Lumlux Art was on the move during the holiday season. France https://t.co/o2dUd0kSfn
Emotions: pain and pleasure in Dutch painting of the Golden Age runs from 11 October 2014 to 15 February 2015 in the Frans Hals Museum. Exploring such themes as Suffering and Despair, Love and Lust, Joy and Gaiety, the exhibition reveals the way painters in the sixteenth and seventeenth centuries produced believable portrayals of emotions. There was little more important in the painting of the Golden Age than conveying human emotions convincingly. The exhibition is compiled by the celebrated art historian and writer Gary Schwartz.
Connoisseurs maintained that the beauty of a painting was not half as important as the passions it portrayed. But how did painters capture doubt, fear, horror or rage on canvas? And how do we read these inner emotions from outward appearance? Is the face truly the mirror of the soul? Guest curator Gary Schwartz, who put the exhibition together on the basis of a concept by curator Anna Tummers,
introduces visitors to the range of insights and theories concerning the painting of emotions in the seventeenth century. At the end of the exhibition, with the aid of the latest scientific research, visitors will discover how twenty-first century viewers see and experience depicted emotions.
The exhibition contains more than fifty works from the sixteenth- and seventeenth-century collections of museums including the Frans Hals Museum, the Rijksmuseum, the Mauritshuis, Museum Boijmans van Beuningen, Musée des Beaux-Arts de Strasbourg, Teylers Museum, the Centraal Museum and a number of private collections in the Netherlands and abroad. The Museum der bildenden Künste in Leipzig is lending Frans Hals’s famous painting,
The Mulatto. As well as paintings by Frans Hals, the exhibition will feature history paintings, genre works and portraits by masters like Pieter Lastman, Rembrandt, Jan Steen and Frans van Mieris. Among the highlights is the
Christ Crowned with Thorns by the Haarlem-born painter Jan Miense Molenaer.
Karel van Mander, teacher of painters, maintained that the credible depiction of emotions was ‘the soul’ of the work, devoting a chapter of his 1604
Book of Painting (Schilder-boeck) to rendering them correctly. Willem Goeree later argued that ‘the greatest power of the whole art of painting’ lay in depicting the emotions. Books and prints in the seventeenth century explained in great detail, with illustrations, how an inner emotion could be read from an outward movement or pose. Rembrandt, on the other hand, advised his pupils to express the emotions they wanted to paint as an actor would. Rembrandt practised conveying extreme emotions in several etched self-portraits. One of his very first paintings appears in the exhibition.
Catalogue, Audio Tour and Events
A full-colour catalogue with contributions by Gary Schwartz and philosopher and psychologist Machiel Keestra is being published to coincide with the exhibition. The exhibition will also be accompanied by a free audio tour that can be listened to using the Frans Hals Museum app. Activities and events, including debates, lectures, workshops and guided tours, will be staged around the exhibition. The section of the exhibition exploring current scientific research was created in collaboration with colleagues from the University of Amsterdam and Radboud University Nijmegen.
The exhibition is made possible by the financial support of the Dr Marijnus Johannes van Toorn & Louise Scholten Stichting, Stichting Zabawas, J.C. Ruigrok Stichting, the SNS REAAL Fonds and Haarlem City Council. The museum is supported by subscribers to the BankGiro Loterij.
Emotions: pain and pleasure in Dutch painting of
the Golden Age
Date 11 October 2014 to 15 February 2015
Venue Frans Hals Museum, Groot Heiligland 62, Haarlem
Telephone +31 (0)23 511 57 75
Opening times Tuesday – Saturday 11.00 a.m. – 5.00 p.m.
Sunday and public holidays 12.00 noon – 5.00 p.m.
In Room C in the Jerónimos Building, the Prado Museum will present the first exhibition in Spain devoted to the work of Gian Lorenzo Bernini (Naples 1598 -Rome 1680), a key figure in the history of art and a leading light, together with Borromini and Pietro da Cortona, regarding the image and construction of Baroque Rome. The exhibition will also constitute an historiographical first, given that this is the first time an exhibition has been organised that offers a monographic analysis of the complex artistic, cultural, diplomatic and political relations that Bernini maintained with the Spanish Monarchy throughout the 17th century. Amongst the 39 works that make up the exhibition, we might highlight the sculptures entitled Anima beata and Anima dannata, both extraordinary works created by the precocious and surprisingly mature hand of the young artist, which are preserved at the Spanish Embassy at the Holy See in Rome, in its capacity as a deposit for property entrusted to it under the heading of “Obra Pía”. Both sculptures will be exhibited for the first time at the Prado Museum
Tuesday 04 November 2014
The Prado Museum will open the doors of the exhibition entitled “Bernini’s Souls: Art in Rome for the Spanish Court” to the general public. In addition to offering us an opportunity for the first time to contemplate a series of exceptional works that the artist created for Spanish patrons, the exhibition will trace Bernini’s complex and fascinating relationship with Spain.
Some 23 works by Gian Lorenzo Bernini, including sculptures, oil paintings, prints and drawings, together with sixteen works by other artists such as Codazzi and Velázquez, loaned by different Spanish and foreign institutions and private collectors, will eloquently illustrate Bernini’s links with Philip IV, Charles II and other Spanish patrons in Rome, ranging from ambassadors to cardinals and prelates.
In short, this exhibition seeks to explore the political conflicts and power games that were played out and reflected so frequently in artistic and architectural terms, and in which Bernini played such a key role, both conscious and decisive, based on the changing interests of his patrons.
As a sculptor, architect, painter, stage designer, playwright, designer for festivals and religious and pagan ceremonies, and creator of fountains and other ornamental and luxury items, Bernini received commissions from both Spanish patrons in Rome and from the Spanish Monarchy itself, together with its representatives in the city. Some of these commissions will be on show at this exhibition, including Anima beata (“Blessed Soul”) and Anima dannata (“Damned Soul”), two magnificent sculptures of extremely high quality made of marble in 1619, when the artist was still a young sculptor, created upon the behest of Pedro Foix de Montoya. We might also mention the small and extremely beautiful Equestrian Bronze Sculpture of Charles II (1680), which was commissioned by the Marquis of Carpio and will be exhibited for the first time in Spain. The works will also include other architectural and sculptural projects, such as the following: the Monument to Philip IV at Santa María Maggiore di Roma; drawings portraying canonisation ceremonies, such as that of St. Thomas of Villanueva at St. Peter’s Basilica; (1658) and various ephemeral architectural items, such as those that adorned the firework machines created to celebrate the Birth of the Infanta Margarita (1651) or those designed to commemorate the Peace of Aachen (1668). Alongside these creations, visitors will find the Bust of Cardinal Scipione Borghese, the nephew of Paul V, who recognised Bernini’s extraordinary talent at a very early stage and provided unconditional support for his brilliant career as a sculptor.
One of the most important pieces in Bernini’s corpus of work and a key creation with regard to his conception of art as the “unity of the visual arts”, is the Ecstasy of Saint Theresa (1647-1651), which focused on a religious theme of a marked Spanish origin, having been commissioned for the Cornaro Chapel at the Church of Santa Maria della Vittoria in Rome. At the exhibition we will be able to contemplate the terracotta sketch Bernini produced for this sculptural group, loaned by the Hermitage Museum, as well as a series of magnificent preparatory drawings for the decoration of the Chapel, which are preserved at the Biblioteca Nacional, the National Library of Spain.
Amongst the important works contributed by the Prado Museum to the exhibition we might highlight the controversial but unmistakeable Self-Portrait of Bernini, together with a previously unseen drawing for an intriguing variation of his famous Equestrian Sculpture of the Emperor Constantine, which was finally placed in the Scala Regia of the Vatican Palace at the Basilica portico end. This equestrian sculpture is also depicted in a splendid drawing, the first known version of the work, produced when the Constantine sculptural group was to be (1654) placed inside St. Peter’s Basilica. This drawing is preserved at the San Fernando Royal Academy of Fine Art, together with an intermediate sketch in terracotta, on loan from the Hermitage Museum, which can be placed between the two drawings we have mentioned and the final version of the sculpture at the Scala Regia.
In relation to this symbolic and heroic theme of princes and monarchs on horseback, we will also come across various other examples at the exhibition, such as the controversial project for the Equestrian Sculpture of Louis XIV, together with the deliberately altered version of this work, which became the Bronze Equestrian Statue of Charles II, effectively replacing the face of one monarch with that of another. This work comes from a private American collection, having previously formed part of the Collection of the Marquis of Carpio in 1680.
The exhibition will also present an extraordinary and previously unseen album of architectural drawings on the theme of Baroque Rome, which comes from a private Spanish collection. This album brings together several virtually unknown projects undertaken by Bernini, such as the Poli Chapel at the Church of San Crisogono in Rome. Finally, the exhibition will offer a virtual recreation of the architectural project for the space where the monumental Bronze Statue of Philip IV was due to be placed, originally created by Bernini for the portico of the Basilica of Santa Maria Maggiore in Rome, the church traditionally linked to the Spanish Monarchy, although the monument was not created in the end exactly as the artist had envisaged.
7 November 2014 – 8 February 2015 (press preview 6 November 2014)
£8.00 / £6.00
Andy Warhol (1928-1987) remains one of the most important and influential artists of the Post War period and the central figure associated with pop art. Transmitting Andy Warhol is the first exhibition to explore Warhol’s role in establishing new platforms to disseminate art, and his experimentation with new approaches to art reception that redefined artistic practice and distribution.
The first major solo exhibition in the north of England that focuses on Warhol’s expanded practice, it brings together more than 100 works, across a range of media with major paintings to explore Warhol’s experiments with mass-produced imagery. He ‘transmitted’ these images back into the public realm using processes of serial repetition and mass dispersal, establishing new approaches to distribute his work. Warhol’s transmission of ideas and imagery brought to life his democratic conviction that ‘art should be for everyone’.
Highlights include the Marilyn Diptych, Dance Diagram and Do-it-Yourself paintings, and other loans from international collections and the ARTIST ROOMS collection. Also presented will be a spectacular evocation of the Exploding Plastic Inevitable, Warhol’s famed ‘total art’ environment which provided the framework for performances by the Velvet Underground.
It was during the early 1960s that Warhol recognised mass culture’s increasingly pervasive presence into the realms of visual representation and public experience, with a shift in the role of the artist as well as expectations of the audience. The exhibition traces how his practice expanded laterally using the theoretically limitless channels of publishing, film, music and broadcasting. From television commercials to a dazzling display of his ‘dispersed’ output including his trailblazing celebrity magazine Interview, Transmitting Andy Warhol shows how the artist combined the conceptual processes of making, marketing, publicity and distribution within a single artwork.
Transmitting Andy Warhol provides audiences with new insights into the breadth of his artistic processes and philosophies, as well as the social, political and aesthetic implications of his practice. Warhol’s expanding of the networks for distributing art is especially important today in an era when digital media offers artists, as well as any member of the public, boundless possibilities of distributing information, images and ideas. By presenting Warhol in the context of the mass information networks of his time, the exhibition reveals the artist’s role in re-defining access to culture and art as we understand it today, while challenging the traditional separation between high and low culture, and private and mass experience.
Transmitting Andy Warhol will be exhibited alongside Gretchen Bender. Also running concurrently on the ground floor Wolfson Gallery is The Serving Library to form Tate Liverpool’s autumn/winter season. Entitled, Making Things Public, visitors will explore how artists from different generations have responded to and experimented with the pervasive influence of mass and broadcast media. Transmitting Andy Warhol is made possible through support from the Terra Foundation for American Art and European Regional Development Fund (ERDF). The exhibition is curated by Darren Pih, Exhibitions & Displays Curator and Stephanie Straine, Assistant Curator, Tate Liverpool.
On the occasion of Transmitting Andy Warhol, a new title, Tate Introductions: Warhol (Tate Publishing series), by Stephanie Straine, Assistant Curator at Tate Liverpool will be published.
23.09.2014 – 30.11.2014
The «Oscar Wilde. Aubrey Beardsley. A Russian Perspective» exhibition is being held as part of the UK-Russia Year of Culture 2014 celebrations. The exhibition embodies a unique blend of the two cultures at work. Over 150 art pieces will be on display, including Aubrey Beardsley’s drawings and his series of prints for Oscar Wilde’s Salome. Among other exhibits are works by Russian Beardsley followers and admirers, Russian and British art magazines with pieces by Beardsley, Wilde and their followers; as well as books by Oscar Wilde, autographed works, photographs and archive materials.
Oscar Wilde’s exquisite works gave a larger audience an opportunity to learn about the ideas of Aestheticism. Aubrey Beardsley’s intricate illustrations inspired the creators behind the first Russian art magazines. In Russia, as well as in Europe, Oscar Wilde was seen as a leading figure of the British Aesthetic movement. The artist’s unique personality charmed the public; his writing — plays, essays and famous paradoxes — had no less mesmerizing an effect. Coined by Wilde and Beardsley, the image of a dandy turned into a signature for a number of artistic movements. They drew inspiration from the ‘art for art’s sake’ concept, the Silver Age of Russian Art being one of the greatest examples of its realisation.
In Russia, Wilde and Beardsley’s artistic aesthetics were a major influence on the formation of the style and concept of the Mir Iskusstva (World of Art) movement in St. Petersburg in the 1890 s. However, the two artists reached their peak in popularity in Russia in Moscow in the 1900 s. At the time, Scorpion and Grif publishing houses printed Oscar Wilde’s major works, along with the works of Russian decadent poets. Scorpion and the Vesy literary magazine played a greater role in the development of the Moscow Beardsley-inspired artistic community.Beardsley’s sophisticated arabesques influenced artists such as Konstantin Somov, Leon Bakst, Nikolay Feofilaktov, Miss (Anna Remizova-Vasileva), Sergei Lodygin, and Dmitriy Mitrokhin.
Curators: Zinaida Bonami, Anna Poznanskaya, Olga Averyanova, Alexey Savinov
Staging Reality, Documenting Fiction examines contemporary photographers working in Africa that toe the line between photography and truth, incorporating conceptual practices and performative strategies that expand traditional photographic approaches and techniques.
While photography has historically been positioned as a “window to the world”, with an immediate and tangible relationship to its subject matter, many contemporary artists working on the continent incorporate image-based strategies that move beyond the confines of the photojournalistic gaze and produce works that negotiate the complex social and political concerns that define a new Africa in the twenty-first century. They explore how the ubiquity of images plays a vital role in how reality is constructed and understood.
By incorporating genres such as staged narratives, performance, appropriation, self-portraiture, and still life, these artists push the temporal and spatial boundaries of the photographic medium. In doing so, Staging Reality, Documenting Fiction explores how we imagine different futures and charter fictive worlds, using photography as a catalyst to explore the changing realities of Africa.
Oct 25 – Nov 26 2014
Das Kunstmuseum Stuttgart erhält vom Sammlerehepaar Scharpff drei großformatige Arbeiten des Malers Michel Majerus (1967-2002)
Nur noch bis zum 16. November 2014 präsentiert das Kunstmuseum Stuttgart die Sonderausstellung »Cool Place. Sammlung Scharpff«.Zu sehen sind dabei über 60 Werke von namhaften Künstlern wie Günther Förg, Jeff Koons, Albert Oehlen, Neo Rauch, Bridget Riley, Christopher Wool u.v.a., die aus der Sammlung von Rudolf und Ute Scharpff stammen. Das Stuttgarter Ehepaar sammelt seit über 50 Jahren zeitgenössische Kunst. Der Schwerpunkt Malerei steht im Zentrum der Präsentation im Kunstmuseum Stuttgart.
Rudolf und Ute Scharpff, beide dem Kunstmuseum Stuttgart seit vielen Jahren eng verbunden, haben sich nun entschieden, Bilder von Michel Majerus an das Museum zu geben. »Wir freuen uns sehr, dass Rudolf und Ute Scharpff zu Gunsten des Kunstmuseum Stuttgart drei Arbeiten von Michel Majerus in ihre Stiftung eingebracht haben«, sagt Direktorin Ulrike Groos. »Die Arbeiten des 2002 verstorbenen, luxemburgischen Künstlers stellen eine wichtige Ergänzung innerhalb unserer Sammlung dar. Dafür danken wir dem Ehepaar. Zudem haben wir einen besonderen Bezug speziell zu diesen Bildern. Sie waren bereits in der Retrospektive des Künstlers 2011/12 hier zu sehen. Nun kehren die Arbeiten wieder zurück in unser Haus«.
Präsentiert werden zunächst zwei Arbeiten (»gold« und »MoM Block Nr. 79«, beide 2000) in dem ab 7. November 2014 wieder für Besucher uneingeschränkt zugänglichen Sammlungsbereich des Kunstmuseum Stuttgart. Dieser Teil musste zuletzt für drei Wochen aufgrund des Rückbaus der Baustelle am Oberlichtband sowie der Wiedereinrichtung der Museumsräume geschlossen werden. Die Sanierungsarbeiten sind nach halbjähriger Bauphase nun beendet.
Während der Bauphase von Mai bis November 2014 blieben die Räume 12 – 15 im Erdgeschoss komplett geschlossen. Mit der Wiedereröffnung am kommenden Freitag wird das Kunstmuseum Stuttgart hier einen besonderen Schatz zeigen: Unter dem Titel »Hinaus in die Natur«sind dann Werke aus der Sammlung schwäbischer Freilichtmaler zu sehen, die der Marchese Silvio della Valle di Casanova Ende des 19. Jahrhunderts angelegt und 1924 der Stadt Stuttgart als Stiftung übergeben hat. Das Konvolut bildete den Grundstock der Galerie der Stadt Stuttgart, die 2005 in das Kunstmuseum Stuttgart überführt wurde.
Die Wiedereröffnung ist zugleich Auftakt zu einer weiteren Ausstellung der 2011 gestarteten Sammlerreihe, die das Engagement und die Kunstleidenschaft von Privatsammlern sichtbar werden lässt. Die Präsentation widmet sich den grafischen Arbeiten aus der Sammlung Rudolf und Barbara Fakler, die auf hervorragende Weise den Bestand Neue Figuration im Kunstmuseum Stuttgart bereichern. In der Gegenüberstellung unterschiedlicher Positionen innerhalb der Neuen Figuration vermittelt sich ein umfassender Überblick über die vielfältigen Erscheinungsformen dieser Richtung. Auch wieder zu sehen sein werden die malerisch-installativen Arbeiten von Schirin Kretschmann in der »Frischzelle_21«.
Ausklingen lassen wir die große Sonderausstellung»Cool Place. Sammlung Scharpff« im Kubus mit der letzten Folge von »Private View. Privat gesammelt – öffentlich präsentiert«. Am Dienstag, 11. November 2014, 19 Uhr widmet sich die Gesprächsreihe dann dem Betriebssystem Kunst. Auf dem Podium sitzen der Galerist Max Hetzler, der Sammler Dr. Harald Falckenberg, die Direktorin der Staatsgalerie Stuttgart Prof. Dr. Christiane Lange sowie der Künstler Thomas Locher. Die Moderation übernimmt Tim Sommer, Chefredakteur des Hamburger Kunstmagazins art.
Immer noch cool: Bis einschließlich Sonntag, 16. November 2014 kann an den Freitagen ab 18 Uhr und an den Wochenenden ganztägig die Ausstellung »Cool Place. Sammlung Scharpff« kostenfrei besucht werden. Außerdem ermöglicht das Sammlerpaar Scharpff kostenlose Führungen– freitags um 18 Uhr, samstags um 16 Uhr und sonntags um 15 und 16 Uhr.
Über einen Hinweis in Ihrem Medium würden wir uns freuen. Text- und Bildmaterial zur Ausstellung »Cool Place. Sammlung Scharpff« sowie die Abbildungen zu Michel Majerus finden Sie im Pressebereich unter www.kunstmuseum-stuttgart.de. Dort finden Sie auch Informationen zu den aktuellen und kommenden Ausstellungen.
Mit herzlichen Grüßen aus Stuttgart
Leitung Kommunikation und Marketing//Head of communication and marketing
Stiftung Kunstmuseum Stuttgart gGmbH
Kleiner Schlossplatz 13
D – 70173 Stuttgart
RETROSPECTIVE 1960- 2014
14 MAY – 22 SEPTEMBER 2014
GALERIE 1, LEVEL 6
The Centre Pompidou is devoting a completely new retrospective to one of France’s most important living artists: Martial Raysse. This illustrates the rich and varied work of this visionary artist with a fascinating and singular career, from his first creations of the Sixties to those of the present day.
Celebrated for the iconic works of his Pop period, Martial Raysse introduced numerous innovations, particularly the unprecedented use of neon lighting and film within his paintings. In the Eighties, he dramatically changed his artistic approach and began to rethink painting and sculpture in depth, tirelessly experimenting right through to his most recent works, some of which have never been exhibited before.
The exhibition, containing more than 200 works in the form of paintings, sculptures, films, photographs and drawings, provides audiences with the first-ever overview of fifty years of creation, with iconic works from every period in Raysse’s career from the Sixties to the present day.
During his Pop period, and then with his «variable geometry» pictures, the artist broke new ground by introducing everyday consumer objects into his painting, revisiting with virtuosic temerity the feminine archetypes popularised by advertising and the masters of classical painting. At the time, he said, «Prisunic supermarkets are the new museums of modern art.»
From then on, he was established as one of the world’s most inventive artists. His work met with rapid success in France, where he was one of the youngest of the New Realist group founded by Pierre Restany, then in New York and Los Angeles, where he lived and forged links with artists of the Pop art movement.
The exhibition then moves on to the experiments of the «Shaman» years, which began in the early Seventies with the «Coco Mato» assemblages and «Loco Bello» paintings inspired by collective artistic practices and magic rituals. Now at the height of his popularity, Martial Raysse radically transformed his approach during these years. This involved a complete break with and withdrawal from the world of art and its dominant movements, and his work included experimental satirical films imbued with the psychedelic culture.
After this, the retrospective focuses on his ambitious pictures from the late Seventies. These draw on the heritage of the great masters of the past, and are characterised by the invention of a personal imagery and mythology rooted in an observation of daily life. Here the bucolic themes inspired by his environment – Raysse was then living quietly in the country – mingle numerous mythological and literary references. The artist experimented with various pictorial techniques, in particular tempera, harking back to past practices and techniques that were extremely hard to master.
Lastly, alongside recent sculptures and films, the exhibition presents all the large format paintings produced since the Nineties: animated «frescoes» showing allegorical and frequently somewhat grotesque visions of humanity. These spectacular paintings include Le Carnaval à Périgueux, 1992, Le jour des roses sur le toit, 2005, Poissons d’avril, 2007, and Ici Plage, comme ici bas, 2012.
Throughout this circuit, like a series of pauses and highlights, we find the large-scale environments the artist produced at various times in his career: Raysse Beach, which he created in 1962 for the «Dylaby» exhibition at the Stedelijk Museum in Amsterdam, Oued Laou designed for the Munich Modern Art Museum in 1971, and the project entitled La folie Antoine, a group of paintings created for a chapel in 1999.
The exhibition catalogue looks back over the rich diversity of Raysse’s work, and is a genuine reference work. It is published by the Éditions du Centre Pompidou, and edited by Catherine Grenier, the exhibition curator.