Arquivo mensal: março 2015

Love Bites – Caricatures by James Gillray

To mark the 200th anniversary of the death of British caricaturist James Gillray (1756–1815), the Ashmolean presents more than 50 of Gillray’s finest caricatures from the outstanding collection of New College, Oxford.

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James Gillray trained as a professional copyist at the Royal Academy and then staked his professional life on caricature, amongst the first generation of artists to do so. He produced more than a thousand prints, some the fruit of months of reflection, others banged out at lightning speed, responding to but also creating instant controversies on the very day of the event.

His prints were divisive and partisan: in 1798 a Tory Lord would congratulate him for having “been of infinite service in lowering them [the Whigs] and making them look ridiculous,” while the exiled Napoleon, well aware of Gillray’s anti-French propaganda, was reported to have said that the British engraver did more than all the armies of Europe to bring him down.

More infos, click here: Ashmolean

 

Feeling Van Gogh

The programme consists of an interactive tour and workshop, which encourage the use of your senses. During the tour, specially trained tour guides talk about the permanent collection and the special story of Vincent van Gogh. You then go to the studio for a workshop.

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In the workshop you feel Van Gogh’s brush strokes on Relievos, the high-quality 3D relief reproductions of Van Gogh’s paintings. The museum had already developed these Relievos early on and they proved very useful for this programme.

Van Gogh is obviously well known for his thick and expressive brush strokes which are very prominent on the Relievos. You can also touch other objects like the model of The bedroomand painting material. You can smell the scent of wet grass after a thunderstorm and listen to Van Gogh’s own words.

If you want more infos, click here: Van Gogh Museum

Sculpture Victorious

Powerful, beautiful and inventive, the Victorian era was a golden age for sculpture. Tate Britain’s exhibition Sculpture Victorious celebrates some of the most astonishing and lavish works produced in this groundbreaking period.

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Exploring the original techniques and materials developed during this time, the exhibition brings to light the ingenuity and creativity of the Victorian age. In a period of unparalleled innovation across industries, Victorian sculpture profited from ground-breaking new materials and methods that created a thrilling and cutting edge environment for Victorian sculptors.

The exhibition includes many extraordinary objects, from magnificent marble, limewood and ceramic sculpture shown at the Great Exhibitions, to exquisite jewellery and silverwork, and ornate carving of beauty and wonder such as Monti’s Veiled Vestal.

More infos, click here: TATE

EUGENIO CUTTICA – La mirada interior.

Eugenio Cuttica. The exhibition is structured into three clusters: “The beginnings”, “The Scream” and “Silence”, where the pictorial production and a series of installations and objects, are displayed in the space of the room.

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His early works, present in “The Beginning”, are exhibited in dialogue with their teachers: Alfredo Martínez Howard and Carlos Alonso. A work of Fernando Fader, selected by the artist, as one of the paintings belonging to the estate of MNBA that most influenced his artistic development are also included.

The exhibition, curated by Pablo De Monte, also presents his works of the 80s and 90s and recent pieces, paintings and installations made especially for the occasion.

More infos, click here: Museo Nacional de Bellas Artes

 

 

Berlin museum finally lays bare its war-damaged collection

Works damaged in two devastating fires in 1945 that destroyed around 400 paintings and sculptures stored in Berlin’s Friedrichshain bunker, including pieces by Caravaggio, Rubens and Donatello, are being presented in a new exhibition at the Bode Museum.

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“The Missing Museum: the Berlin Sculpture and Paintings Collections 70 Years after World War II”, which opens today, 19 March, explores ethical and practical decisions museums face in regards to war-damaged works, namely whether they should be restored or left in their ruined state as a permanent reminder of the horrors of the conflict.

The show contains around 50 works—a mix of original pieces, life-size reproductions of lost paintings and plaster casts of sculptures from the museum’s collection.

More infos, click here: TAN

Scenes for a New Heritage: Contemporary Art from the Collection

This cross-medium selection of works, created in the past three decades by more than 30 international artists, represents a wide range of approaches to the political, social, and cultural flux that have shaped the current global landscape.

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Scene for a New Heritage, the project that lends the exhibition its title, Croatian artist David Maljković uses an abandoned socialist monument to imagine an alternate future, one informed by events of the past but never realized.

Made under a diverse range of geographic, political, social, and aesthetic circumstances, the works in the exhibition propose one perspective on the Museum’s collection; seen alongside one another, they allow for a reflection not only on their discrepancies, differences, and contradictions, but also on their shared concerns.

This exhibition will take place until March 31, 2016.

Fonte: MOMA

The modern collection of Kunstmuseum Basel

The Kunstmuseum Basel is considered the first municipal public museum in the world. The two cornerstones of the collection are works dating from the fifteenth and sixteenth centuries, on the one hand, and the art of the nineteenth to the twenty-first, second, set the latter making it one of the most important collections of contemporary art in Europe.

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Coinciding with the temporary closure of the Kunstmuseum Basel for the renovation of its facilities a selection of over one hundred masterpieces from his collection (paintings, sculptures, collages, photographs and videos) in the Museo Nacional Centro de Arte Reina Sofía is displayed.

More infos, click here: Reina Sofia Museum

Marlene Dumas – The Image as Burden

Marlene Dumas is one of the most prominent painters working today. Her intense, psychologically charged works explore themes of sexuality, love, death and shame, often referencing art history, popular culture and current affairs.

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The results are often intimate and at times controversial, where politics become erotic and portraits become political. She plays with the imagination of her viewers, their preconceptions and fears.

The title of the exhibition is taken from The Image as Burden 1993, a small painting depicting one figure carrying another. Exhibition organised by Tate Modern in collaboration with Fondation Beyeler, Riehen/Basel and the Stedelijk Museum, Amsterdam.

More infos: TATE

Monet takes centre stage at blockbuster exhibition at Städel

When the curator Felix Krämer began work on “Monet and the Birth of Impressionism”, which opens at the Städel Museum in Frankfurt on 11 March, he was going to call it simply, “The Birth of Impressionism”.

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The exhibition includes around 100 paintings on loan from many countries, half by Monet and the remainder by his contemporaries. It tells the story of the movement’s early years, from 1860 to 1880, which made negotiating loans a challenge.

The main contemporaries of Monet represented in the exhibition will include Camille Pissarro, Édouard Manet, Alfred Sisley, Pierre-Auguste Renoir and Edgar Degas. Among the works by Sisley is The Painter Monet in the Forest of Fontainebleau, around 1865, from the Saarland Museum in Saarbrücken, Germany.

More infos: TAN

Captain Linnaeus Tripe Photographer of India and Burma, 1852–1860

This is the first major traveling exhibition devoted to the British photographer Captain Linnaeus Tripe (1822–1902). Between 1854 and 1860, Tripe produced an unprecedented series of photographs documenting the landscape and cultural artifacts of south India and Burma (now the Republic of Myanmar).

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This exhibition of approximately sixty photographs traces Tripe’s work from his earliest images made in England (1852–1854), to those created on expeditions to the south Indian kingdom of Mysore (1854), to Burma (1855), and again to south India (1857–1858).

Using large-format wax paper negatives, he achieved remarkably consistent results despite the south Asian heat and humidity, which posed constant challenges to photographic chemistry.

More infos, click here: The Metropolitan Museum of Art