Tag: works of art

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


Edward Hopper – Madrid – Spain

Edward Hopper (Nyack, 1882 - New York, 1967). Hotel Room. 1931 - Oil on canvas - 152.4 x 165.7 cm. Thyssen-Bornemisza Museum, Madrid.


Until the 16th of September 2012 – Museo Thyssen-Bornemisza

The exhibition Hopper is the result of a collaborative project between the Museo Thyssen-Bornemisza and the Réunion des Musées Nationaux de France. These are two particularly important institutions with regard to Edward Hopper, given that Paris and early 20th-century works of art were key reference points for the artist, while the Museo Thyssen-Bornemisza in Madrid houses the most important collection of his work outside the USA.

Edward Hopper, Morning Sun, 1952, huile sur toile, 71,4 x 101,9 cm, Columbus Museum of Art, Ohio, Howald Fund Purchase (exposition au musée Thyssen-Bornemisza, Madrid)


D
espite their enormous popularity and apparent accessibility, Hopper’s paintings are among the most complex phenomena within 20th-century art in the opinion of the exhibition’s two curators, Tomàs Llorens (Honorary Director of the Museo Thyssen-Bornemisza) and Didier Ottinger (Associate Director of the MNAM/Centre Pompidou). In order to demonstrate this point the exhibition will be organised into two parts: a first half that covers the artist’s formative years from approximately 1900 to 1924, represented through a comprehensive selection of sketches, paintings, drawings, illustrations, prints and watercolours that will be complemented by works of artists as Winslow Homer, Robert Henri, John Sloan, Edgar Degas or Walter Sickert; a second half will cover the years 1925 onwards, that focuses on Hopper’s mature output and aims to illustrate his career in the most complete and wide-ranging manner possible. In order to do so, this section combines thematic groupings (recurring motifs and subjects in Hopper’s works) with an overall chronological ordering.

Museo Thyssen-Bornemisza


The Kimiko and John Powers Collection of Japanese Art – Houston – Texas

Japanese, Esoteric Buddhist Bodhisattva, c. 1131–74, color and ink on paper, the Kimiko and John Powers Collection of Japanese Art. - Hester + Hardaway Photographers


From June 10, 2012 to September 23, 2012 – Museum of Fine Arts, Houston

Collectors Kimiko and John Powers began buying Japanese artwork in the 1960s. Over the next four decades they amassed 300 objects, building one of the largest and most comprehensive collections of Japanese art outside of Japan. The MFAH presents 85 selections from their holdings in Unrivalled Splendor: The Kimiko and John Powers Collection of Japanese Art. The last exceptional collection of Japanese art in private hands, the Powers Collection is renowned for its extraordinary scale and quality, and the exhibition provides a rare chance to see these remarkable examples in the Houston region.

Shokado Shojo and Hori Kyan, Crested Mynah on Oak Branch, 1637, ink on paper, the Kimiko and John Powers Collection of Japanese Art. - Hester + Hardaway Photographers


U
nrivaled Splendor showcases some of the earliest known examples of Buddhist art in Japan; narrative scroll paintings; beautiful examples of calligraphy; screens embellished with gold and silver; sketches; sculptures; and objects of lacquer, pearl, and silver. The wide array, from courtly to popular works of art, reveals overlapping themes in Japanese art.

These diverse and important objects tell the fascinating story of Japan’s artistic development and its enduring cultural heritage. Accompanying the exhibition is an illustrated catalogue, published by the MFAH and distributed by Yale University Press.

Museum of Fine Arts


Impressionism, Drawings, Watercolours and Pastels – Vienna – Austria

Edgar Degas - Woman in a Tub, c. 1883 - Pastell auf Papier - Tate: Bequeathed by Mrs. A.F. Kessler 1983 © Tate, London 2011


From February 10, 2012 to  May 13, 2012 – Albertina

Masterworks on Paper is the first exhibition devoted exclusively to the significance of drawing to the Impressionist and Post-Impressionist avant-garde movements—and to the development of modern art.
The Albertina, Vienna, Austria  – The exhibition will present up to 200 drawings, watercolours and pastels by the Impressionists and Post-Impressionists. Active in France during the second half of the nineteenth century and closely associated with avant-garde movements, artists such as Manet, Degas, Renoir, Pissarro, Seurat, Gauguin, Cézanne, Van Gogh and Toulouse-Lautrec created works on paper that may be less well known than their paintings but which are just as significant. This is the first international exhibition devoted exclusively to drawings by these artists and will considerably extend knowledge of Impressionism and Post-Impressionism.

The starting point for Impressionism on Paper is the fact that a large proportion (40%) of all the items shown in the eight Impressionist exhibitions held in Paris between 1874 and 1886 were works on paper. Many of these can be identified and are included on the selection list. To this core will be added numerous other examples by these artists and others that will provide an overview of their drawing skills at this critical stage in the development of a widely appreciated moment in the development of French art.

The aim is to demonstrate the different types of drawing pursued by the Impressionists and Post-Impressionists and to demonstrate the various purposes to which their works on paper were put.

Claude Monet Waterloo Bridge, London, 1901 Pastel Collection Triton Fondation, The Netherlands


D
rawing is not an activity with which the Impressionists and Post-Impressionists have so far been closely associated. The exhibition, however, will illustrate unequivocally and for the first time that for these artists drawing was a primary function and not a secondary activity.   Although drawings were used as part of the preparatory process towards a painting, more and more they came to be regarded by the Impressionists and Post-Impressionists as finished works of art in their own right. Many of the pastels by Degas, the watercolours by Cézanne, the pen and ink drawings by Van Gogh or the works in mixed media by Toulouse-Lautrec were made on a large scale specifically for exhibition.

Impressionism on Paper, therefore, will show that far from ignoring the art of drawing the Impressionists and Post-Impressionists chose to emphasize its primacy thereby ceasing to uphold or even recognize the traditional distinction between drawing and painting. Instead, they elevated the status of drawing to the level of painting itself regarding both practices as part of a single aesthetic.

Pierre-August Renoir - Nude Bathers Playing with a Crab, c. 1897-1900 - Pastell auf Papier - Sammlung Jean Bonna, Genf


T
he result was that the traditional hierarchy separating painting from drawing established during the Renaissance ceased with the Impressionists and Post-Impressionists. This, in turn, had considerable consequences for the development of modern art in so far as the fusion of line and colour resulting from a series of multiple gestural acts, which characterizes the best examples of Impressionist and Post-Impressionist drawings, paved the way for such artists as Jackson Pollock, Willem de Kooning, Cy Twombly and Bridget Riley.

Museum Hours


Snorre Ytterstad: Squarred Target – Oslo – Norway

Snorre Ytterstad, Squared Target, 2010. Photo: Snorre Ytterstad


From June 24 to September 18, 2011 – Museum of Contemporary Art
Snorre Ytterstad’s universe seems at first sight rather mundane and simple, but on closer inspection it reveals a complexity of form and content. Ytterstad often uses everyday objects like ballpoint pens, nails and coins. By placing these familiar objects in unusual contexts, where they are alienated from their intended functions, they emerge in a new light, often producing whole new chains of associations. Ytterstad is fascinated by the range of meanings that language and words can take on depending on the context they appear in. The titles of his works often function on many levels and can be interpreted in a variety of ways.
Seeing the world in a new way, by shifting perspective or presenting it in a slightly new light, is an important aspect of Ytterstad’s work. This is reinforced by the fact that the viewer often has to move around his installations to grasp them in their entirety. Sometimes one even has to go searching for them. Either the everyday objects that Ytterstad presents don’t initially look like works of art, or they are so small and tucked away in such unassuming places that they are hard to spot.
One of the main themes of the exhibition is “space”. Both the physical space – the room – the work is set in, takes possession of, and thereby modifies, or other kinds of space, such as our inner world. Outer space also plays a part in Ytterstad’s world, as illustrated by many of his work titles and his frequent use of the circle as motif. Another crucial aspect of Ytterstad’s work is concealment. He uses wires that are all but invisible and constructs hidden spaces inside his sculptures.
Many of his works have political overtones, and can be read as criticisms of modern society and its capitalist system. He uses familiar symbols, like the Norwegian one-krone coin, to put his message across. In his use of found objects and high quality craftsmanship, Ytterstad can be compared to major Norwegian artists such as Jon Gundersen and Børre Larsen.
Born in Bodø, Snorre Ytterstad now lives and works in Oslo. He trained at Kabelvåg Art College (1990–92), the West Norwegian Art Academy, Bergen (1992–95) and the National Academy of Fine Art in Oslo (1995–96). He has had several solo exhibitions including at Bodø Art Society (1994) and Satelliti, Galleria Kari Kenetti, Helsinki (2001). In addition, Ytterstad has participated in numerous group exhibitions including at UKS Biennial, Henie Onstad Art Centre (1998) and “Modellmakerne” (The Model Makers), Kunstnernes Hus, Oslo (2000).

Museum Hours


Freedom of Speech – Hamburg – Germany

Emory Douglas, The Ideas Which Can And Will Sustain Our Movement, 1970, Center for the Study of Political Graphics, Los Angeles


From the 18th of December 2010 to the 17th of March 2011 – Kunstverein, Hamburg

The exhibition “Freedom of Speech” questions and analyses the concept of freedom of speech and the ideological role it plays in Western democracy. Everything revolves around the question: What if only those who say the truth are allowed to speak? What consequences does the freedom of expression have for our society? How and where is this freedom instrumentalized? Justified questions, that would also have been apt in connection with the debate about Thilo Sarrazin’s book and his racist comments in the media. However, this controversy also manifested itself in the cartoon dispute in 2005, when a right-wing Danish daily newspaper published the so-called “Muhammad cartoons.” The ensuing conflict and the Iranian reaction in the form of a “Holocaust cartoon competition” provoked a public discussion on civil rights and liberties – the freedom of speech, expression, and the press – and truth.

The exhibition confronts examples of media reports (e.g., the “Muhammad cartoonss” or the controversial covers of Hustler, Stern, or Spiegel), historical events (e.g., the Black Power and Free Speech movements in the USA), as well as artistic positions.

With the collaboration of the Duisburger Institut für Sprach- und Sozialforschung (Duisburg Institute of Linguistic and Social Research, DISS), the truth value of the works are examined by means of critical discourse analysis. This form of analysis developed by the DISS on the basis of the theories and writing of Michel Foucault is applied like a film over the linguistic and pictorial levels of the collected media reports and works of art. That the works of art become objects of analysis is unique in this form but takes account of the fact that they also play an important role in constituting everyday knowledge and therefore also need to be considered.

Apart from works addressing the universal right to freedom of expression (e.g., the works “Prohibited Imports” by Maria Eichhorn or “Wollt ihr das totale Bild” by Klaus Staeck), the exhibition shows works that in content or form sound out the limits and possibilities of freedom of expression and speech (e.g., “Turkish Delight” by Olaf Metzel or “bürgersteig” by Silke Wagner). In the context of the exhibition, “State Britain” by the Turner Prize winner Mark Wallinger is being shown for the first time in Germany. The 40-metre-long installation of demonstration banners, posters, and flags by the anti-war activist Brian Haw fills the entire area of the exhibition space on the first floor of the Kunstverein Hamburg.

“Freedom of Speech” at the Kunstverein Hamburg concludes a trilogy that had begun in December 2009 with the exhibition “Where’s the wind when it isn’t blowing? – Political graphic novels from Albrecht Dürer to Art Spiegelman” and had continued with “We, Hamburg” in March 2010. The three exhibitions, differing strongly in both theme and formal approach, have examined the cultural importance of images, their perception and political function in societal discourses.

Museum Hours


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