jointly by the Fondazione Palazzo Strozzi and the Louvre, allowing visitors to fully appreciate masterpieces such as Donatello’s imposing gilt bronze statue of Saint Louis of Anjou (also known as Saint Louis of Toulouse, 1425) from the Museo dell’Opera di Santa Croce.

It was for the city’s major public buildings, including the Duomo, the Campanile, and Orsanmichele, that artists such as Donatello, Ghiberti, Nanni di Banco and Michelozzo would create their finest masterpieces.
These monumental public sculptures eloquently bear witness to the fundamental stylistic transformations at work during the Florentine Renaissance, creating a new artistic language while helping to convey the supreme heights reached by Florentine civilization.
Major themes from classical antiquity, as interpreted in particular by Donatello, were gradually assimilated and transformed to create the new artistic language of the Renaissance.
Sculptors of the Florentine Renaissance also sought to emulate the great equestrian monuments of antiquity, which decorated public places to celebrate military virtue.

Donatello (Donato di Niccolò di Betto Bardi; Florentine, c. 1386–1466). Horse’s Head, known as the Protome Carafa, c. 1455. Bronze. Museo Archeologico Nazionale, Naples.

Donatello (Donato di Niccolò di Betto Bardi; Florentine, c. 1386–1466). Horse’s Head, known as the Protome Carafa, c. 1455. Bronze. Museo Archeologico Nazionale, Naples.


T
he invention of linear perspective by Brunelleschi and the quest for a rational, mathematical ordering of space are explored in the “History in Perspective” section. Without a doubt, the resulting experiments found their most creative expression in sculpture, here juxtaposed with painted works. Brought to great heights first and foremost in Donatello’s basreliefs, this quest notably produced such works as the predella depicting Saint George and the Dragon (Museo Nazionale del Bargello), a supreme Renaissance masterpiece, combining linear and atmospheric perspective to achieve an open, rational and infinite space.

Desiderio da Settignano (Settignano c. 1429–Florence 1464). Marietta Strozzi, c. 1464. Marble. Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen zu Berlin, Bode-Museum, Berlin.

Desiderio da Settignano (Settignano c. 1429–Florence 1464). Marietta Strozzi, c. 1464. Marble. Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen zu Berlin, Bode-Museum, Berlin.


T
he civic aspect of artistic production in Florence eventually gave way to more prevalent private patronage, which began to play a decisive role with the advent of the wealthy Cosimo de’ Medici, founder of the political dynasty that would rule Florence from 1434 to 1537. This period thus saw the transition from Florentine sovereignty and selfsufficiency, or libertas, symbolized by public commissions, to a private patronage already colored by the burgeoning hegemony of the Medicis. This ostentatious bent would find one of its most forceful expressions in the fashion for private bust portraits, a new genre that arose at mid-century.

Musee du Louvre


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


Roy Lichtenstein – Paris – France

 Lichtenstein, Oh, Jeff…I Love You, Too…But… (1964), Collection Simonyi © Estate of Roy Lichtenstein/DACS 2012

Lichtenstein, Oh, Jeff…I Love You, Too…But… (1964), Collection Simonyi © Estate of Roy Lichtenstein/DACS 2012


From July 3 to November 4, 2013 – Centre Pompidou

We saw it in London, but now the exhibition has finally reached France. The retrospective on Roy Lichtenstein (1923-1997) will undoubtedly be one of the Summer’s blockbusters, given the artist’s reputation, he who was the first to merge painting and comic strips, to transcend the framework of contemporary art.

Roy Lichtenstein - dyptich - Step on can with paint pop-art painting

Roy Lichtenstein – Step-on Can with Leg, 1961 – Oil on canvas, diptych – 2 panels; 32 1/2 x 26 1/2 inches each


“W
hat can you paint that’s not completely ridiculous?” he exclaimed as early as 1972, before bursting out laughing, in the middle of a serious interview about the series of still life paintings he was in the midst of producing. Still lifes inspired by the works of great modern masters. Matisse, Picasso, Léger, Le Corbusier, etc. are referenced or evoked in a title which mentions, if not their name, then the appropriate movement: Cubism for some, Purism for others. In 1972, at the age of 49, Lichtenstein had already been identified as one of the leading lights of the pop art movement for ten years, even though he was unveiling a series of paintings whose references to art history would make him one of the first “postmodern” artists.

Roy Lichtenstein - Still life after picasso - 1964

Roy Lichtenstein – Still life after picasso – 1964


T
he Centre Pompidou today presents a retrospective of his work, featuring a selection of 124 paintings, sculptures and prints that shed an original light on his career. The exhibition reveals the often surprising depth of an artist who was, from the beginning, more than just a pop painter. He was an experimenter of materials, an inventor of icons and an educated connoisseur of modern painting.

Roy Lichtenstein - Sculpture - woman head with blue shadow

Roy Lichtenstein – Sculpture – woman head with blue shadow


A
s the fourth stop of this exhibition event organised by the Centre Pompidou, in collaboration with the Art Institute of Chicago and the Tate in London, (and also shown in Washington), the Parisian retrospective shows the incredible technical inventiveness of Roy Lichtenstein through a body of original sculptures, prints, enamels and ceramics.

Roy Lichtenstein - Ohhh….Alright 1964

Roy Lichtenstein – Ohhh….Alright 1964

Roy Lichtenstein - Whaam! 1963 - Acrylic and oil on canvas - 1727 x 4064 mm - Purchased 1966© Estate of Roy Lichtenstein

Roy Lichtenstein – Whaam! 1963 – Acrylic and oil on canvas – 1727 x 4064 mm – Purchased 1966© Estate of Roy Lichtenstein


T
hese experimentations, a little known aspect of his work, demonstrate the research he undertook throughout his career. This exhibition has enjoyed exceptional support from the Estate of Roy Lichtenstein in New York.

Centre Pompidou


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