"Rembrandt & Degas" @ Rijksmuseum
Rembrandt, Self-Portrait as a Young Man, c. 1628-29. Oil on panel, Alte Pinakatothek, München. Photo © bpk/Bayerische Staatsgemäldesammlungen
Edgar Degas, Self-Portrait, 1857-58. Oil on paper on canvas, 26 x 19 cm. Williamstown, The Sterling and Francine Clark Art Institute, 1955.544. Photo Michael Agee.
Each year, the Rijksmuseum organises an exhibition showing how the masters of the Dutch Golden Age inspired artists of a later period. Following on from the success of Miró-Jan Steen in 2010, the 2011 exhibition focuses on Edgar Degas, who was heavily influenced as a young man by the self-portraits of the young Rembrandt. The self-portraits show the artists around the age of 23, at a time when they were both starting out on illustrious careers. Degas was in Rome at the time, studying art, including that of the old masters, and he became inspired by Rembrandt’s etchings. We can see the inspiration in particular in his experiments with various poses and with the already widely praised use of light and shade. In addition to a large number of etchings by Rembrandt and the Self-Portrait as a Young Man from the Rijksmuseum collection, the exhibition also includes a magnificent panel self-portrait by Rembrandt on loan from the Alte Pinakothek in Munich.
After the Rijksmuseum, the exhibition will move on to The Clark Art Institute in Williamstown (November 2011 – February 2012) and The Metropolitan Museum of Art in New York (February – May 2012).
'Cy Twombly and Nicolas Poussin: Arcadian Painters' @ Dulwich Picture Gallery
Nicolas Poussin, Venus and Mercury (c. 1627/1629) © By permission of the Trustees of Dulwich Picture Gallery
Cy Twombly, Bacchanalia-Fall (5 Days in November) Blatt 4, InvNr. UAB 457, 1977, collage, oil, chalk, gouache, on fabriano paper, graph paper, 101.2 x 150.5 cm, Bayerische Staatsgemäldesammlungen – Museum Brandhorst, München Leihgeber: Udo Brandhorst, © Cy Twombly
In 1624 and 1957, the two artists, aged around thirty, moved to Rome. Nicolas Poussin and Cy Twombly subsequently spent the majority of their lives in the Eternal City, and went on to become the pre-eminent painters of their day. Rather than recent exhibitions that have sought to compare and contrast old masters with contemporary artists through superficial visual appearances, this groundbreaking show will instead juxtapose works which may seem radically disparate in terms of style, yet ones that share deep and timeless interests. Both Poussin and Twombly were artists of prodigious talent who found in the classical heritage of Rome a life-long subject. Both spent their lives studying, revivifying and making newly relevant for their own eras antiquity, ancient history, classical mythology, Renaissance painting, poetry and the imaginary, idealised realm of Arcadia.
Curated by Dr. Nicholas Cullinan, Curator of International Modern Art at Tate Modern, the exhibition examines how Twombly and Poussin, although separated by three centuries, nonetheless engaged with the same sources and will explore the overlapping subjects that the two artists have shared. It will consist of around thirty carefully-chosen paintings, drawings and sculptures, structured thematically around six sections devoted to key shared themes, from both artists’ early fascinations with Arcadia and the pastoral when they first moved to Rome, Venus and Eros, Anxiety and Theatricality, Apollo, Parnassus and Poetry, Pan and the Bacchanal, through to both painters’ late versions on the theme of The Four Seasons.
Ian Dejardin, Director of Dulwich Picture Gallery explains that the exhibition “fits in with a philosophy I have pursued here – that exhibitions can conduct a dialogue with the permanent collection. In the past Howard Hodgkin, Lucian Freud and Paula Rego have all hung their paintings within the collection, so Poussin and Twombly seemed like a natural extension of those experiments”.
The exhibition has received enthusiastic support and loans from major private and public collections around the world, including The National Gallery and Tate in London; The Royal Collection; The Duke of Devonshire; The Fitzwilliam Museum, Cambridge; Museo del Prado, Madrid; The Brandhorst Museum, Munich and The Art Institute of Chicago. The exhibition has been developed in close collaboration with Cy Twombly himself, and will include works that have never been exhibited before.
Nicolas Poussin, Rinaldo and Armida (c. 1630) © By permission of the Trustees of Dulwich Picture Gallery
Cy Twombly, Hero and Leandro, 1985, 202 x 254cm, Private Collection, Courtesy Thomas Ammann Fine Art AG, Zurich, © Cy Twombly
Nicolas Poussin. © By permission of the Trustees of Dulwich Picture Gallery
Quand Calouste Gulbenkian habitait le 51 avenue d'Iéna
© Jorge Molder
Le CCC|Gulbenkian investit de nouveaux lieux. Après 55 ans d'activités menées dans l'ancienne résidence de son fondateur, il quitte le 51 avenue d'Iéna . Une exposition ressuscite l'histoire de l'hôtel particulier qui abritait l'extraordinaire collection d'art de Calouste Gulbenkian, et donne l'occasion au public parisien de découvrir le lieu, les personnes et les objets qui l'ont habité.
Afin de réunir sa collection d'oeuvres d'art dispersée jusqu'alors entre Londres et Paris, Calouste Gulbenkian acquiert en 1922 l'hôtel particulier du 51 de l'avenue d'Iéna et apporte des transformations considérables à l'intérieur et à l'extérieur de l'immeuble pour lui apposer son goût personnel, et le doter des infrastructures techniques et du confort les plus modernes de l'époque. Après le transfert de la collection au Musée Gulbenkian à Lisbonne, l'hôtel particulier devient l'actuel Centre culturel Calouste Gulbenkian en 1965.
L'exposition raconte l'histoire du 51 avenue d'Iéna et de son propriétaire en retraçant le parcours exceptionnel de Calouste Gulbenkian et de la Fondation qu'il a créée. Des photographies, dessins et documents d'archives illustrent le projet architectural de l'immeuble et la présence de la collection. Des pièces du Musée Gulbenkian ayant jadis séjourné dans l'hôtel particulier retrouvent leur place, en compagnie des oeuvres du Centre d'art moderne de la Fondation y ayant été exposées dans le passé.
8 juin à 2 septembre 2011.
© Jorge Molder
© Jorge Molder
Antiquity Revived: Neoclassical Art in the Eighteenth Century at the MFA in Houston
Pompeo Batoni, Academic Nude, 1765. Charcoal heightened with black and white chalk on blue-grey paper. The Museum of Fine Arts, Houston, the Rienzi Collection, gift of Mr. and Mrs. Harris Masterson III.
HOUSTON, TX.-At the end of the 18th century, fresh archeological finds in Herculaneum and Pompeii inspired artists, intellectuals, and the public all over Europe to be newly fascinated with antiquities. “Neoclassicism” is the term given to the various classicizing movements that developed in the late 18th to early 19th centuries and influenced fine arts, decorative arts, and architecture from Rome to Paris and from London to Saint Petersburg. Influenced by Enlightenment thinkers, the French Revolution, and Napoleon’s rise to emperor, as well as the excavations that made antiquities popular, Neoclassicist artists responded to societal trends by reviving the simple designs and restrained ornament of ancient Greek and Roman art.
Antiquity Revived: Neoclassical Art in the Eighteenth Century presents a sweeping survey of works by both the best-known Neoclassical artists and those unfamiliar to most Americans. Nearly 150 objects will be on view, from paintings and sculptures to prints, drawings, and furniture. Prestigious loans in the exhibition are culled from major museum collections: the Metropolitan Museum of Art, the J. Paul Getty Museum, the Musée du Louvre, the National Galleries of Scotland, the British Museum, and the National Gallery of Art in Washington D.C. Antiquity Revived is also enriched by the MFAH’s own collections, including objects from the house museums for decorative arts, Bayou Bend and Rienzi.
Antiquity Revived is organized by Edgar Peters Bowron and Helga Aurisch, the MFAH’s European art curators, in association with the Musée du Louvre, Paris. It will be on view in Houston March 20 through May 30, 2011 in the Audrey Jones Beck Building.
“This tour-de-force exhibition reveals the grandeur and beauty of a wide variety of Neoclassical works, all demonstrating the artistic principles of harmony, simplicity and proportion,” said MFAH interim director Gwendolyn H. Goffe. “The exhibitionis sure to delight scholars and fans of the classical ideal, and will provide a wonderful introduction to the uninitiated.”
A number of forces were at work as the 18th-century public experienced a collective nostalgia for antiquities. Enlightenment thinkers like Diderot, Voltaire, and Rousseauwere promoting ideals of moral goodness, rationalism, reason, and order in the world—ideals derived from the Greco-Romans—and artists began to reflect these values in their subject matter. In parallel, archaeological expeditions were unearthing fresh discoveries at the perfectly preserved sites of Herculaneum and Pompeii, exciting Europeans to appreciate the ancient past. Cultured cognoscenti traveled the continent on the Grand Tour, often visiting museums, churches, and monuments and viewing these antiquities first-hand, and the publication of large-format, illustrated books further provided access to the artistic models of the past. Artists found inspiration in the splendor of the buried world and in the writings of the great philosophers of their time and reacted against the excess and flourishes of the Rococo style by emulating the great works of the Renaissance. Antiquity Revived: Neoclassical Art in the Eighteenth Century examines early efforts of stylistic reform, how the renewal of classical taste found its roots in ancient sources, and how artists in a variety of disciplines forged an imaginative, classical style that satisfied the needs of their own age.
“Although the word ‘neoclassicism’ was not in vogue at the time, the fervor for classicizing and antiquities infused almost everything and the exhibition illustrates this gradual but definitive unfolding of taste,” said Edgar Peters Bowron. “While the educated public of the 18th century would have been familiar with the themes and implications of the tales illustrated in so-called neoclassical works, this is not the case with museum audiences today, so the exhibition will be rich with didactic labels and wall texts.”
A highlight of the exhibition, on loan from the Toledo Museum of Art, will be Jacques-Louis David’s painting, Oath of the Horatii: a smaller version of the original that was first shown to great success at the 1785 Salon and became one of the most famous paintings in the world. David portrays the scene from the histories of Livy and Plutarch, when three brothers vow to protect Rome against invaders. The depiction of civic virtue, honesty, and austerity became common themes of this genre and the severe composition and cold colors reflect the subject matter.This 1786 version was ordered by the Comte de Vaudreuil (depicted in the exhibition in a portrait by Elizabeth-Louise Vigée-Lebrun) and is nearly identical to the original, except that the artist added a staff with a cleft end holding wool near the feet of the women.
The work of celebrated Italian sculptor Antonio Canova will also be on view. On loan from the Getty is the stunning marble Apollo Crowning Himself (1781–82), which is Canova’s earliest Roman work in marble. Commissioned during the artist’s second visit to Rome in the spring of 1781 by Prince Abbondio Rezzonico, the half-life-size work is a study in classical pose and proportion—particularly the figure’s contrapposto stance. Canova derived the details of his representation of the god Apollo from Ovid’s Metamorphoses (Book I, 557–59), in which Apollo laments the loss of the nymph Daphne, who has been transformed into a laurel tree to escape his advances. Canova’s depiction of a poignant, introspective scene just after a climactic moment is characteristic of the artist’s work.
Other artists represented in the exhibition include Robert Adam, Pompeo Batoni, Edmé Bouchardon, Jean-Antoine Hudson, Anton Raphael Mengs, Giovanni Paolo Panini, Giovanni Battista Piranesi, Joseph Wright of Derby, and many more. Approximately 50 paintings, 30 sculptures, and 40 prints and drawings will be on view, as well as furniture and decorative arts.
Angelica Kauffmann, Ariadne Abandoned by Theseus, 1774. Oil on canvas. The Museum of Fine Arts, Houston, gift of Mr. and Mrs. Harris Masterson III in memory of Neill Turner Masterson, Jr
Jacques-Louis David, Oath of the Horatii, 1786, oil on canvas, lent by the Toledo Museum of Art; purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey.
Giovanni Paolo Panini, Ancient Rome, 1757, oil on canvas, The Metropolitan Museum of Art, Gwynne Andrews Fund.© The Metropolitan Museum of Art/Art Resource, NY
Ernst Matthäi (after Bertel Thorvaldsen), Venus, 1816–20, marble, the MFAH.
Joseph Marie Vien, Greek Lady at the Bath, 1767, oil on canvas, Museo de Arte de Ponce, Puerto Rico, the Luis A. Ferre Foundation, Inc.
"Rodin - Sugimoto" @ Gagosian Gallery, Paris
Auguste Rodin, The Three Shades, 1881-86, Bronze, 75 1/2 x 75 1/2 x 42 inches (191.8 x 191.8 x 106.7 cm), Cast 4/8. Courtesy Gagosian Gallery
PARIS.- Gagosian Gallery Paris presents “Rodin – Sugimoto,” an exhibition of sculpture and photography, on view from February 11 through March 25, 2011. Auguste Rodin brought monumental public sculpture forward into the modern era. Although educated in the academic traditions and idealized subjects of classical and Renaissance sculpture, he embraced truth to nature as his artistic credo. His uncanny ability to imbue inert substances with movement and feeling reveals the idiosyncrasies and psychological depths of the human subjects that he portrayed. His agile use of form and the bravura of his modeling in pursuit of turbulent, light-catching surfaces have established him as one of the progenitors of modern sculpture.
Hiroshi Sugimoto, Stylized Sculpture 008, designer: Yves Saint-Laurent, 2007, Gelatin silver print, 58 3/4 x 47 inches unframed (149.2 x 119.4 cm), Ed. of 5 © Hiroshi Sugimoto, Courtesy Gagosian Gallery.
Three monumental sculptures spanning the last thirty years of Rodin’s career represent the force and vigor of his approach, which emphasized the quality of flesh while suggesting emotion through detailed, textured surfaces and the interplay of light and shadow upon them. The Three Shades (c. 1880), from the private collection of Iris Cantor, is an introspective group study in which the standing figure of Adam from The Gates of Hell is repeated in shifting perspective; Monument to Victor Hugo (1897), on loan from the renowned Iris and B. Gerald Cantor Foundation, is a stirring meditation on artist and muse, a roiling figure composition that depicts the great artist deep in thought; The Whistler Muse (1908), on loan from the Musée Rodin, was intended to honour a commission in tribute to the American painter James Abbott McNeill Whistler who had requested not to be physically represented - in response Rodin chose the image of the muse. Rendered like a classical fragment, the armless female figure attempts to climb a mountain in an allegory of the challenge of artistic creation.
Auguste Rodin,The Three Shades, 1881-86, Bronze, 75 1/2 x 75 1/2 x 42 inches (191.8 x 191.8 x 106.7 cm), Cast 4/8., detail view.. Courtesy Gagosian Gallery
Rodin’s sculptures are shown here in unexpected and unprecedented combination with a series of photographs by Hiroshi Sugimoto, one of the world’s most admired living photographers. Sugimoto works with time as his clay, exploring the relation of images sculpted in light and shade to the evolution of history. For the series Stylized Sculpture (2007), he selected distinctive garments by celebrated couturiers from the collection of the Kyoto Costume Institute -- from Vionnet’s precociously modern T-dress and Balenciaga’s wasp-waisted billowing ensemble to Yves St Laurent’s strict geometric Mondrian shift and Issey Miyake’s sail-like slip. Each in its own way represents a pivotal moment in twentieth century fashion history, its corporeal dynamics crystallized by the steady gaze of the camera lens.
Hiroshi Sugimoto, Stylized Sculpture 011, designer: John Galliano, 2007, Gelatin silver print, 58 3/4 x 47 inches unframed (149.2 x 119.4 cm), Ed. of 5 © Hiroshi Sugimoto, Courtesy Gagosian Gallery.
Shot in chiaroscuro on headless mannequins, and thus removed from the context of the human body and its emotive associations and specificities, the garments reveal their pure formal qualities in terms of dramatic contrasts in form, volume, and surface. Sugimoto captures the abstract, sculptural nature intrinsic to the history of clothing – a history as ancient as humanity itself – and in so doing, depicts the eternity beyond the evanescence.
Auguste Rodin, Monument to Victor Hugo, c. 1900, Bronze, 72 3/4 x 112 1/8 x 63 3/4 inches (184.8 x 284.8 x 161.9 cm), Ed. of 8.. Courtesy Gagosian Gallery
Auguste Rodin was born in Paris in 1840. In 1854, Rodin enrolled at the École Impériale de Dessin (the "Petite École"), a government school for craft and design. Although he was awarded two prizes for drawing and modeling at the age of seventeen, Rodin was unable to gain admittance to the prestigious and conservative École des Beaux-Arts, which rejected him three times. He began to use live models in 1863. In 1870, Rodin travelled to Brussels, where he remained for six years. In 1877, he exhibited The Defeated (now titled The Age of Airain) at the Cercle Artistique et Littéraire in Brussels, then the Salon des Artistes Français in Paris. He was accused of having cast his statue directly from life. In 1880, Rodin was commissioned by the French Ministry of Fine Arts to design The Gates of Hell, his first large-scale public project. He exhibited many of these figures independently. By 1900 Rodin had achieved the pinnacle of success and he was able to complete long term projects including Monument to Victor Hugo. In 1893 Rodin moved to Meudon outside of Paris, where he remained until his death in 1917. Recent exhibitions include “Leaving Rodin Behind? Sculpture in Paris, 1905-1914”, Musée d'Orsay, Paris (2009) and “Matisse & Rodin”, a permanent display at the Musée Rodin, Paris (2009).
Hiroshi Sugimoto, Stylized Sculpture 110, designer: Issey Miyake, 2007, Gelatin silver print, 58 3/4 x 47 inches unframed (149.2 x 119.4 cm), Ed. of 5 © Hiroshi Sugimoto, Courtesy Gagosian Gallery.
Hiroshi Sugimoto was born in Tokyo in 1948. In 1970 he moved to Los Angeles and studied photography at the Art Center College of Design. He has exhibited extensively in major museums and galleries throughout the world, including the Metropolitan Museum of Art, New York (1995); Deutsche Guggenheim, Berlin (2000); the Kunsthaus Bregenz, Austria (2002); the Serpentine Gallery, London (2003) and the Fondation Cartier de l'art contemporain, Paris (2004). A major survey of his work opened at the Mori Art Museum, Tokyo in 2005 and travelled to the Hirshhorn Museum and Sculpture Garden, Washington, D.C. and the Fort Worth Art Museum, Texas (2006). In 2007, a European retrospective began at K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2007) and traveled to the Museum der Moderne, Salzburg, Neue Nationalgalerie, Berlin and Kunstmuseum Luzern, Switzerland. (2008).
Sugimoto lives and works in New York City and Tokyo.
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Auguste Rodin, Monument to Victor Hugo, c. 1900, Bronze, 72 3/4 x 112 1/8 x 63 3/4 inches (184.8 x 284.8 x 161.9 cm), Ed. of 8. , Courtesy Gagosian Gallery.
PARIS.- Gagosian Gallery Paris est heureuse de présenter l'exposition «Rodin - Sugimoto.». Auguste Rodin introduit la sculpture publique monumentale dans l’ère moderne. Issu d’un enseignement académique traditionnel, idéalisant les sujets de la sculpture classique et de la Renaissance, son engagement artistique s’est toutefois tourné vers la réalité de la nature. Sa capacité déroutante à donner vie à des matières inanimées, avec mouvement et sensibilité, révèle les singularités et les profondeurs psychologiques des sujets humains qu’il sculpte. Agile dans la retranscription des formes et audacieux dans le modelage, toujours à la poursuite du reflet de la lumière à la surface de ses sculptures, il est l’un des précurseurs de la sculpture moderne.
Hiroshi Sugimoto, Stylized Sculpture 023, designer: Vionnet, 2007, Gelatin silver print, 58 3/4 x 47 inches unframed (149.2 x 119.4 cm), Ed. of 5 © Hiroshi Sugimoto, Courtesy Gagosian Gallery.
Trois sculptures monumentales, retraçant les trente dernières années de l’œuvre de Rodin, symbolisent, dans cette exposition, la force et la vigueur de son approche artistique. Celle-ci reflète, par des surfaces détaillées et texturées, la qualité de la chair tout en suggérant l’émotion à travers le jeu de l’ombre et de la lumière.
Les Trois Ombres (c. 1880), provenant de la collection privée d’Iris Cantor, constitue une étude de groupe introspective dans laquelle le personnage d’Adam La Porte de l’Enfer est décuplée dans des perspectives différentes. Monument à Victor Hugo (1897), prêt de la très renommée Fondation Iris et B. Gerald Cantor, est une méditation ambigüe sur l’artiste et sa muse, une composition de personnages enlacés qui dépeint le grand artiste plongé dans ses pensées profondes. La Muse de Whistler (1908), prêt du musée Rodin, était à l’origine destinée à honorer la commande en hommage à le peintre American James Abbott McNeill Whistler, ce dernier ayant émis le souhait à Rodin de ne pas être physiquement représenté - raison pour laquelle l’artiste privilégiera l’image de la muse. Représentée tel un fragment classique, la femme aux bras absents tente l’ascension d’un sommet, allégorie du défi de la création artistique.
Hiroshi Sugimoto, Stylized Sculpture 067, designer: Yohji Yamamoto, 2007, Gelatin silver print, 58 3/4 x 47 inches unframed (149.2 x 119.4 cm), Ed. of 5 © Hiroshi Sugimoto, Courtesy Gagosian Gallery.
Les sculptures de Rodin sont présentées ici en parallèle avec une série de photographies d’Hiroshi Sugimoto; une association inattendue et sans précédent. Sugimoto est l’un des photographes vivants les plus admirés. Il façonne le temps tel un sculpteur son argile, et explore ainsi les images sculptées dans l’ombre et la lumière, en relation avec l’évolution de l’histoire. Pour sa série Stylized Sculpture (2007), il a choisi des habits emblématiques de couturiers célèbres issus de la collection de l’Institut du Costume de Tokyo: la robe T de Vionnet – d’une modernité précoce, la robe taille de guêpe de Balenciaga, la géométrie stricte de la pièce d’Yves Saint Laurent ou encore le jupon à voile d’Issey Miyake. Chaque tenue représente, à sa façon, un moment charnière de l’histoire de la mode du 20ème siècle ; le regard immuable de la caméra cristallisant leur dynamique corporelle.
Hiroshi Sugimoto, Stylized Sculpture 117, designer: Cristóbal Balenciaga, 2007, Gelatin silver print, 58 3/4 x 47 inches unframed (149.2 x 119.4 cm), Ed. of 5 © Hiroshi Sugimoto, Courtesy Gagosian Gallery.
Les vêtements, immortalisés dans une ambiance de clair-obscur, sur des mannequins dépourvus de tête, sont ainsi délestés de leur lien inhérent au corps humain, de ses associations et émotions. Les photographies retranscrivent la pure qualité formelle du vêtement en contraste avec sa forme, son volume ou encore sa surface. Sugimoto capture l’abstrait, la nature sculpturale intrinsèque à l’histoire du vêtement – une histoire aussi ancienne que l’humanité – et dépeint ainsi l’éternité au delà de l’évanescence.
L’exposition sera accompagnée d’un catalogue et d’un texte rédigé par l’historien d’art Kenneth Wayne.
RODIN - SUGIMOTO : 11 février – 25 mars 2011 / Courtesy Gagosian Gallery, Paris. Photo Zarko Vijatovic.
Auguste Rodin est né à Paris en 1840. En 1854, Rodin s’inscrit à l’Ecole Impériale de Dessin (la “petite” école), une école publique pour l’artisanat et le design. Dès l’âge de 17 ans il remporte deux prix de dessin et de modelage, pourtant il ne parvient pas à intégrer la prestigieuse école des Beaux Arts, qui le refuse trois fois. Il commençe à avoir recours aux modèles vivants en 1863. En 1870, il part à Bruxelles où il restera 6 ans. En 1877, il expose Le Vaincu (dorénavant nommé L’âge de d'airain) au Cercle artistique et littéraire de Bruxelles, puis au Salon des artistes français de Paris. Sa statue donne une telle impression de vie, qu'on l'accuse d'avoir fait un moulage sur un modèle vivant. En 1880, le Ministère des Beaux Arts lui commande La Porte de l’Enfer, sa première sculpture monumentale. Au début des années 1880, il expose de nombreuses sculptures présentées de manière indépendante. En 1900, l’œuvre de Rodin atteint son apogée et des projets ambitieux tel Monument à Victor Hugo sont réalisés. En 1908, il s’installe à Meudon où il restera jusqu’à sa mort en 1917. L’œuvre de Rodin a été exposée récemment en 2009 au musée d’Orsay sous le titre «Oublier Rodin? La sculpture à Paris, 1905-1914», ainsi qu’au Musée Rodin dans l’exposition «Matisse & Rodin» de manière permanente.
RODIN - SUGIMOTO : 11 février – 25 mars 2011 / Courtesy Gagosian Gallery, Paris. Photo Zarko Vijatovic.
Hiroshi Sugimoto est né à Tokyo en 1948. En 1970, il déménage à Los Angeles où il étudie la photographie au Art Center College of Design. Son œuvre a été exposée à travers le monde dans des musées, institutions et galeries prestigieuses tels le Metropolitan Museum of Art, New York (1995), Deutsche Guggenheim, Berlin (2000), Kunsthaus Bregenz, Autriche (2002), Serpentine Gallery, Londres (2003), et à la Fondation Cartier de l’art contemporain, Paris (2004). Une exposition majeure de son travail a été présentée au Mori Art Museum de Tokyo en 2005, puis au Hirshhorn Museum and Sculpture Garden, Washington D.C. et Fort Worth Art Museum, Texas (2006). En 2007, une rétrospective européenne itinérante est inaugurée au K20 Kustsammlung Nordhein-Westfalen, Düsseldorf (2007), puis est présentée au Museum der Moderne, Salzburg, à la Neue Nationalgalerie, Berlin et au Kunstmuseum, Lucerne en Suisse (2008).
Sugimoto vit et travaille à New York et à Tokyo.
RODIN - SUGIMOTO : 11 février – 25 mars 2011 / Courtesy Gagosian Gallery, Paris. Photo Zarko Vijatovic.
RODIN - SUGIMOTO : 11 février – 25 mars 2011 / Courtesy Gagosian Gallery, Paris. Photo Zarko Vijatovic.
RODIN - SUGIMOTO : 11 février – 25 mars 2011 / Courtesy Gagosian Gallery, Paris. Photo Zarko Vijatovic. RODIN - SUGIMOTO : 11 février – 25 mars 2011 / Courtesy Gagosian Gallery, Paris. Photo Zarko Vijatovic. 
An Extraordinary Display of Masterpieces Announced for This Year's Edition of TEFAF
Hendrick Berckman (Klundert 1629 – Middelburg 1679), A Young Boy with a Dog. Oil on mahogany panel, 31 ¼ x 24 ¾ inches (79.5 x 63 cm). Photo: Courtesy Lawrence Steigrad Fine Arts
HELVOIRT.- An extraordinary display of masterpieces will be on show at TEFAF Maastricht when the world’s most influential art and antiques fair opens its doors at the MECC (Maastricht Exhibition and Congress Centre) in Maastricht in the southern Netherlands from March 18-27, 2011. Among the highlights of the 24th edition of The European Fine Art Fair will be the imposing and important Henry Moore sculpture Mother and child block seat, Pierre-Auguste Renoir’s superb depiction of his son Claude, and an extremely rare Greek idol made about 7,000 years ago. They will be among more than 30,000 works of art at TEFAF Maastricht, all rigorously vetted by teams of international experts to maintain the Fair’s reputation for exhibiting only the best pieces.
Mother and child block seat by Henry Moore will be brought to TEFAF by Landau Fine Art of Montreal, one of the world’s leading specialists in modern art. The 8ft high bronze sculpture will be exhibited in one of the Fair’s squares. Cast in an edition of nine in 1983, three years before Moore’s death, it portrays the child as an elemental, virtually abstract form as if to represent it in an early stage of development. The effect of “the big form protecting the small form”, as Moore described it, is compelling.
Pierre-Auguste Renoir’s fine painting of his son Claude will go on public show for the first time at TEFAF Maastricht. Hammer Galleries of New York will exhibit La leçon (Bielle, l’institutrice et Claude Renoir lisant), which portrays Renoir’s third son reading with his school teacher. The picture, painted c1906, which has been in private collections for decades, will be part of a Renoir exhibition mounted by Hammer Galleries. In TEFAF Paper, a section introduced in 2010 for works on paper, new exhibitor Stephen Ongpin Fine Art from London will show a Renoir watercolor. Study of a Bather is a preparatory work for his painting Bathers in the Forest, which hangs in the Barnes Foundation in the United States. The price will be £125,000.
Rupert Wace Ancient Art of London will be bringing a rare and important Greek idol dating from the Late Neolithic period c5300 – 4500BC to TEFAF Maastricht. The small yet monumental 4.6in high white marble figure of a woman is one of less than a dozen known pieces dating from this early era, most of which are in museums. It is 2,000 years older than the majority of surviving Cycladic works of art. Although it is recorded as having been in private collections since the 1950s, it has only recently been rediscovered. The female idol, representing fertility, would almost certainly have been placed in a tomb to accompany the deceased person on their journey to the afterlife. Some 7,000 years after it was carved, it is in extremely good condition and will be offered for sale at TEFAF for a price in excess of €1 million. 
Two amber altarpieces with ivory carvings made for private worship in late 17th century Germany will be exhibited at TEFAF Maastricht by Kunstkammer Georg Laue from Munich. These pieces are important because of the extraordinary quality of their workmanship and because of their rarity. It is particularly unusual to find a pair such as this. These beautiful works of art were a specialty of craftsmen in Danzig and were often given as diplomatic presents to foreign rulers by the Prussian court. The combined price of this pair will be €500,000.
The Spanish dealer Deborah Elvira will exhibit Ecce Homo, one of only a handful of sculptures by El Greco and the only such work by him known to be signed. It is made of polychrome wood and dates from the last quarter of the 16th century. Véronique Bamps of Monaco will offer a unique necklace in yellow gold made by René Boivin of Paris in 1945 for Princess Irène of Greece. This superb piece is decorated with pompons set with brilliant cut diamonds.
TEFAF Design is a separate section of the Fair for specialists in modern design and applied arts. Among its highlights in 2011 will be a unique set that was made for the president of the Danish Shipowners Association and will be exhibited by Galerie Eric Philippe of Paris. It consists of a dining table, 12 chairs and a sideboard designed by Christen Emanuel Kjaer Monberg and Axel Salto in Denmark in 1923.
TEFAF 2011 will have some 260 exhibitors from 16 countries in nine sections. In addition to exhibitors from established centers of the art and antiques market in Europe and North America, the 2011 Fair will include dealers from Korea, Uruguay and Argentina.
Ubaldo Gandolfi (San Matteo della Decima, 1728 – Ravenna, 1781), A Sleeping Legionary. Oil on paper laid onto canvas, 9 1/8 x 13 5/8 inches, 23.2 x 34.6 cm. Photo: Courtesy Noortman Master Paintings.
Asian Art Dealers to Present Thirty-Two Exhibitions in Celebrations of Asia Week 2011
NEW YORK, NY.- Asian art aficionados from both here and abroad will experience a unique wealth of beauty, diversity and scholarship when they are in New York from March 18-26 as 32 member dealers of Asian Art Dealers New York (AADNY) offer simultaneous exhibitions open to the public throughout Manhattan as part of Asia Week New York 2011. With members coming to exhibit from England, France, Japan and Italy to join those dealers based in Manhattan, a truly global treasure chest will be on view.
Asia Week New York 2011, an unprecedented collaboration between these top Asian art specialists, five auction houses plus cultural institutions and museums throughout Manhattan, will also produce a comprehensive guide for visitors, which will feature in-depth listings of all participants, an events calendar, detailed maps and more.
Offering a broad array of mediums that will attract collectors, scholars, curators as well as novices, AADNY, first organized with 16 dealers in 2009, has grown significantly and includes members who have been pre-eminent in their respective fields for decades. The dealers specialize in a wide range of disciplines, appealing to many collecting tastes. Dealer-run and self-vetted, AADNY includes experts in Chinese, Contemporary Chinese, Indian, Himalayan, Southeast Asian, Japanese, Contemporary Japanese, Korean and Contemporary Korean art.
“AADNY’s international dealers in Chinese, Japanese, Indian and Korean art will be offering world-class objects and paintings ranging from the ancient to contemporary,” said Carol Conover, director of Kaikodo. “For art lovers, New York has always been a destination, and this Asia Week in March will prove to be one of the most exciting events of the art calendar.”
New to the impressive roster of AADNY exhibitions this year are Dai Ichi Arts, Ltd., presenting Chinese and Japanese porcelain, and John Siudmak Asian Art, a London-based dealer, who will offer Indian and Himalayan works from the estate of a prominent historian of India.
Beatrice Lei Chang of Dai Ichi Arts, Ltd. commented, “I am delighted to be part of AADNY with its reputation for professionalism and being well-organized. It is very important to me as a dealer for contemporary Japanese and Chinese ceramics (with the volume of other exhibiting dealers) that my singular voice as an Asian art dealer is now stronger.”
“New York has been dominant in the field of Asian art—Indian art in particular—for many years, and has always had good dealers in this field as well as strong auctions,” said John Siudmak. “I am very glad to have the opportunity to participate in this event with other colleagues, and hope that the objects I am bringing will widen the choice available for collectors and museums. It is very exciting to exhibit Indian art in New York where there is so much interest in the subject and so many important collections.”
Chinese Ancient through Contemporary Art Fifteen AADNY exhibitions of ancient and contemporary Chinese works of art spanning centuries as early as the Shang Dynasty (1500-1050 B.C.) in bronze, ceramics, paintings and more will be featured during Asia Week New York 2011.
China 2000 Fine Art will offer New Shoots off the Old Trunk: Contemporary Chinese Art with Classical Roots in its gallery at 434A East 75th Street. The exhibition seeks to examine such questions as wherein lays the “Chineseness” of contemporary Chinese art? Is the hold of classical art so paralyzing to the creativity of contemporary artists that they must break with tradition to establish something new, or is it possible to build on tradition? 19– 25 March, 2011, Mon – Fri 11 – 5 pm. C2000FA@aol.com - www.china2000fineart.com
Xu Bing (B.1955), Square Word Calligraphy Couplet (2010) - Poem by Du Fu. Courtesy China 2000 Fine Art
Ink Paintings by Liu Dan, Zeng Xiaojun and Tai Xiangzhou will be presented by The Chinese Porcelain Company, 475 Park Avenue, and will feature the work of these three exciting contemporary artists. Liu Dan and Zeng Xiaojun’s work is in demand by private collectors and museums; these artists are two of only ten represented in the exhibition Fresh Ink: Ten Takes on Chinese Tradition currently on view at the Museum of Fine Arts Boston. Tai Xiangzhou is being shown here for the first time in the United States; he has received numerous awards in China, including the Excellence Award at the 2010 Exhibition of Selected Works by Art Students organized by the Museum of Contemporary Art. 19 - 26 March, 2011. Mon – Fri 10 – 6pm, Sat, 11 – 5pm . chineseporcelainco@gmail.com - www.chineseporcelainco.com
Zeng Xiaojun (b. 1954), Tree Study No. 4, Ink on paper, 2009 (Image: Height: 70 ¾ inches (179.7 cm.), Width: 38 inches (96.5 cm.); Canvas size: Height: 86 ½ inches (219.7 cm.), Width: 46 inches (116.8 cm.)) Courtesy The Chinese Porcelain Company
Dai Ichi Arts, Ltd.’s exhibition, Delicate and Daring: the Porcelain Art of China and Japan at 100 Central Park South, offers 40 works of art by contemporary Chinese and Japanese artists. Employing the quintessential Chinese medium beloved by artists and desired by emperors and kings—porcelain—the works are outstanding examples of beauty in an impressive variety of craftsmanship including painting, carving, perforating, enameling, glazing, gilding and more. 19 – 26 March, 2011. Daily 10 – 6pm. info@daiichiarts.com - www.daiichiarts.com
Li Hong "McDonald's - Blue Dragon in Clouds, Yellow", 2007, porcelain. Courtesy Dai Ichi Arts Ltd
Exhibiting at Galerie Friedman Vallois at 27 East 67th Street, Parisian Galerie Christian Deydier will offer Treasures from Ancient China III, which will include an exceptional Pan bronze vessel decorated with a snake, from the Shang dynasty (13th-11th century B.C.), and a beautiful three-color glazed horse from the Tang Dynasty (8th century A.D.). 17 – 26 March, 2011. Daily 10 – 6pm. galerie@deydier.com - www.galeriechristiandeydier.com
A three-colour Horse, earthenware in sancai glaze, China, Tang Dynasty (618-907). Courtesy Galerie Christian Deydier
Early Chinese Metalwork in Gold and Silver; Works of Art of the Ming and Qing Dynasties is the title of Eskenazi Ltd.’s March exhibition, which will focus on rare and luxurious articles made for emperors, courtiers and scholars and feature exquisitely decorated pieces from the Tang Dynasty (618-907 A.D.). The London-based dealer will show at the Ukrainian Institute, 2 East 79th Street, New York 10075. T (212) 288 8660. gallery@eskenazi.co.uk www.eskenazi.co.uk
Silver-gilt Melon-shaped bix cover, Tang Dynasty (618-907). Courtesy Eskenazi Ltd
MD Flacks Ltd. of 32 East 57th Street will present Scholar’s Trays, as part of the gallery’s series of exhibitions that concentrates on small treasures and Scholar’s Objects. The show, believed to be the first of its kind in America, will focus on 17 examples of 17th-, 18th- and early 19th-century trays, mainly for use in the Scholar's Studio as part of the rituals involved with burning incense, drinking tea, calligraphy and painting and thus an essential part of the Scholarly Ideal that was so venerated in China. The variety of treatments of this form offers a wide range of styles, shapes and materials. 19 – 25 March, 2011, Mon – Fri 10 – 6 pm. info@mdflacks.com - www.mdflacks.com
Foliate Trays, Huanghuali wood/marble, China, 17th century. Courtesy MD Flacks Ltd
Michael C. Hughes LLC will present Chinese Sculpture & Other Works of Art at Mark Murray Gallery, 39 East 72nd Street, 5th Floor. Two important highlights of this exhibition are a massive, glazed, striding Bactrian camel formerly in the collection of Bernice Richard and an extremely rare, colorful-glazed earth spirit formerly in the Tsui Museum of Art, Hong Kong. Both date to the Tang Dynasty (618-907 A.D.). 18 – 26 March, 2011. Daily 10 – 6pm. mhughesllc@earthlink.net
Massive rare sancai and turquoise-glazed potteru earth spirit, Tang Dynasty, 8th century. Courtesy Michael C. Hughes LLC
Early Chinese Ceramics-Asian Works of Art will be presented by Andrew Kahane, Ltd. at 42 East 76th Street. Featured works will include a Chinese Longquan celadon bowl of the Southern Song Dynasty (late 12th-early 13th century) and an Indonesian gold Kala head from Eastern Java, South Malang in the late Singhasari-early Majapahit Period (13th-early 14th century). Both objects were made for court use, the first in China and the second in Java and come from Buddhist traditions. 19 – 26 March, 2011. Mon – Sat 10 – 6pm. kahaneasia@aol.com - www.artasianappraisers.com
Indonesian gold Kala head from Eastern Java, South Malang in the late Singhasari-early Majapahit Period (13th-early 14th century). Courtesy Andrew Kahane Ltd
Asian Journeys: Chinese, Japanese and Korean Paintings and Ceramics, accompanied by Kaikodo Journal XXVII, will be shown by Kaikodo at 74 East 79th Street, Suite 14B, featuring Chinese, Japanese and Korean paintings along with a range of ceramics from China, Korea and Vietnam to provide the material for a grand tour through time, space and psyche, where borders might appear flung open and at other times almost impermeable. Items range from 8th-century Korean ceramics and early 13th-century Chinese paintings to 19th-century Japanese works of art. 19 March – 28 April, 2011. Mon – Sat 10 – 6 pm. asianart@kaikodo.com - www.kaikodo.com
Large Korean Blue-and-White Dragon Jar, Joseon Dynasty, 18th century. Courtesy Kaikodo
J.J. Lally & Co. of 41 East 57th Street will exhibit Ancient Chinese Bronzes, a show of bronze vessels, figures, animals and other works of art made for ritual use or as emblems of power and status in ancient China. The finely cast and inlaid bronzes date from the Shang Dynasty (circa 1500-1050 B.C.) through the Han Dynasty (206 B.C.-220 A.D.). 19 March – 9 April, 2011. Mon – Sat 10 – 5pm staff@jjlally.com - www.jjlally.com
An Archaic Bronze Taotie Mask, early Western Zhou Dynasty, 10th-9th c. BC. Courtesy J.J. Lally & Co.
Contemporary Chinese Ink Paintings, Featuring Lotus Paintings by Shi Ze will be shown at M. Sutherland Fine Arts, Ltd., 55 East 80th Street, 2nd Floor. Shi Ze (born 1960, Beijing) first showed at the gallery in 2003. His works now, as then, are fresh and untrammeled views of the important Buddhist symbol of purity, the lotus and uses techniques and materials from traditional Chinese ink, Western oil and Tibetan thanka painting. 19 – 26 March, 2011. Mon – Sat 10 – 5pm. info@msutherland.com - www.artnet.com/msutherland.html
Shi Ze (born 1960, Beijing), Pink Lotus on Blue Background, 2010. Courtesy Sutherland Fine Arts, Ltd
The John Menke Collection of Vietnamese Ceramics will be on view at Zetterquist Galleries, 3 East 66th Street, Suite 1B. The encyclopedic collection from the Dong Son Culture (700-43 B.C.) through the 17th century was assembled over more than 40 years by the eminent scientist, John Menke. Zetterquist Galleries has selected more than 50 pieces for their historical importance and beauty and will offer a rare opportunity to view together 17 centuries of the Vietnamese ceramic tradition. Many of the works in this exhibition have been published in major Vietnamese ceramics books in the U.S. and Europe over the last two decades. 19 – 31 March, 2011. Mon – Sat 12 – 6pm. inquiries@zetterquist.com - www.zetterquist.com
Four Islands plate, Vietnam, 16th century. Courtesy Zetterquist Galleries
Ralph M. Chait Galleries will also participate in Asia Week New York 2011; exhibition information was unavailable at this writing. Details will be available in the coming weeks. 19 – 26 March, 2011, Mon – Sat 10 – 6pm. 724 Fifth Avenue, 10th Floor, New York, NY 10019. T (212) 397 2818 - F (212) 319 0471 - info@rmchaitgal.net - www.rmchait.com
Fine Imperial Chinese Blue and White Mallet Vase (1662-1722). Courtesy Ralph M. Chait Galleries
Indian, Himalayan and Southeast Asian Art and Antiques Also among the AADNY exhibitors this year are 15 dealers of Indian, Himalayan and Southeast Asian art and antiques. Viewers will find a treasure of paintings, textiles, jewels, bronzes and other metal pieces and much more dating from the second century A.D. to the 18th century.
Leiko Coyle Asian Art will exhibit Recent Acquisitions at 311 East 72nd Street, Suite 15E. The show will include an extensive collection of Tibetan thangkas dating from the 14th-19th centuries. Highlights from the collection include an 18th-century, large-scale painting of the Buddha Amitayus commissioned in 1778 by the Qianlong Emperor to honor the visit of the sixth Panchen Lama. Also on view will be three-dimensional works in bronze, wood and stone from Tibet, Nepal, and India. 19 – 26 March, 2011. OPENING PARTY: 17 March, 5 – 8pm. Mon – Sat 10 – 5pm - leikoc@gmail.com
Buddha Amitayus, 1779-1780, from the Xumifushou Temple, Chengdu, China. Courtesy Leiko Coyle Asian Art
From the Himalayan Regions: Sculptures, Tangkas and Textiles is the exhibition to be presented by Carlo Cristi of Italy at AFP Galleries, 41 East 57th Street, Suite 702. It will feature fine collections of Tibetan paintings ranging from the 13th-17th centuries, Nepalese and Indian bronzes dating from the 10th-12th centuries and Central Asian textiles dating from the 6th-10th centuries along with needle loop embroideries of the Ming Dynasty (1368-1644 A.D.). 18 – 27 March, 2011. Mon – Sun 11 – 6pm - carlocristi@tin.it - www.asianart.com/carlocristi
Wooden tablet painted with Amitabha flanked by boddhisatvas. Tibet, 13th century, wood, pigments. Courtesy Carlo Cristi
Also traveling from Italy is Dalton Somaré from Milan. Early Indo-Buddhist Art will be shown at Pace Gallery, 32 East 57th Street, 7th Floor, and will include very early works of art from the Indian Subcontinent. Among them is an Anthropomorph copper figure from the Gangetic Planes (2nd Millennium B.C.), impressive for its size, as well as several stone images of the Indus Gods Vishnu and Shiva from different periods (6th-11th centuries) from India and Nepal. Also on view will be Himalayan and Indian Buddhist bronzes, including an extremely fine 11th-century Pala Padmapani. 18 – 26 March, 2011. OPENING PARTY: March 17, 6 – 9pm. Daily 11 – 6pm - daltonsomare@hotmail.com
Manjusti Boddhisatva, Tibet, 15th centuiry. Gilt copper, semiprecious stones,,pigments. Courtesy Dalton Somaré
John Eskenazi Ltd. of London will offer Recent Acquisitions at Adam Williams Fine Art Ltd, 24 East 80th Street. A particular highlight of the show is a charming terracotta fragment of Dancing Shiva from 5th/6thcentury Eastern India, Bihar or Bengal, originally part of a rectangular panel that occupied a ghanadvara (solid aperture) on a temple wall. Both joyful and thoughtful, the image is one of the most easily recognized forms in Indian art and, in this early example, Shiva dances for the delight of his fellow gods. 16 – 30 March, 2011. Daily 10 – 6pm - john.eskenazi@john-eskenazi.com - www.john-eskenazi.com
The birth of Buddha.. Eastern India, 6th century, terracotta. Courtesy John Eskenazi Ltd
Indian Miniature Paintings from the Lloyd Collection will be presented by London-based dealers Oliver Forge & Brendan Lynch Ltd. at 9 East 82nd Street, Suite 1A. The exhibition comprises a remarkable group of 25 Mughal, Rajput and Deccani miniature paintings mainly assembled in the 1970s and ’80s by a private English collector. A number of the most important paintings were acquired at two milestone London exhibitions, at Colnaghi in 1978 and 1979, and others at auction. 18 – 26 March, 2011. Daily 10 – 6pm - brendan@forgelynch.com - www.forgelynch.com
An assembly of royal pigeons round a dovecote. Mughal India, circa 1660. Opaque watercolour with gold on paper. Courtesy Oliver Forge & Brendan Lynch Ltd
Kapoor Galleries will present ‘A Sterling Collection’ of Indian & Himalayan Art at its 1015 Madison Avenue space. The collection, amassed by a private American collector over a 20-year period, contains exquisite examples of Indian miniature painting as well as sculptural masterpieces from India, Nepal & Tibet. The collection consists of 29 Indian paintings and 15 sculptures that were acquired almost exclusively from auctions in New York. 19 – 26 March, 2011. Mon – Sat 10:30 – 6pm - info@kapoorgalleries.com - www.kapoorgalleries.com
Vajradara. Yuan dynasty. Gilt copper with semiprecious stones. Courtesy Kapoor Galleries
Arnold H. Lieberman of 311 East 72nd Street, Suite 6F, will exhibit Recent Acquisitions, an exhibition featuring a large, polychromed wood sculpture of a Chinese Buddhist Abbott, circa 1770; a rare Ninxia skeleton carpet; an elaborate Rajastani shield of painted dahl hide and other distinctive objects primarily from South Asia and the Himalayan regions. 19 – 26 March, 2011. OPENING PARTY: 17 March, 5 – 8pm. Mon – Sat 10 – 5pm - lieberman108@earthlink.net - www.arnoldlieberman.com
Lanta. Eastern Tibet or China, 17th or 18th century. Wood with polychrome. Courtesy Arnold H. Lieberman
Exhibition of Jewels from Mughal India and South East Asia will be presented by Sue Ollemans Oriental Art from London, exhibiting this year at Valentina Gallery Inc., 960 Madison Avenue, 2nd Floor, and will feature jewels dating from the 17th 19th centuries and related objects. Along with these will be a collection of jewels from the Deccan and Tamil Nadu in the South of India dating from 12th-20th centuries. Jewels from South East Asia—most importantly Java (dating from 11th-16th centuries)—will also be on view. 19 – 25 March, 2010. Mon – Fri 11 – 6 pm - ollemans178@btinternet.com - www.ollemans.com
A gold and ruby Nandi, South Deccan, 17th century or earlier. Courtesy Sue Ollemans Oriental Art
Carlton Rochell Asian Art will offer Indian, Himalayan and Southeast Asian Works of Art at its 44 East 74th Street gallery. Featured will be more than 20 sculptures and paintings from India, Tibet, Nepal and Cambodia. These works hail from prestigious private collections in both America and Europe; works range in date from the 2nd century A.D. to the 18th century. 17 – 25 March, 2011. Daily 10 – 6pm - info@carltonrochell.com - www.carltonrochell.com
Sarasvati. South India. Hoysala dynasty, mid 12th century. Grey chloritic schist. Courtesy Carlton Rochell Asian Art
John Siudmak Asian Art of London will present Indian and Himalayan Sculptures and Thankas from the Collection of the Late Simon Digby at C.G. Boerner Gallery, 23 East 73rd Street. The exhibition of 30 items comes from the leading historian of ancient India, Simon Digby (1932-2010). Highlights will include the bronze and stone sculpture of the Western Himalayas, including Kashmir and Swat, but other parts of north India, particularly the Pala sculpture of Bihar and Bengal, will also be well represented. Many of the sculptures have been published, of which three were exhibited in the recent Asia Society exhibition, The Arts of Kashmir. 19 – 27 March, 2011. Mon – Sun 10 – 6pm - john@johnsiudmak.com - www.johnsiudmak.com
Censer. Courtesy John Siudmak Asian Art of London
Recent Acquisitions of Master Works of Indian and Southeast Asian Art will be presented by Doris Wiener, LLC at 1001 Fifth Avenue, Suite 3C. Among the objects on display will be an important and early Eastern Indian Vishnu stele, an elegant South Indian bronze Jina, Khmer and pre-Khmer sculptures, a selection of Himalayan gilt bronzes and thangkas and a collection of fine Indian miniature paintings. 19 – 26 March, 2011. Mon – Sat 11 – 5 pm - doriswienergallery@gmail.com
Vishnu. India, Bihar, Pre Pala, 6th-7th century. Grey stone. Courtesy Doris Wiener, LLC
Nancy Wiener, exhibiting this year at Trezza Gallery, 39 East 78th Street, Suite 603, will show Indian and Southeast Asian Sculpture, Jewelry, and Works on Paper from 300 BC to the Present. Highlights will include a superb 11th-century Pala Avalokiteshvara; a splendid Khmer necklace, carved from gold in the shape of intertwined jasmine blossoms; as well as a select group of Indian miniature paintings. 16 – 23 March, 2010. OPENING PARTY: 16 March, 1 – 8pm. Daily 11 – 7pm. nancywienergallery@mac.com
Kumara, India, Rajasthan, 13th century. Black stone. Courtesy Trezza Gallery
Art of the Past will also be exhibiting during Asia Week New York 2011; exhibitions details will be forthcoming.
Korean and Japanese Works of Art and Contemporary Korean and Japanese Rounding out this year’s extraordinary assemblage of exhibitions will include six shows of Korean and Japanese paintings, ceramics, lacquer, netsuke and more spanning from the late 17th century to today.
200 Years of Korean Art: From Classic to Contemporary will be offered at Kang Collection Korean Art, 9 East 82nd Street, Suite 3A, and will feature artworks from classical, 19th-century paintings through today showcasing ink paintings and screens. The show’s focus is on paintings from the tumultuous period of the late 19th/early 20th century in Korea and China that developed out of turbulent politics and yet diligent cultural exchange between Korea and East Asia. The contemporary art will feature, among others, two cutting-edge Korean women painters rooted in the classic traditions of Korean art. 19 – 27 March, 2011. OPENING PARTY: 19 March, 2 – 4pm.. Mon – Sun 12 – 6pm. asiaweek@kangcollection.com - www.kangcollection.com
KimGyu-Jin, Chrysanthemum and Rocks, late 19th centiry, Joseon dynasty, ink. Courtesy Kang Collection Korean Art
KooNewYork will present its 10th Anniversary Exhibition of Korean Art at Mark Murray Gallery, 39 East 72nd Street, 5th Floor. The exhibition will showcase a wide range of high-quality, Korean antiques from solid provenanced collections and as well as contemporary ceramics and photography. Among the highlights to be shown is a recently discovered, unique, Large Buddhist Pantheon Drawing from the early 18th century with no known comparable examples in the West. 18 - 26 March, 2011. Daily 10 – 6pm. info@koonewyork.com - www.koonewyork.com
Chong Son (Kyumjai, 1676-1759), Chungyangsa Temple Amid Diamond Mountains. Courtesy KooNewYork
Birds of Dawn: Pioneers of Japan's Sôdeisha Ceramic Movement will be on view at Joan B. Mirviss, Ltd., 39 East 78th Street, 4th Floor. An exhibition over 10 years in the making, this show features the Movement’s three founders (Suzuki Osamu, Yagi Kazuo and Yamada Hikaru), who began their careers with original functional work but soon moved to avant-garde sculptural forms that remain as influential today as they were 60 years ago. 16 March – 29 April, 2011. 16 – 26 March. Daily 10 – 6pm. 28 March – 29 April. Mon – Fri 11 – 5pm. joan@mirviss.com - www.mirviss.com
Suzuki Osamu (1926-2991), Hanayagu tori; Flamboyant bird, 1991. Stoneware with red slip and ashes glazes. Courtesy Joan B. Mirviss, Ltd
Sydney L. Moss Ltd of London will offer an exhibition, Centenary Exhibitions of Japanese Art, including the Elly Nordskog Collection of Inro, devoted to Japanese art at the Alexandre Gallery, 41 East 57th Street, 13th Floor. This will be Moss’ sixth annual New York exhibition and will feature lacquer, inrō, pipecases, netsuke and other works from the collection of the Californian nonagenarian and grande dame of the heyday of Japanese art collecting in Los Angeles, as well as works from the Edo period. 17 – 27 March, 2011. Daily 10 – 6pm. pasi@slmoss.com - www.slmoss.com
A remarkable Japanese wood sculpture of Oni Nembutsu, Edo period, 18th century. Courtesy Sydney L. Moss Ltd
Scholten Japanese Art, located at 145 East 58th Street, Suite 6D, will present Monogatari: Tales of Japan, an exhibition of paintings, woodblock prints and a selection of netsuke devoted to the art of story-telling. 17 – 26 March, 2011. Daily 11 – 5 pm. info@scholten-japanese-art.com - www.scholten-japanese-art.com
Mano Gyotei (1874-1934), Raijin, ink and color on silk (detail). Courtesy Scholten Japanese Art
Ink, Wood, and Clay: New Selections of Early to Contemporary Japanese Masterworks will be shown by Kyoto-based Hiroshi Yanagi Oriental Art at Arader Galleries, 1016 Madison Avenue, 2nd Floor. Mr. Yanagi has spent the past year assembling more than 40 fresh and interesting pieces especially for this exhibition, particularly of animal subjects and ceramics from Kyoto. Selected Works by Art Students organized by the Museum of Contemporary Art. 17 – 28 March, 2011. Daily 10 – 6pm. h-yanagi@art.plala.or.jp - www.h-yanagi.com
Jizo Bosatsu. Japan, Kamaura period, late 13th century. Hinoki wood. Courtesy Hiroshi Yanagi Oriental Art
"Two Empires: The Eagle and the Dragon" @ Palazzo Venezia, Roma
Two ancient cultures collide in an exhibition where the Roman Empire
meets the Chinese Qin and Han dynasties (200 BC-200 AD), considered a
golden age in China's history.
The exhibition displays 450 similar yet contrasting artefacts relating to both empires. Jade, lacquer and silks combine with marble statues, glass, mosaics, silver and bronze. With the participation of almost 50 museums, the exhibition is the result of extensive collaboration between China and Italy and is held in honour of the Cultural Year of China in Italy. I
n addition to the items on view, the exhibition examines the role that both cultures played in world civilisation and how their legacies have contributed to modern-day philosophy, engineering, arts and politics. Both empires regarded themselves as the centre of the world and both empires ultimately fell.
The exhibition is part of the "Cultural Year of China" festival, which aims to promote awareness of Chinese culture in Italy and to celebrate 40 years of diplomatic relations between Italy and the Asian country.
From 2010-11-19 to 2011-01-06 . Two Empires: The Eagle and the Dragon. Palazzo Venezia, Roma.
Particolare di statua raffigurante un ufficiale di alto rango Terracotta. Dinastia Qin. (Museo dei Guerrieri e dei Cavalli di Terracotta dell’Imperatore Qin Shi Huang - Shaanxi) © Riproduzione riservata
Veste funeraria Giada e oro, Dinastia Han Orientale © Riproduzione riservata
Modello di torre Terracotta invetriata, Dinastia Han Orientale © Riproduzione riservata
Statua raffigurante un balestriere inginocchiato Terracotta, Dinastia Qin (Museo dei Guerrieri e dei Cavalli di Terracotta dell’Imperatore Qin Shi Huang - Shaanxi) © Riproduzione riservata
Statua raffigurante un cavallo bardato Terracotta. Dinastia Qin (Museo dei Guerrieri e dei Cavalli di Terracotta dell’Imperatore Qin Shi Huang - Shaanxi) © Riproduzione riservata
Statua raffigurante un cavaliere Terracotta. Dinastia Qin. (Museo dei Guerrieri e dei Cavalli di Terracotta dell’Imperatore Qin Shi Huang - Shaanxi) © Riproduzione riservata
Statua raffigurante un ufficiale di alto rango Terracotta. Dinastia Qin. (Museo dei Guerrieri e dei Cavalli di Terracotta dell’Imperatore Qin Shi Huang - Shaanxi) © Riproduzione riservata
Modello di carrozza Legno, pigmenti e bronzo, Dinastia Han Orientale © Riproduzione riservata
Animale fantastico: Tianlu Pietra. Dinastia Han Orientale © Riproduzione riservata
Busto loricato e paludato di Caracalla © Riproduzione riservata
Alcesti e Admeto Affresco, Proveniente da Ercolano © Riproduzione riservata
Atena, Pegaso e Bellerofonte Intonaco dipinto, Metà del I secolo d.C. Proveniente da Pompei, thermopolium © Riproduzione riservata
Gruppo di due figure (cosiddetto Oreste ed Elettra) Marmo, I secolo d.C. Proveniente da Pozzuoli, dal macellum © Riproduzione riservata
Statua di bambina con colomba Marmo lunense, II secolo d.C. © Riproduzione riservata
Emblema musivo con pesci II sec. d.C. © Riproduzione riservata
Statua di Adone Marmo di Carrara, II secolo d.C. Proveniente da Santa Maria Capua Vetere © Riproduzione riservata
Statua di Afrodite da Sinuessa Marmo, Ultimo quarto del I secolo a.C. Proveniente da Sinuessa (moderna Mondragone) © Riproduzione riservata
L’hôtel de la Marine bientôt loué
Les verrous juridiques bloquant la mise en location du monument viennent de sauter. En toute discrétion.
Introduite en toute discrétion courant juillet, une loi permet désormais à l’État de louer les monuments de son parc immobilier dans le cadre d’un bail emphytéotique. Un texte créé sur mesure pour l’hôtel de la Marine, prestigieux bâtiment entièrement classé monument historique situé place de la Concorde, à Paris. Un appel d’offres pour la valorisation de l’hôtel devrait bientôt être lancé.
PARIS - L’article a tout du cavalier législatif ; il est pourtant bel et bien gravé dans le marbre. C’est en effet par la loi du 23 juillet 2010, relative aux réseaux consulaires, commerce, artisanat et services, qu’a été introduit en catimini un article qui toilette le code de la propriété des personnes publiques. Nul hasard : le texte émane du secrétariat d’État chargé du Commerce, de l’Artisanat, des Petites et Moyennes Entreprises, du Tourisme, des Services et de la Consommation, dirigé par Hervé Novelli. Ce dernier est le signataire de la convention cadre « culture-tourisme » de novembre 2009 à l’origine du lancement de projets de « valorisation » dans les monuments historiques de l’État, notamment de l’installation d’hôtels. Or ce projet achoppait sur un élément juridique : l’impossibilité pour l’État d’accorder des droits réels aux futurs investisseurs sur des éléments de son domaine public. L’article 11 de la loi du 23 juillet 2010 fait sauter ce verrou et autorise l’État et ses établissements publics à louer des monuments dans le cadre d’un bail emphytéotique administratif (BEA). Celui-ci permettra au preneur du bail de bénéficier de droits réels qui pourront être hypothéqués « en vue de garantir des emprunts contractés par le preneur pour financer la réalisation des obligations qu’il tient du bail ». Par ailleurs, « les constructions réalisées dans le cadre de ce bail » pourront être acquises par le preneur par le biais du dispositif de crédit-bail.
De Versailles à Fontainebleau en passant par Rambouillet ou Compiègne, le texte laisse donc la voie libre aux investisseurs pour lancer tout type de projets de valorisation dans les monuments les plus insignes du parc immobilier de l’État. Mais il a surtout été taillé sur mesure pour le projet le plus avancé à ce jour, celui de l’hôtel de la Marine, à Paris. Propriété du ministère de la Défense et siège de l’État-major de la Marine, le prestigieux bâtiment de la place de la Concorde, entièrement classé monument historique, sera libéré en 2014.
La solution du bail emphytéotique
Après avoir tenté d’imposer une cession pure et simple au profit du groupe Allard, conseillé en cela par l’ancien ministre de la Culture Renaud Donnedieu de Vabres, le gouvernement a dû revoir sa copie et opter pour la solution alternative du bail emphytéotique. Annoncé initialement avant la fin de l’année 2010, le lancement d’un appel d’offres pour la valorisation de l’hôtel est désormais imminent. Il devrait permettre de signer une concession d’une durée de vingt à trente ans avec versement d’une soulte. Le montant attendu par le ministère de la Défense serait de 300 millions d’euros, somme inscrite en loi de programmation militaire au titre des recettes exceptionnelles attendues pour 2010. Les freins juridiques ont retardé le projet. Mais si le ministère de la Défense a indiqué que, « pour 2010, ces recettes à ce titre seront nulles », il entend en percevoir les fruits dès 2011. Sophie Flouquet www.artclair.com
Tronies: Dialogue Between Marlene Dumas and the Old Masters @ Haus der Kunst in Munich
Cornelis Cornelisz. van Haarlem, Porträt eines Narren, um 1596. Öl auf Holz, 46,5 x 33,5 cm. Collection Theater Instituut Nederland
*MUNICH.- The dialogue-exhibition contrasts works by Marlene Dumas with historical examples of the Tronie art form. Tronies are portrait paintings that are characterized by a particularly virtuosic handling of the artistic means, intense expressiveness and individual physiognomy. It was only recently that Tronies were discovered to be an independent form of painting through art historical research.
Tronies
The word Tronies comes from 16th and 17th Dutch usage and means ’head’, ’face’ or ’expression’. Tronies were initially painted from life as reference models of figures in historical paintings. They were particularly coveted by collectors as examples of an artist’s signature. Tronies as a form of painting became more emancipated over the course of the 17th century: Such images were increasingly created as autonomous artworks and became available for sale on the art market. This development was encouraged, above all, by two young painters, Jan Lievens and Rembrandt in Leiden. Amsterdam, Delft and Haarlem were also important centers for Tronie production in the northern Netherlands. In the south, Tronies created by leading Old Masters, such as Peter Paul Rubens, Anton van Dyck and Jacob Jordaens, were also used to train artists in these painters’ workshops. Unlike normal portraits, Tronies served no representative function. The heads were usually isolated and appeared almost as cut outs in front of neutral backgrounds. The identity of the models was a minor matter. In contrast to figurative paintings or those of religious figures, Tronies were not necessarily defined by their moral or narrative content. Rather, they explored the spectrum of human physiognomy and expressiveness and reflected characterological ideas that belong to the early days of psychology. The viewer is free to make his own associations.
The selection of Tronies presented here includes paintings, drawings and prints by late 16th century masters, including Frans Floris, the great Flemish painter Peter Paul Rubens, Van Dyck and Jordaens, Jan Lievens, Rembrandt and his students, as well as Michael Sweerts. Special emphasis is placed on the Haarlem School, with works by Leendert van der Cooghen, Cornelis Cornelisz. van Haarlem, Hendrick Goltzius and Judith Leyster.
"I use second-hand images and first-hand emotions." (Marlene Dumas)
In this exhibition the Netherlandish heads are contrasted with works by Marlene Dumas from all decades of her career. In addition to other figurative motifs, drawn and painted representations of heads form a constant in the work of the artist, who was born in 1953 in Cape Town and moved to Holland in 1976. In contrast to the Old Masters, whose works were based on living models, Marlene Dumas works primarily with photographic reproductions from books, fashion or popular magazines, as well as from newspapers. In doing this she draws not only on images of well-known figures but also of crimes, catastrophes, etc. Themes include not only everyday occurrences, such as birth, love, sex, suffering, death and religion, but also Apartheid and stereotypes of racism.
Marlene Dumas does not regard her representations of heads as portraits. She already relaxes their connection to the original images through the ambiguous titles of her works. The often larger-than-life painted faces do not allow specific psychological interpretations. Marlene Dumas, for instance, presents Naomi Campbell as an icon without glamour ("Naomi", 1995): The supermodel has been transformed into the interchangeable embodiment of a beautiful woman. Images of men who populate our visual memory also undergo metamorphoses. "The Pilgrim" (2006), for example, presents us with a suprisingly colorful image of Osama Bin Laden. The painting "Waterproof Mascara" (2008) recalls the Baroque metaphor of the world as a stage on which everyone has his assigned role to act.
The survey of works is made complete with a selection of drawings from the multiple-part series "Females" (1992-93), "Jesus-Serene" (1994), "Models" (1994) and "Rejects" (1994-). The series "Females" is a kind of encyclopedia of women that is founded on the opinion that every woman is beautiful. "Jesus-Serene" is a collection of male portraits based on images or sculptures of Jesus from all of art history. The selection also includes portraits of Marlene Dumas’s colleagues and friends. Despite the diversity of the faces, they all share a serene expression. "Models" (1994) is concerned with icons of the mass media, such as film stars and cover girls. The muses and mistresses, who served as models for the Old Masters to represent "Juno", "Lucretia" or "Bathsheba", are here, too. Time and again Marlene Dumas refers to works from the past, from Cranach to Caravaggio to Courbet.
The concept of the Tronie as an art form, which was only addressed within the scope of Rembrandt exhibitions, is now formulated for the first time in a dialogue with contemporary painting. In doing this, important similarities are made apparent, such as the immunity of the works to their interpretation as portraits.
The exhibition is curated by León Krempel
Marlene Dumas, Delacroix, woman, 1984. Private collection. courtesy galerie Paul Andriesse. photo: courtesy galerie Paul Andriesse, Amsterdam
Michael Sweerts, Head of a woman, about 1654 © the J. Paul Getty museum, Los Angeles
Marlene Dumas, Naomi, 1995. Private collection © Marlene Dumas
Jan Lievens, diverse tronikens, about 1625/35. Staatliche Museen zu Berlin – Kupferstichkabinett
Marlene Dumas, Barbie, the original, 1997. Private collection © Marlene Dumas
