GOYA. News 12th May 2023
The new exhibition at the Centro Cultural de Cascais invites you to discover works by Francisco de Goya that have never been seen in Portugal.
For the first time, ten rarely seen paintings by Francisco de Goya (1746 – 1828) are exhibited in Portugal. In addition to these unpublished works in the country, the unavoidable series of engravings “Os Caprichos”, “A Bullfighting”, “The Disasters of War” and “The Nonsense or Proverbs”, by the Spanish artist are also shown. On the 23rd of April, on two floors of the Centro Cultural de Cascais, the exhibition "GOYA, Testimony of Your Time" is an excellent opportunity to contemplate the artistic essence of Francisco de Goya, the most important Spanish artist of the 18th century, considered the first painter of Modern Art due to the innovative character of his work and whose legacy decisively inspired the artistic trends that would emerge in the following centuries, from Romanticism to Surrealism.
Through the works selected for this exhibition, the curators Maria Toral and Maria Oropesa propose a journey through the most important themes of the graphic and pictorial work of Francisco de Goya, to show how he was able to establish a new concept of art: the artist as a witness of the his time which, imbued with a profound sense of freedom, is capable of expressing his political liberalism, his opinions on topics such as religion and institutions, his fascination with women and the emotional strength of family, love and lust , his dislike for intellectual oppression and his aversion to the horrors of war, reflecting, finally, the period of political upheavals and social transformations in which he lives.
Bruegel and His Time. News 7th May 2023
ALBERTINA
In the exhibition Bruegel and His Time, the ALBERTINA Museum presents a selection of around 90 works from its own collection that illustrate the incomparable blossoming of the art of drawing in the 16th-century Netherlands. Alongside famous masterpieces by Jan de Beer, Pieter Bruegel the Elder, and Hendrick Goltzius, the selection also reveals works to the public that have recently been studied for the first time and, in some cases, restored. This presentation demonstrates the central role of drawing as an independent medium in the early modern period—and indeed, virtually no other era of European history witnessed the creation of such an astounding diversity of drawn art as did the Netherlands during those years. At the forefront is Pieter Bruegel, whose work as his guild’s most outstanding member left its mark on the production of art in the Low Countries, for many decades. His multifaceted graphic output, filled with humor and irony, tells of the deep-reaching changes that occurred during the century between the ending of the Middle Ages and the dawn of the baroque. In this, Bruegel exemplifies a whole range of artists whose drawings forged new paths and fundamentally reshaped the arts in the Netherlands. His name and his oeuvre serve as anchors in this presentation.
Dürer, Munch, Miró. The Great Masters of Printmaking. News 17th March 2023
The ALBERTINA presents a retrospective of the history of printmaking over a period of six centuries, from Albrecht Dürer and Henri de Toulouse-Lautrec to Kiki Smith and Damien Hirst. The two exhibitions planned as a pas de deux - at both ALBERTINA locations - span from works of the late Middle Ages to the prints of contemporary art. The two exhibitions are joined by a third, as it were, dedicated solely to the most important printmaker of the 20th century: Picasso. The first exhibit, 'Dürer. Munch. Miró - The Great Masters of Printmaking' will open at the ALBERTINA at the end of January. It presents outstanding works of the so-called 'Old Masters' - including Albrecht Dürer, Pieter Bruegel, Rembrandt van Rijn - and leads up to the impressive works of modern and contemporary art. The second part of the exhibition will be at the ALBERTINA MODERN from the end of February. It presents 20th century artist that radically broke with the tradition of printmaking and found a new monumentality in the technique of silkscreen printing in the 1960s.
The exhibition begins with the most outstanding works by Martin Schongauer and Albrecht Dürer at the ALBERTINA. This is continued with the engravings of Hendrick Goltzius and Pieter Bruegel’s only etching. Modern art is introduced by the magnificent lithographs of Henri de Toulouse-Lautrec and the Norwegian Edvard Munch's revolutionary, symbolist-expressionist woodcut. Munch plays a central role in the modernization of the traditional woodcut and a major influence on the German expressionist prints by Emil Nolde, Ernst Ludwig Kirchner, and Karl SchmidtRottluff. The works of Marc Chagall and Joan Miró will close the exhibition. Important women artists will be represented by Käthe Kollwitz, the recently deceased Portuguese Paula Rego, and the Austrian artist Florentina Pakosta. This overview attests to the development of diverse printmaking techniques throughout 600 centuries.
The invention of printing is one of the greatest artistic achievements of the late Middle Ages. The mass reproduction of images only became possible in Central Europe with the arrival of paper production in the late 14th century. The development of the printing technology business unfolded as follows: Woodblock printing appeared in the early 15th century, copperplate engraving before the middle of the century, and etching shortly before 1500. Printmaking became an independent art genre that soon equaled painting. Compared to woodcut and copperplate engraving, which required more work and material costs, etching offered greater scope for artistic experimentation and creative freedom. Due to the spontaneous ductus of its line image, it is closer to drawing than other printing techniques. Starting in the early 19th century, lithography then allowed large print editions without loss of print quality. From the 1960s onwards, a groundbreaking redefinition of printmaking emerged: the principle of serial work and the magnification of the medium were discovered by both female and male artists. Throughout the centuries, artists have explored the various techniques of printing - initially with gouges and gravers, later with drypoint, then with etching processes, up to the complex chemical steps of lithography. This medium conquered all European countries - from Spain to the Netherlands, from Germany to Italy and via Norway to England. The variety of subjects used by artists is as diverse as the technique itself: Portraits, landscapes, sacred stories or socially critical images. In the exhibition of 'Great Masters of Printmaking' masterpieces such as Albrecht Dürer's Knight, Death and the Devil, Munch's The Kiss or Miró's Abstract Composition are on display. Rembrandt's work, the so-called Hundred Guilder Print will also be exhibited. This valuable work of art work cost a hundred Guilder and became famous under that name. Like no other collection in the world, the ALBERTINA is able to exhibit the history of the graphic arts with the most outstanding pieces taken from its own collection. The second part of the exhibition Andy Warhol to Damien Hirst. 'The Revolution of Printmaking will be presented in the ALBERTINA MODERN from the end of February.
In a world made by men and for men, there have been women throughout history who came to question everything that was believed. The art world was no exception and there were numerous examples of great women who exposed themselves as artists, even when men used them only as muses for their work. Even without knowing that they would remain in history forever, these women dedicated themselves to what they loved, leaving countless examples that, today, we can observe and understand the importance that they would not have had at the time.
Aurélia de Souza was one of those women. She was born in Chile but raised in a small country named Portugal, where women were still part of high society, to be seen as housewives. Aurélia had the opportunity to study in Porto, at the Academy of Fine Arts, as well as in other great academies around the world, and she became a great artist, with a vast work, that distances herself from everything that women were thought to be able to accomplish.
Aurélia took advantage of photography to make some of her most famous works. In an almost performative exercise, the artist photographed herself as she wished and, later, painted herself on canvas. Even though this exercise had already been done all over Europe, since the moment photography emerged as a great invention of the nineteenth century, it's true that in Portugal it had not yet become a habit. One of her most relevant and, in a way, incomprehensible works is “Self-Portrait as Saint Anthony”. In this portrait, the artist dressed up as Saint Anthony, presenting a less dogmatic view of the saint's physiognomy, which was sought to be represented in more traditional paintings up to that time. It is understood that she did it this way because she was born on the day that Saint Anthony was celebrated. However, it is not understood whether this was exactly the main reason for what can be called her main performance. I refer to performance, but accidentally, because, certainly, Aurélia would not have that intention, nor did she do it with an audience to witness the moment when she decided to portray herself as Saint Anthony.
In this work, the usual comforting mystique of Saint Anthony is replaced by a disquieting void of uncertainties, a tremendous truth of suffering and death, clearly visible in how she paints her face and physiognomy. Even though there are versions that claim that Aurélia would be sick at this time, perhaps the painting is a true performance of her, which intended to portray what was going on all over the country, in a time of technological and scientific advances, but of big social setbacks, which would lead to the beginning of the First World War.
In addition to the existence of other works of art that could be analyzed about Aurélia's contribution to Portuguese art, this would be the main one, as well as one of her most incredible works. It should be noted that the artist was undoubtedly an example of a woman out of her time; however, she only succeeded because her family provided for her, financially and socially. Without their support, in a world made up of men, she would never have been able to be considered an example of strength and resilience, nor would she travel as she traveled, which allowed her to know the realities beyond Portuguese borders.
Hockney's Photo-Cubism. Review by Rodolfo Lopes, 1st February 2023
Pearblossom Hwy., 11 - 18th April 1986, #2April 11-18, 1986David Hockney (British, born 1937) GETTY MUSEUM
When we hear the name David Hockney (1937), we have the notion that he is one of the most recognized British artists within the art world. With an unbelievable curriculum and a plurality transversal to several artistic areas, it presents its greatest expressiveness within the Pop Art movement, but it is transversal to several others.
Known for his works that are interconnected and mixed with his life, Hockney has always tried to transfer his personal experiences into his works, and with that comes photography, as a witness of what he has seen.
Hockney has always used photography as a way to capture the reality that was later painted, showing the passage of time, but in a static way. From the moment he thought about this device and how he could show his point of view on things, he created a new photographic concept entitled “Joiner” (80').
“Joiner” is a type of multiple photography, of a space or object, capturing various angles, through several captures that are later composed, creating a single photograph, giving the viewer a better notion of observation about the theme, as well as the power to be able to better observe the space. Here, Hockney, presents another important point: the idea of a narrative within an entire work, a narrative that can be understood as the movement of the spectator's gaze within the observation that the artist intends to be made.
In this photographic technique, reality is presented to us in a fragmented way, as it happens in the paintings of the avant-garde movement - Cubism.
In Cubism, this form of thought and execution is also perceived: the idea of representing something, from different planes and different points of view. Hockney has a huge influence from Pablo Picasso, and uses that to rescue, in a very experimental way, something that had remained in the past, in order to make this vision so advanced at that time contemporary.
As had happened with Cubism, here, the artist also gives a new perception, both in the way of seeing space and the way it is presented, as well as, in the way of seeing art. I dare to say that we are facing a new way of seeing and producing images.
Are we facing a technique, or a revival of a “neocubism”, but using technology to update itself? Or can we even speak of a “photo-cubism”? We can say that David Hockney is a master, who draws on the work of others, and who has influenced, and will continue to do so, many other masters in the future.
For the time being, we can only dwell on the aesthetic connections and similarities between these two masters and their works, taking advantage of and envisioning these great works.
A 1,300-year-old gold-and-gemstone necklace that was recently discovered in an ancient grave site in England may have belonged to a woman who was an early Christian leader, according to experts involved in the discovery.
The ancient jewelry was unearthed in Northamptonshire in April during excavations that took place ahead of a planned housing development, according to RPS, a professional services firm that managed the archaeological investigation on behalf of the housing developer, Vistry Group.
The 30 pendants and beads that once formed the elaborate necklace were made from Roman coins, gold, garnets, glass and semiprecious stones. The centerpiece of the necklace, a rectangular pendant with a cross motif, was also among the artifacts that were discovered. NYT
Paula Rego. There and Back Again. News, 7th December 2022
Paula Rego. There and Back Again is the first institutional solo exhibition of Paula Rego in Germany, and comprises over 80 art works (paintings, drawings, prints, as well as costumes). Its title is borrowed from the ballet Pra lá e pra sá (There and Back Again) which the English composer Louisa Lasdun composed in 1998. The ballet, presented in the Calouste Gulbenkian Foundation in Lisbon, was inspired by her seeing Paula Rego’s Nursery Rhymes prints, and for which Rego designed the costumes.
“I’m interested in seeing things from the underdog’s perspective. Usually that’s a female perspective”, claimed the Portuguese-British artist Paula Rego (1935-2022), Grande Dame of an uncompromising vision, a true tender narrator for our complex times of a psychological and physical anguish, and an unrivalled storyteller, heralded as a feminist icon. Her groundbreaking oeuvre tackled upon systems of power and control, fascism, women's rights, abortion and human tragedy, giving visibility to the underrepresented, fighting political injustices, and at the same time, redefining painterly traditions. The themes of violence, poverty, political tyranny, gender discrimination, and grief were in the centre of her challenging work. Courageously questioning the political myths and subtly although with a brutal honesty and dignity investigating human relationships, Paula Rego’s art - remains more relevant than ever as an evidence of resilience and an unparalleled subversive and rebellious strength.
“Recycling Beauty” is an unprecedented study dedicated entirely to the reuse of Greek and Roman antiquities in post-antique contexts, from the Middle Ages to the Baroque era. The exhibition is curated by Salvatore Settis and Anna Anguissola with Denise La Monica, designed by Rem Koolhaas/OMA.
The underlying premise of this research is the need to think of the classical not simply as a legacy of the past, but also as a vital element with the power to affect our present and future.
Through an innovative interpretive approach and an experimental exhibition format, ancient heritage—in particular Greco-Roman heritage—becomes, in Settis’ words, “a key that provides access to the multiplicity of cultures in the contemporary world.”
Despite its cultural relevance and widespread diffusion, the reuse of ancient materials has been studied in depth only recently. In the last few years detailed attention has been devoted to the essential aspect of this phenomenon: the visual and conceptual interaction between the reused ancient elements and the post-Antique context, far from their origin, they became part of. “Recycling Beauty,” instead, aims to draw attention to the moment when an antique artifact crosses the boundary between its condition of abandonment among ruins and the moment its value is reactivated through its reuse.
The exhibition design, conceived by Rem Koolhaas/OMA, together with Giulio Margheri, takes place in two of Fondazione’s buildings—the Podium and the Cisterna—as a process of historical analysis, discovery, and imagination. In the Podium a landscape of low-rise plinths made of acrylic allows for the pieces on display to be perceived as an ensemble, while the cubicle-like structures encourage a closer examination with the presence of office chairs. In the Cisterna, visitors encounter the exhibits gradually, in a sequence of spaces that facilitate observation at different points of view from the height of a balcony to the confined perspective of a room built inside one of the existing rooms. Two rooms in the Cisterna will be dedicated to the colossal statue of Constantine (4th century CE), one of the most important works of late ancient Roman sculpture. Two monumental marble fragments, the right hand and foot—normally displayed in the courtyard of the Palazzo dei Conservatori in Rome—will be placed alongside a full-scale reconstruction of the Colossus. Something that has never been attempted before, this demonstrates how the statue was the outcome of the reworking of an earlier cult statue, probably of Jupiter. This project is the result of collaboration between the Musei Capitolini, Fondazione Prada, and Factum Foundation, with the scientific supervision directed by Claudio Parisi Presicce, the Capitoline Superintendent of Cultural Heritage.
Highlighting the importance of fragments, reuse, and interpretation, “Recycling Beauty” helps to consider the past as an unstable phenomenon in constant evolution. The exhibition presents over fifty highly representative artworks from international and Italian public collections and museums, including Musée du Louvre in Paris, Kunsthistorisches Museum in Vienna, Ny Carlsberg Glyptotek in Copenhagen, Musei Capitolini, Musei Vaticani, and Galleria Borghese in Rome, GalleriE degli Uffizi in Florence, and Museo Archeologico Nazionale in Naples.
Cindy Sherman: Metamorphosis presents a series of works spanning the artist’s career from her earliest work to the latest. The exhibition is organized in dialogue with the artist and in partnership with The Broad Art Foundation, Los Angeles, an institution that has collected in depth the work of Cindy Sherman for over thirty years.
Most well-known for photographs that feature the artist as her own model playing out media-influenced female stereotypes in a range of personas and environments, Sherman shoots alone in her studio, serving as director, photographer, make-up artist, hair stylist, and subject. Her decades-long practice of performing portraiture, has produced many of contemporary art’s most iconic and influential images. For the presentation at Serralves, the Museum galleries will be transformed specially to receive this ambitious exhibition, creating a theatrical set for the storyboard written by the artist’s photographs. It will also include new work, specifically conceived for the Serralves Museum: a large photographic mural, which give an additional uniqueness to the display. S
Starting on Sunday, the exhibition "Margaret Watkins -- Black Light" will bring together a selection of 136 photographs and photomontages taken between 1914 and 1939 in Cascais, which reveal the themes chosen by the Canadian photographer. She is considered one of the great masters of photography of the 20th century.
For the first time in Portugal, the exhibition on the work of Margaret Watkins (1884–1969) will be presented at the Cascais Cultural Center until January 8, 2023, on the initiative of the Municipality of Cascais and the Fundação D. Luís I, within the scope of of the Museum District program.
A 1,600-year-old virtually intact Roman-era mosaic has been discovered in central Syria.
The mosaic, measuring 20 x 6m (65.5 x 20ft), was found under a building in Rastan near Homs, which was held by rebels in the civil war until 2018.
Showing mythical scenes including the Trojan and Amazon wars, it is said to be the rarest of its kind.
Many of Syria's archaeological treasures have been damaged after more than a decade of war.
But the latest find is being described as the most important archaeological discovery since the start of the conflict in 2011. BBC
Memories are shaky things. Maybe you remember a family trip to the beach or learning to swim as a child. But could you name the exact date, or even the year, these events happened? Without the help of a daily diary, it’s nothing more than guesswork.
The same problem applies to cultural memories and history. And the further back in time you go, the more difficult it is to know when (or if) something actually happened.
The Iron Age Levant, which occurred 1200-500 B.C., is one example of a historical period of particularly murky chronology. It’s a time when many of the cultural histories of the Near East, North Africa and Europe were created, passed on through stories originally from the Hebrew Bible.
Matching events in the holy texts with actual history is a contentious issue among researchers.
"It’s called the Iron Age chronology debate. It’s a huge argument about the chronology of events in the bible," Yoav Vaknin, an archeologist at Tel Aviv University and Hebrew University of Jerusalem, told DW.
Vaknin recently published a paper with colleagues that utilizes a new method called "geomagnetic dating" to piece together when certain events during the Iron Age Levant took place.
Celebrated for his compelling lyrical films and his video art installations, Isaac Julien is one of the leading artists working in film and video today.
This ambitious solo exhibition reveals the scope of Julien’s pioneering work in film and installation from the early 1980s through to the present day. The exhibition highlights Julien's critical thinking and the way his work breaks down barriers between different artistic disciplines, drawing from film, dance, photography, music, theatre, painting and sculpture by utilising the themes of desire, history and culture.
The exhibition will present works from early films to large-scale, multi-screen installations which investigate the movement of peoples across different continents, times and spaces. Isaac Julien’s work across forty years will be presented for the first time in the UK.
The Archeology and Arts Center of Beja hosts an exhibition dedicated to the figure of the bull in the work of Jorge Vieira. The exhibition opens today at 3 pm and is open to the public until March.
The exhibition that celebrates Jorge Vieira, on the occasion of his centenary, proposes “to understand the values of modern art, namely the clashes between figuration and abstraction”. For the sculptor, “this was an essential issue, handled from a perspective of articulation, not opposition”. vp
According to the Municipality of Beja, “the point of view chosen is thematic, centered on the figure of the Bull, but with unexpected articulations that range from self-representation to the elaboration of series covered by an overflowing inventiveness”.
Coincidentally, Jorge Vieira, from Lisbon and cosmopolitan, chose Beja to house a small museum with pieces that he offered to the Municipality, not knowing that the bull symbolizes this city, “not only since its Roman foundation, but much further back, such as literature records and archeology confirms”, underlines the text released by the municipality, signed by Raquel Henriques da Silva. vp
ALEXANDRIA SMITH. Pretend Gravitas and Dream Aborted Givens. 10th October 2022
Gagosian New York to Present New Work by Alexandria Smith in Her First Solo Exhibition with the Gallery Pretend Gravitas and Dream Aborted Givens Opens April 28, 2022. Smith’s mixed-media works begin with drawings, which she develops intuitively within an everevolving personal cosmology. Atop colorful arrangements of bold shapes, she layers sculpted elements of painted wood and polymer clay that emerge beyond the picture plane, inspired by the pioneering assemblage artist Betye Saar, Black womanist literature, science fiction, and album art of the 1960s and ’70s. Gogosian
Lesser artists borrow; great artists steal.'Pablo Picasso
For the first time, Picasso’s ‘Woman with a Book’ (1932) from the Norton Simon Museum, California, will be brought together with the painting that inspired it, ‘Madame Moitessier’ by Jean-Auguste-Dominique Ingres.
Picasso first encountered the enigmatic ‘Madame Moitessier’ at an exhibition in Paris, in 1921, and was enthralled. Over the next decade, he repeatedly referenced Ingres in his art, and painted ‘Woman with a Book’, one of his most celebrated portraits, in homage to Ingres’s famous work.
For Ingres, a 19th-century French artist steeped in the academic tradition, the beautiful and wealthy Madame Moitessier represented the classical ideal. Wearing her finest clothes and jewellery, she gazes at the viewer majestically, the embodiment of luxury and style during the Second Empire.
Picasso, born 100 years after Ingres, is famous for a very different, abstract, style of art, but his inspiration is clear. The model for ‘Woman with a Book’, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s distinct pose. The painting balances sensuality and restraint, striking a chord with the eroticism latent beneath Ingres’s image of bourgeois respectability.
‘Picasso Ingres: Face to Face’ is a unique opportunity to see these two portraits, side by side, for the first time, and to trace the continuous thread between 19th and 20th-century artistic development.
Exhibition organised in partnership with the Norton Simon Museum, California.
Left: Jean-Auguste-Dominique Ingres, ‘Madame Moitessier’, 1856 © The National Gallery, London. Right: Pablo Picasso, 'Woman with a Book', 1932. The Norton Simon Foundation © Succession Picasso/DACS 2021 / photo The Norton Simon Foundation
For the first time in the UK, National Gallery presents an overview of Winslow Homer (1836–1910), the great American Realist painter who confronted the leading issues facing the United States, and its relationship with both Europe and the Caribbean world, in the final decades of the 19th century.
Homer’s career spanned a turning point in North American history. He lived through the American Civil War and the abolition of slavery, so-called Reconstruction, and war with the last colonial European power in the Americas, Spain.
From his sketches of battle and camp life, to dazzling tropical views and darker restless seascapes, the works reflect Homer’s interest in the pressing issues of his time; conflict, race, and the relationship between humankind and the environment – issues still relevant for us today.
After the war, Homer’s subject became the lives of Americans in the wake of the war and abolition with a focus on the lives of formerly enslaved African Americans.
Homer travelled to France, England, the Bahamas, Cuba and Bermuda. In England, he painted scenes of heroism and resilience that he saw while staying in Cullercoats, a town on the North East coast. In the Caribbean, his paintings became more vivid as he painted the transparent turquoise waters and lush vegetation. His interest in conflict remained constant and he often explored the issue through painting the life and struggles of Black people.
With more than fifty paintings, covering over forty years of Homer’s career, 'Winslow Homer: Force of Nature' is part of a programme of exhibitions that introduce major American artists to a UK and European audience and follows on from our exhibitions about George Bellows and the Ashcan painters, Frederic Church and Thomas Cole.
Exhibition organised by the National Gallery and The Metropolitan Museum of Art, New York.
Image above: Winslow Homer, 'The Gulf Stream', 1899 (reworked by 1906). The Metropolitan Museum of Art, New York. Catharine Lorillard Wolfe Collection, Wolfe Fund, 1906 (06.1234) © The Metropolitan Museum of Art, New York
This first major exhibition of Lucian Freud’s work in 10 years brings together paintings from more than seven decades.
The exhibition presents the paintings of one of Britain's most well-known figurative painters, Lucian Freud (1922–2011). It spans a lifetime of work, showing how Freud’s painting changed during 70 years of practice from his early and intimate works to his well-known, large-scale canvasses and his monumental naked portraits.
Through more than 60 paintings, you will see the development of an artist: paintings of powerful public figures are followed by private studies of friends and family; the familiar, domestic setting gives way to the artist’s paint-splattered studio – a place that becomes both stage and a subject in its own right – and the approximated features of his earliest paintings are complemented by the expertly rendered flesh of his final works.
Freud's celebrity often overshadowed the work he produced and the historical context in which they were made. Bringing to light new perspectives on a lifetime’s work, this exhibition looks beyond Freud's fame and infamy to focus on the artist's uncompromising commitment to painting in the 20th century.
Exhibition organised by the National Gallery and the Museo Nacional Thyssen-Bornemisza
TEFAF
As the world’s most prestigious and vibrant art market, New York City provides the ideal setting for a TEFAF fair outside of Maastricht. We are proud to present the eighth edition of TEFAF New York at the Park Avenue Armory May 6–10, 2022. The historic Park Avenue Armory is a prime Manhattan location and setting for the world’s leading art dealers to showcase their work. - artnet
TEFAF New York will also include a concurrent edition of TEFAF Online with a selection of the masterpieces on display at the Armory, alongside Programming, Stories and other content from the TEFAF community. TEFAF Online will go live on May 5.
Gérard Fromanger is a pioneer of the return to figuration in early 1960s France. Born in 1939 in Pontchartrain, he lives and works between Paris and Siena (Italy), Fromanger joined the artists of figurative storytelling at the Salon de Mai in 1964 and 1965. He then participated in the Salon de la Peinture de Jeune. He also did several collective and political serigraphy works during the month of May 1968. - Eurostars Cultura
Gérard Fromanger was a friend of Alberto Giacometti . The filmmaker Jean-Luc Godard invited him to draw a series of works and to create with him what became his cinema, a series of short films based on his work From Him Album The Red 1968 . Acclaimed around the world, this work has marked not only Fromanger's artistic career, but also that of figurative storytelling artists.
Scientists confirm a suspicion of Darwin: the closer to the equator, the more colorful the birds. News, 13th April 2022
The results of the study have now been published in the scientific journal Nature Ecology & Evolution and indicate that tropical birds are generally about 30 percent more colorful than their counterparts that live closer to the poles. - wilder
To reach this conclusion, the researchers photographed more than 4,500 species of passerines in the collection of the London museum. Passeriformes are the most species-diverse order in the world – between 5,000 and 6,000 – including sparrows, crows and songbirds.
"The Sheffield team identified plumage color at 1,500 individual points on each [examined] specimen, extracting information from the pixels of the photographs,” the university describes. The birds were then sorted by the number of colors in each one and according to the regions of the world where they are native.
What are the reasons for this difference?
Scientists come up with two possible causes for the tonal differences we can find, depending on whether we are closer to the Equator or the Poles.
Firstly, the characteristic habitat of tropical areas, which is quite colorful, leading the birds to exhibit more variety and vivacity of tones to better camouflage themselves in the environment that surrounds them. In the same sense, at higher latitudes, closer to the South Pole or the North Pole, these animals have to adapt to more bare and monotonous landscapes.
On the other hand, considers the team, near Ecuador, birds often feed on the nectar of flowers and fruit, having more energy to “invest” in more vivid colors.
THE SOLOMON R. GUGGENHEIM FOUNDATION, USA
Hilma af Klint: Paintings for the Future. News, 20th March 2022
MCB, Lisbon, Portugal
"Splendour", by Gérard Fromanger. News, 4th February 2022The Gérard Fromanger (1939–2021) exhibition at Museu Coleção Berardo, part of the France-Portugal Season 2022, features a number of series that characterise the artist's work: twenty-six in all, including more than sixty major paintings. Each period, comprising reassessments, ruptures, recompositions, and different techniques, forms a highly coherent whole. The series have an internal logic within the artist’s work and mark the different eras within his personal biography, his encounters and his relationship with current events, and, more broadly, with history.
Gérard Fromanger’s oeuvre is that of a great explorer of the world around him, in permanent sympathy with Walter Benjamin’s flâneur aesthetic, and even with Guy Debord’s dérives.
Opening 16/2, Wednesday, from 7 to 9:30 p.m.
Washington, DC, USA
THE PHILLIPS COLLECTION: ‘PICASSO: PAINTING THE BLUE PERIOD’. News, 4th March 2022
Focusing on the years 1900–1904, the exhibition tells the story of how the young Spanish artist, then a fledgling painter in his late teens and early twenties, formulated his signature Blue Period style by engaging with the subject matter and motifs in specific works he encountered—by Old Masters and his contemporaries alike—as he moved between Barcelona and Paris. The Blue Period works in the exhibition reveal Picasso’s evolving and sometimes controversial approach to issues of sex, class, poverty, despair, charity, and female incarceration.
At the heart of Picasso: Painting the Blue Period is new scientific and art historical research undertaken on the three Blue Period paintings in the collections of the two co-organizing institutions: The Blue Room(Paris, 1901) from The Phillips Collection, and Crouching Beggarwomen (Barcelona, 1902) and The Soup(Barcelona, 1903) from the Art Gallery of Ontario; this is the first exhibition to approach the Blue Period in this manner. These studies form the technical foundation of the exhibition, establishing context for these works with particular attention on the underlying hidden compositions and motifs newly revealed beneath each work. The exhibition’s final section tracks how Picasso revisited and repurposed themes from the three works into the late Blue Period and early Rose Period of 1905–1906.
Presenting works from 30 international collections, Picasso: Painting the Blue Period will feature more than 70 paintings, sculptures, and works on paper by Picasso along with works by French and Spanish artists that he studied before and during the Blue Period.
Museum of Fine Arts, Boston, USA
Turner’s Modern World. News, 29th January 2022
One of Britain’s greatest artists, J. M. W. Turner (1775–1851) lived and worked at the peak of the industrial revolution, when steam replaced sail, machine power replaced manpower, and wars, political unrest, and social reforms transformed society.
“Turner’s Modern World” explores how this artist, more than any of his contemporaries, embraced these changes and developed an innovative painting style to better capture the new world.
This landmark exhibition brings together more than 100 paintings, watercolors, drawings, and sketchbooks by Turner, including Snow Storm: Hannibal and his Army Crossing the Alps (1812) from Tate Britain, The Burning of the Houses of Lords and Commons, October 16, 1834 (1835) from the Cleveland Museum of Art, and the MFA’s own Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) (1840).
These vivid and dramatic compositions demonstrate Turner’s commitment to depicting the great events and developments of his time, from technological advances to causes such as abolition and political reform.
FOAM, Amsterdam, Netherlands
Bill Brandt - The Beautiful and the Sinister. News, 29th January 2022Galeria Belo-Galsterer, Lisbon, Portugal
Mais tarde (Later) by Jorge Molder. News, 25th January 2022
"Mais tarde" de/by JORGE MOLDER. Galeria Belo-Galsterer, Out./Oct. 2021. © Eduardo Sousa Ribeiro, 2021.
In this new series Mais tarde1 , Jorge Molder works from an initial series, commissioned by GRANTA,2 whose leitmotiv is Sleep/Dream. Sleep and Dream are experiences common to all human beings, universal experiences, yet often solitary; and worlds yet to be explored.
Thus, the series “Mais tarde”, composed of 21 photographs from which 19 were chosen to be part of the exhibition with the same name at Galeria Belo-Galsterer, ends up building a kind of parallel world, in which the images function almost as symbols of events, provoking contradictory emotions in the observer: some stronger than others; images that by their uniqueness can arouse curiosity, restlessness, fear as well as pleasure.
We see faces full of emotion calling us, emitting silent screams, bodies in contortions, floating full of expressiveness, hands in mysterious and suggestive poses, empty scenes showing lonely objects - which are what they are - decontextualized, isolated on a black background, almost like the loose pieces of a puzzle.
Light and shadow are explored with strong contrasts in the black and white photographs (as right at the entrance of the gallery with the play of hands in the work Mais tarde #16 that welcomes us in the entrance), but we are also surprised with soft modulations of color in other works such as Mais tarde #21, a work that presents us with a humanoid figure, in the culmination of a sequence that goes from a moving fish, in black and white, to a static star, with a vibrant areola of soft color around it, to the body assumedly colorful.
The play and conjugation of the various images, along with the association between the artist’s usual black and white photography and the color of the objects and environments evoked by his camera highlight once again his great love for images, which is expressed through this incessant quest of his using photography to seek, as Fernando Pessoa said, “An Orient to the East of the East.”3
1 “Mais tarde” translates into Later. 2 GRANTA, is one of the world’s most respected literature magazines, renowned for its quality writing and selection of established and emerging authors. The contents come from various areas: from journalism, fiction, poetry, and memoirs to photography. The series “After the lights” composed of 12 photographs was created on the invitation of Daniel Blaufuks for GRANTA No. 7, published in April 2021. 3 Comment of Jorge Molder in an interview given to ATTITUDE Magazine, no102, 2021.
Belvedere, Vienna, Austria
The Age of Dürer. Austria at the Gate of the Renaissance. News, 15th December 2021
At the turn of the 16th century, social and cultural upheavals left their mark on the art of the time. When the achievements of Italian Renaissance art entered the territory of what is present-day Austria, vestiges of a fading Gothic period were still discernable. Caught in transition, works of art gradually began to lose the functions they had served during the Middle Ages, whether it was the preservation of memory, the teaching of the faithful, or the promotion of devotional practice. This led to a growing artistic self-assurance on the part of the masters. Attention was focused on the aesthetic qualities of their works, and they increasingly established themselves as artists in a modern sense. Their works bear witness to a new interest in reality. As a result, mathematical-perspective constructions, meticulous depictions of nature, and portraits with a psychological dimension developed in the territory of present-day Austria as well.
Expo Dubai 2020, Dubai, UAE
"LONGING.IMAGE" Curated by Francisco Lacerda. News, 25th January 2022
The photography exhibition, ”LONGING.IMAGE", on view at the Portuguese Pavilion, promotes the photographic work of selected Portuguese artists.
“Image”, or “Imago” in Portuguese, comes from Latin and is recognized in many languages. "Longing" or "Saudade" is one of only a few words in Portuguese that does not have a literal translation in many other languages. "Saudade" implies a feeling of nostalgia. "Saudade" usually refers to the memory of something that was, or is, dear to us (family members or friends, for example), of something that gave us pleasure to live, to share, to feel and that always remains in our memory. "Saudade" came into frequent usage after 1415 when Portuguese explorers and mariners left their homes to discover new worlds.
This exhibition of photographs by select Portuguese artists shows different types of photography, which allow us to expand our visual experience and invite us to feel a wide range of emotions.
On view from 26 - 31 March 2022
Minneapolis Institute of Art, Minnesota, USA
Envisioning Evil: “The Nazi Drawings” by Mauricio Lasansky. News, 5th January 2022
The son of Jewish immigrants in Argentina, Mauricio Lasansky (1914–2012) moved to the United States in 1943. He forged a flourishing career as a printmaker and draftsman, first in New York and then from studios in Iowa and Maine. His work often explored themes of war and violence. In 1961, coinciding with the televised trial of the Nazi war criminal Adolf Eichmann, he began a series of drawings to grapple with the Holocaust. Confronted with the atrocities, he said, “I was full of hate, poison, and I wanted to spit it out.” “The Nazi Drawings” are his visceral response to the horrors committed in Nazi concentration camps.
Brutal, haunting, and raw, “Envisioning Evil: ‘The Nazi Drawings’ by Mauricio Lasansky” features his series of 33 monumental drawings made with pencil, turpentine, and earth colors. The exhibition, over 50 years after the series’ original tour, is its first comprehensive presentation in a generation. At Mia, archival media of the Eichmann trial and a selection of contemporary prints by Lasansky will also be shown. A catalogue examines Lasansky’s series, acquired in its entirety by Richard and Jeanne Levitt for their family foundation.
What is a deepfake? Have you seen Barack Obama call Donald Trump a “complete dipshit”, or Mark Zuckerberg brag about having “total control of billions of people’s stolen data”, or witnessed Jon Snow’s moving apology for the dismal ending to Game of Thrones? Answer yes and you’ve seen a deepfake. The 21st century’s answer to Photoshopping, deepfakes use a form of artificial intelligence called deep learning to make images of fake events, hence the name deepfake. Want to put new words in a politician’s mouth, star in your favourite movie, or dance like a pro? Then it’s time to make a deepfake. - GUARDIAN
What are they for? Many are pornographic. The AI firm Deeptrace found 15,000 deepfake videos online in September 2019, a near doubling over nine months. A staggering 96% were pornographic and 99% of those mapped faces from female celebrities on to porn stars. As new techniques allow unskilled people to make deepfakes with a handful of photos, fake videos are likely to spread beyond the celebrity world to fuel revenge porn. As Danielle Citron, a professor of law at Boston University, puts it: “Deepfake technology is being weaponised against women.” Beyond the porn there’s plenty of spoof, satire and mischief.
Is it just about videos? No. Deepfake technology can create convincing but entirely fictional photos from scratch. A non-existent Bloomberg journalist, “Maisy Kinsley”, who had a profile on LinkedIn and Twitter, was probably a deepfake. Another LinkedIn fake, “Katie Jones”, claimed to work at the Center for Strategic and International Studies, but is thought to be a deepfake created for a foreign spying operation. Audio can be deepfaked too, to create “voice skins” or ”voice clones” of public figures. Last March, the chief of a UK subsidiary of a German energy firm paid nearly £200,000 into a Hungarian bank account after being phoned by a fraudster who mimicked the German CEO’s voice. The company’s insurers believe the voice was a deepfake, but the evidence is unclear. Similar scams have reportedly used recorded WhatsApp voice messages.
Musée du Luxemburg, Paris, France
Vivian Maier. News, 10th December 2021
The exhibition allows the public to see archives of the photographer that were discovered in 2007 and have not been seen before: vintage photographs that Vivian Maier printed, super 8 films never shown, audio recordings… As such the exhibition allows the full extent of the eminent artist’s work to be appreciated, and for her work to be placed in the history of photography.
Lisbon, Portugal
Manoel de Oliveira Photographer . News, 10th December 2021This exhibition unveils an unknown facet of the Dean of Portuguese Cinema: Manoel de Oliveira Photographer.
Over 100 black-and-white photographs are displayed, most of which have never previously been presented to the general public, covering various genres and themes. Stored in the director’s personal archive for decades, these photos reveal a hitherto unknown facet of Manoel de Oliveira’s career: as a photographer.
Produced between the late 1930s and the mid-1950s, the images not only reveal Manoel de Oliveira’s curiosity about optical phenomena, they also help us understand the compositional rigour of his films and open up new perspectives on the evolution of his cinematographic work.
An exhibition of photographs from the Manoel de Oliveira Collection, Casa do Cinema Manoel de Oliveira — Serralves Foundation, Porto, curated by António Preto.
MAAT, Lisbon, Portugal
DAY — CARSTEN HÖLLER News, 5th January 2022This monographic exhibition – DAY by Carsten Höller – brings together a vast array of works producing light and darkness, ranging from sculptures with lamps to projections and architecture dating from 1987, when Höller was working as a scientist, until today.
Almost twenty pieces, many especially recreated for this show, unfold across the entire museum in an arranged parcours that enters in dialogue with its unique spatial character of organic curvatures, narrowed thresholds and differently sized and lit volumes. Devoid of any support structure, nor using any of the museum’s inbuilt lighting system, the space is solely illuminated by the works themselves leading audiences through multi-sensorial experiences of altered perception.
Extending outside-in, the exhibition features Light Wall, erected outdoor. Close to the museum's entrance, it greets both visitors and passers-by with an array of light bulbs flickering at a mesmerising frequency of 7.8 Hz. Lisbon Dots, presented here for the very first time. Installed in the large oval room in the centre of the museum, is an interactive installation made of 20 spotlight projectors that follow visitors’ movements and allow them to play a game with each other. Thanks to a collaboration with Acute Art, the cutting-edge producer of augmented, virtual and mixed reality artworks, directed and curated by Daniel Birnbaum, the exhibition expands also into the digital dimension with a special app debuting in Lisbon.
Also presented here is the iconic work Two Roaming Beds (2015) – visitors will have the unique opportunity to spend a night inside the museum where everything on display can be experienced in privacy. The beds will move at random and leave a trace of the sleepers’ nightly roam in the form of a brightly coloured line on the floor, which will all add up over time to create a gigantic drawing.
A relevant public programme will include 7.8Hz Meditations taking place between December 2021 and February 2022 and curated by Mariana Pestana.
Musée d'Orsay, Paris, France
Marlene Dumas, "Le Spleen de Paris" and "Conversations". News, 10th December 2021
Marlene Dumas, Charles Baudelaire (detail) (2020) © Courtesy Zeno X Gallery Hat
Marlene Dumas' work is nourished by her passionate, fragmentary readings of poetry and literature. This project was born from her collaboration with the writer and translator Hafid Bouazza (1970-2021), with whom she had previously produced an edition of Venus and Adonis by Shakespeare. Following this collaboration, Marlene Dumas and Hafid Bouazza initiated a new project around the Spleen of Paris , which gave birth to fourteen paintings, all inspired by Charles Baudelaire: we see in particular portraits of the author and Jeanne Duval, but also motifs from poems - the rat, the bottle - and painted works directly linked to a text - such as The poor man's toy , The old woman's despair .
This set allows you to feel the creative inspiration that Baudelaire represents for one of the greatest living painters. It also allows you to discover the multiple forms of painting that Marlene Dumas practices: very precisely painted works - in particular portraits -, controlled and transformed pictorial gestures. The artist never stops experimenting with new ways of painting, and “Le Spleen de Paris” represents a poetic core for his creation. As a counterpoint to “Spleen de Paris”, the Musée d'Orsay will present “Conversations” by Marlene Dumas, a dialogue of three key works by the artist with works from the collections.
Musée Marmottan Monet, Paris, France
Julie Manet. News, 10th December 2021
From 19 October 2021 to 20 March 2022, the Musée Marmottan Monet is hosting the first exhibition ever dedicated to Julie Manet (1878-1966). Over one hundred works are on display, featuring paintings, sculptures, pastels, watercolours, and engravings, from museums all around the world, as well as private collections, including many pieces presented to the public for the first time. All serve to retrace the life of Julie Manet, the only daughter of the first female Impressionist artist Berthe Morisot, and niece of illustrious painter Édouard Manet. The aim of the exhibition is not only to evoke Julie Manet’s childhood amongst the Impressionists but also to lift the veil on her own private life and showcase the love of art that she inherited. The exhibition presents the extraordinary collection that she amassed with her husband, Ernest Rouart, and highlights that which was her life’s mission: to ensure that her mother and uncle gained the recognition they deserved.
In order to retrace eight decades of a truly remarkable life and reveal its many facets, the exhibition extends beyond the spaces usually dedicated to temporary events and takes up residence in the Rouart Galleries located on the first floor, endowing the exhibition with an unprecedented scale.
Musée Orangerie, Paris, France
David Hockney. A Year in Normandie. News, 10th December 2021
A Year in Normandy (projet), musée de l'Orangerie, 2021 ©© David Hockney / David Hockney
A few months earlier, at the Bayeux Museum, Hockney had been strongly influenced by the famed Bayeux Tapestry. Nearly 70 meters long, the embroidered work forms a frieze recounting the conquest of England by William, Duke of Normandy, in the 11th century. Thus was born the project of depicting the arrival of spring in the form of a narrative cycle. But as soon as the cycle was begun, the France-wide lockdown was decreed in March 2020.
While the world stood still, Hockney created more than one hundred images on an iPad in the space of a few weeks. This technique allows him to get the essence of his paintings down quickly and accurately. In the manner of the impressionists, he captures the effects of light and climatic changes with dexterity, but employs a bright and luminous palette, creating compositions in juxtaposed flat tints with pop accents. The days tick by, the lockdown ends, and spring gives way to summer, fall and winter. Hockney did not just paint the spring, but an entire year.
Presented in the main gallery of the Musée de l'Orangerie, A Year in Normandy will show this succession of the seasons in the form of an eighty-meter long frieze, echoing Monet’s Water Lilies. This exhibition, devoted to nature and its renewal, will be the occasion to celebrate the reunion of the Musée de l'Orangerie with the public, after long months of forced closure. It will be a compelling and unique moment of this highly anticipated artistic renewal in Paris.
McMullen Museum of Art, Boston, USA
Martin Parr: Time and Place. News, 24th November 2021Martin Parr: Time and Place features at its core a career-spanning selection of Parr’s Irish photographs, which describe the radical evolution of Ireland over the last four decades and the major themes of his work—social class and consumption, curiosity and humor, humanity and its predictable idiosyncrasies. Photographs from a number of other series, such as Autoportraits, The Last Resort, Small World, and The Cost of Living—made in Europe, North America, the Middle East, Africa, and Asia—demonstrate how Parr developed a powerful vocabulary of visual and conceptual ideas informed by overlapping feelings of familiarity and alienation, and instincts that are anthropological as well as artistic. From January 31–June 5, 2022.
Working in the lineage of Walker Evans, Bill Brandt, Robert Frank, and Lisette Model, Parr often seems to engage in cultural critique familiar from some of their work, one that is humorous, affectionate, ironic, or biting depending on the viewer’s perspective. Finding productive models in commercial and journalistic photography as well as fine art, Parr is distinguished from fellow ironists by his introduction of bright, saturated color to documentary practice. The early black-and-white work featured in Time and Place highlights the important role that color plays in Parr’s practice while also emphasizing how his style and vision is more complex, and less defined by color than viewers might expect.
Martin Parr (born Epsom, United Kingdom, 1952) is a photographer whose work evinces a global sensibility presented with the closely observed, precise detail of the local, recalling the ways distinctions in local cultures are increasingly flattened by global continuities. This is Parr’s first wide-ranging museum exhibition in the United States with over 135 works and an extensive selection of photobooks on display.
Art Basel in Miami Beach (ABMB, 2-4 December) will for the first time host an "interactive" exhibition of NFTs next month, part of a new collaboration with the open source blockchain Tezos. - theartnewspaper
What is more, visitors can create an AI self-portrait of themselves, then mint it as an NFT—to go.
The exhibition, titled Humans + Machines: NFTs and the Ever-Evolving World of Art, will feature a number of works from generative and NFT artists including Helena Sarin, Matt DesLauriers, Sutu (Stuart Campbell) and Iskra Velitchkova.
The German artist Mario Klingemann has also designed an algorithm, “embedded” into the exhibition space, with which visitors can interact to create their own abstract self-portrait, minted on the Tezos blockchain.
“While the body of work may be created by the machine, a self-portrait is a deeply human thing, so I hope this probes questions around human nature and perception, and all that expresses itself with automated systems,” says Klingemann, who is also known as Quasimondo.
Accompanying the exhibition wil be a talks series featuring prominent artists in the NFT space that will cover the technical, philosophical and artistic implications and possibilities created by blockchain-based art. According to a Tezos press release, the exhibition aims to "raise awareness of the new dynamic that both NFTs and the ever-evolving world of generative art bring to the art world."
GEM, Cairo, Egypt
The Grand Egyptian Museum: Zahi Hawass Reveals Expected Opening Date of GEM. News, 24th November 2021“This day will mark the 100th anniversary of the discovery of Tutankhamun’s tomb, and the 200th anniversary of the Rosetta Stone’s unlocking,” Hawass said during a phone interview with the “Hadrat Al-Muwatin” program on Al Hadath Al Youm.
Furthermore, the Egyptologist added that the whole world is talking about the GEM, stressing that Egypt has a great civilization which does not exist in any other country.
Renowned Egyptologist Dr. Zahi Hawass revealed that the Grand Egyptian Museum (GEM) is expected to open on November 4, 2022. In the same context, he emphasized that archaeological discoveries are extremely important, particularly after President Abdel Fattah El Sisi paid special attention to these discoveries.
He also affirmed that Sisi helped in creating a spectacular civilization which made him very proud as well as the world.
Pompidou, Paris, France
Georgia O'Keeffe. News, 6th November 2021The Centre Pompidou presents the first retrospective in France of Georgia O’Keeffe (1887 – 1986), one of the greatest figures in 20th century North American art. Boasting some hundred paintings, drawings and photographs, the exhibition proposes a complete review of her artistic career.
Georgia O'Keefe died at the age of 98 and lived through the essential aesthetic adventures of the last century. In the 1920s she belonged to the limited circle of the inventors of American modernism, then participated in the 1930s in the quest for identity that marked the United States, before becoming a pioneer of "hard edge" abstract painting in the 1960s. From 8 Sep - 6 Dec 2021.
Fondation Louis Vuitton, Paris, France
The Morozov collection. News, 6th October 2021
The exhibition is organized thanks to the remarkable collaboration of the Russian museums - The State Hermitage Museum (Saint Petersburg), the Pushkin State Museum of Fine Arts (Moscow) and the State Tretyakov Gallery (Moscow), and will be an exceptional artistic event in Paris and the first time that the Collection is being presented outside of Russia.
Following the exhibition of the Shchukin Collection at the Fondation Louis Vuitton in 2016/2017, the presentation of the Morozov Collection is another major historical moment dedicated to key early 20th Century Russian collectors.
Millennials help art market recovery. News, 6th October 2021
Art Basel-UBS report reveals that employment has stabilised and gallery sales are up 10% in first half of 2021
The Art market is recovering, after an year and a half of Covid. It´s happening because the millennial buyers are spending the most in the first half of 2021.
Base on a survey (by Art Basel and UBS), sales are growing 10%, since last year. Galleries are “reporting a 21% increase in sales, while mid-tier galleries saw a 3% decline and those with a turnover of less than $250,000 saw a “marginal” dip”.
One of the reasons for this growth is the use of digital platforms, which increasingly serve to exhibit all types of art (as if it were an exhibition). Even with the slow return of physical exposures. This growing use of these platforms, due to Covid, has made art galleries to bet on the development of their websites, even though it is still not as profitable as the physical ones.
As we can read on this survey: “Traditional media—paintings, sculpture and works on paper—still represent the greatest share of spending at 31%, though digital, film and video are growing in significance, accounting for a significant 12%. Almost half of HNW collectors said they would be interested in buying digital works in the coming 12 months.”
UCCA, Beijing, China
Matisse by Matisse. News, 17th September 2021From March through June 2022, UCCA Center for Contemporary Art, Beijing will present the largest solo exhibition by Henri Matisse (1869-1954) in China to date. This exhibition is presented in collaboration with Musée Matisse Le Cateau-Cambrésis and features some 250 works by the artist from the museum’s collection. It covers Matisse’s entire career and range, encompassing mediums including oil painting, sculpture, ink drawings, prints, cut-outs, illustrations, sketches, and textiles. The exhibition will subsequently travel to UCCA Edge, Shanghai, where it runs from July through October 2022.
Born on December 31, 1869 in Le Cateau-Cambrésis, northern France, Matisse came from a textile family that had been in the business for over 300 years. Two years before his death, Matisse bequeathed the most prized works from his own collection to his hometown, establishing the core of the collection of Musée Matisse. He took care in choosing the pieces and designed the gallery spaces, down to the details of the display of each artwork. Musée Matisse could thus be regarded as a unique artistic legacy left behind by the artist, exemplifying most directly and intimately his artistic practice, creative processes, and ideas about art. After the recent sesquicentennial of Matisse’s birth, and owing the current closure, for renovation, of the Musée Matisse, this valuable collection now has the unique opportunity to make its way to China.
Titled “Matisse by Matisse,” the exhibition is organized into ten sections, following the chronology of Matisse’s life and career, and marked by his signature touches throughout. It includes his early copies of old masters and stylistic explorations as an art student; works representative of the artist’s turn towards fauvism; and later, in the 1920 and 1930s, his study of the human body and portraiture through mediums such as sculpture, sketches, and prints. Other sections show the inspiration and influence of his 1930 trip to Tahiti; an iconic series of colorful oil paintings and ink drawings from the 1940s; the cut-outs, book illustrations, and textile works of his later years; and the artifacts, sketches, and models from his work on the chapel at Vence when he was almost in his eighties. An additional section organized by the curatorial team at UCCA will discuss Matisse and Fauvism’s influence on the modern painting movement in China during the 1920s to 1940s.
UCCA Director and Chief Executive Philip Tinari notes, “With this rare exhibition, UCCA is honored to further expand its efforts to present key figures in twentieth-century art to audiences in China. We are particularly excited by the range of work on offer, and by the chance to present works so dear to the artist himself. We look forward to bringing this important exhibition to Beijing and Shanghai next year.”
“Matisse by Matisse” is curated by Patrice Deparpe, Director and Chief Curator, Musée Matisse Le Cateau-Cambrésis. It is presented in collaboration with UCCA, and with support from the art and culture agency Doors门艺.
From 2022.3 – 2022.6.
National Museum of China, Beijing, China
Boats Floating Afar: Maritime Trade of Ancient Chinese Ceramics. News, 17th September 2021
The Maritime Silk Road, the sea route for foreign trade and cultural exchanges in ancient China, took its initial shape in the Qin and Han dynasties. Since the mid- to late Tang dynasty, ceramics had become commodities exported in great quantities, which ushered in the golden era of Chinese export porcelain. In the Song and Yuan dynasties, the sea trade of ceramics flourished, international ports located in cities such as Guangzhou, Quanzhou and Mingzhou (today’s Ningbo of Zhejiang Province) were set up one after another, and a ceramics trading system dominated by China was gradually established. In the Ming and Qing dynasties, as new sea routes were opened, countless Chinese ceramics were exported to Europe and North America, which promoted the formation and development of early trade globalization.
Explore Francis Bacon’s visceral paintingsNews, 17th September 2021
Irish-born artist Francis Bacon was the horse-breeder’s son who became one of the most important painters of the 20th century.
An openly gay man at a time when homosexuality was illegal, he was banished from his conservative family home by his father at 16. After that, he drifted through Berlin and Paris before establishing himself in London, with his formative years running parallel with some of the 20th century’s most profoundly disturbing events.
This powerful exhibition will focus on Bacon’s unerring fascination with animals: how it both shaped his approach to the human body and distorted it; how, caught at the most extreme moments of existence, his figures are barely recognisable as either human or beast.
It also explores how Bacon was mesmerised by animal movement, observing animals in the wild during trips to South Africa; filling his studio with wildlife books, and constantly referring to Eadweard Muybridge’s 19th-century photographs of humans and animals in motion. Whether baboons or bulls, dogs or birds of prey, Bacon felt he could get closer to understanding the true nature of humankind by watching the uninhibited behaviour of animals.
Spanning Bacon’s 50-year career, highlights include some of Bacon’s earliest works and his last-ever painting, alongside a trio of bullfight paintings which will be exhibited together for the first time.
Seen together, these raw expressions of anxiety and instinct – both animal and human – feel poignantly relevant today.
From 29 January — 17 April 2022.
John Constable: One of Britain’s best-loved artists had a radical side. News, 17th September 2021
This exhibition – which spans from 1825 until the artist’s unexpected death in 1837 – explores Constable’s late style through his paintings and oil sketches as well as watercolours, drawings and prints.
These 12 years are characterised by expressive brushwork, first developed in his plein air oil sketches from nature, as well as his full-size preparatory sketches. He also turned to watercolour with an enthusiasm missing since the early 1800s, and some of his late drawings show the same freedom of expression as his paintings from the same period.
Constable also explored the possibilities of printmaking, working on a series of mezzotints designed to promote his use of light and shade, which had become a powerful vehicle of expression in his later work.
This chapter in Constable’s career had an important impact on the next generation of painters, heralding the beginning of important movements in the late 19th century.
From 30 October 2021 — 13 February 2022.
British Museum, London, UK
Presents Hokusai The Great Picture Book of Everything. News, 17th September 2021
According to the British Museum this exhibition will display 103 recently acquired drawings by Hokusai, produced between the 1820s–1840s for an illustrated encyclopedia called "The Great Picture Book of Everything".
The book was never published. These exceptional works present an opportunity which would otherwise have been destroyed as part of the woodblock printing process.
Depicting scenes from Buddhist India, ancient China and the natural world, the brush drawings not only showcase Hokusai's inimitable style and skill, but also reveal a version of 19th-century Japan much more intrigued by the wider world than previously thought.
As well as offering the unique chance to study Hokusai's masterful brushwork directly, the show shines a light on the last chapter of the artist's career and life, uncovering a restless talent that burned brightly into his final years.
In addition to the original brush drawings, the exhibition showcases Hokusai's masterpiece The Great Wave, alongside objects that give further insight into his working practices and demonstrate the intricate process by which his woodblock prints were created.
You can visit this exhibition from 30 Sep 2021 - 30 Jan 2022.
Kunsthistorisches Museum, Wien, Austria
opened an exhibition about Titian’s Vision of Women: Beauty, Love, Poetry. News, 17th September 2021
This exhibition features 60 paintings loaned from other international collections, but also draws on the Kunsthistorisches Museum’s own prestigious archive; the KHM’s collection includes around 30 works by Titian himself, for example (various Habsburgs proved diligent art collectors).
The focus it is on the portrayal of the female form relates to the peculiar circumstances of the time. In Venice, women enjoyed a heightened status both in sociopolitics and art when compared to other parts of the world.
Equally, Titian might be regarded as the father of the reclining female nude as a motif in painting…the application of the female form to various contexts: allegorical, realistic, historical, idealised, and mythological, for example.
These aspects and associated interpretations colour the exhibition, as well as more technical considerations relating to the depictions themselves and the concomitant fashions and themes on display.
You can visit this exhibition from 5 Ocotober 2021 – 16 January 2022.
The National Gallery, London, UK
Journeys: Travels of a Renaissance Artist. News, 17th September 2021
Albrecht Dürer, 'Saint Eustace' (detail), about 1499–1503 ©️ Rijksmuseum, Amsterdam
This is the first major UK exhibition of German Renaissance artist Albrecht Dürer in nearly 20 years. Through paintings, drawings, prints, and letters, this exhibition follows Dürer’s travels across Europe, bringing to life the artist himself, and the people and places he visited.
Charting his journeys to the Alps, Italy, Venice and the Netherlands, the exhibition will explore how Dürer’s travels sparked an exchange of ideas with Netherlandish and Italian Renaissance artists, fuelled his curiosity and creativity, and increased his fame and influence across Europe.
'Dürer’s Journeys' will bring together loans from museums and private collections across the world, including the artist's striking ‘Madonna and Child’ (c. 1496/1499) from the National Gallery of Art, Washington, never before seen in the UK.
The exhibition is organised by the National Gallery in partnership with the Suermondt-Ludwig Museum, Aachen.
The exhibition can be visited from 20 November 2021 – 27 February 2022.
The National Gallery, London, UK
Poussin and the Dance at National Gallery London. News, 17th September 2021Tambourines shake, wine spills, and half-naked figures whirl across the canvas in these paintings of revelry, dance and drama that are brought together in this first exhibition dedicated to Poussin and dance.
Poussin’s paintings of dance are unique. He brings to life the Classical world of gods and mortals with wild and riotous movement but, the chaos on the canvas does not reflect the meticulous and inventive process that allowed him to capture bodies in motion.
In this exhibition, Poussin’s paintings and drawings of dance will be shown alongside the antique sculpture he studied, inviting you to trace the evolution of his ideas from marble to paper to paint.
Poussin’s working methods will be fully revealed with a reconstruction of his wax figurines, which the artist manipulated into different compositions, underscoring his role not only as painter of dance, but as choreographer in his own right.
Exhibition organised by the National Gallery, London and the Getty Museum, Los Angeles.
You can visit this exhibition from 9 October 2021 – 2 January 2022.
Colby Museum, Maine, US
Inside Out: The Prints of Mary Cassatt at Colby Museum. News, 5th September 2021
The experimental nature of these prints, combined with an attention on modern urban women, made these works quite unusual in their time. Yet, today, those very qualities of domesticity, intimacy, and privacy could be seen as reinforcing stereotypes of women.
Inside Out: The Prints of Mary Cassatt, drawn primarily from The Lunder Collection, highlights Cassatt’s creative process and her fearless experimentation.
From June 17–November 2, 2021.
Colby Museum, Maine, US
Bob Thompson: This House Is Mine at Colby Museum. News, 5th September 2021This exhibition offers a rich reconsideration of a visionary African American painter. Born in Louisville, Kentucky, Bob Thompson (1937–1966) earned critical acclaim in the late 1950s for his paintings of figurative complexity and chromatic intensity. Bob Thompson: This House Is Mine borrows its name from a diminutive but exquisite painting created by the artist in 1960. With this title, Thompson declared his ambition to synthesize a new visual language out of elements of historic European painting.
The first museum exhibition devoted to the artist in more than twenty years, This House Is Mine traces Thompson’s brief but prolific transatlantic career, examining his formal inventiveness and his engagement with universal themes of collectivity, bearing witness, struggle, and justice. Over a mere eight years, he grappled with the exclusionary Western canon, developing a lexicon of enigmatic forms that he threaded through his work. Human and animal figures, often silhouetted and relatively featureless, populate mysterious vignettes set in wooded landscapes or haunt theatrically compressed spaces. Thompson reconfigures well-known compositions by European artists such as Piero della Francesca and Francisco de Goya through brilliant acts of formal distortion and elision, recasting these scenes in sumptuous colors. On occasion, familiar individuals appear: the jazz greats Nina Simone and Ornette Coleman, and the writers LeRoi Jones (later Amiri Baraka) and Allen Ginsberg.
Bringing together paintings and works on paper from more than fifty public and private collections across the United States, This House Is Mine centers Bob Thompson’s work within expansive art historical narratives and ongoing dialogues about the politics of representation, charting his enduring influence. The exhibition is accompanied by a lavishly illustrated catalogue featuring scholars, artists, and poets, published in association with Yale University Press. Contributors include Kraig Blue, Adrienne L. Childs, Bridget R. Cooks, Robert Cozzolino, Crystal N. Feimster, Jacqueline Francis, Rashid Johnson, LeRoi Jones, Adjoa Jones de Almeida, Alex Katz, Mónica Mariño, George Nelson Preston, Lowery Stokes Sims, A. B. Spellman, and Henry Taylor.
From July 20, 2021 – January 9, 2022.
The MET, NY, US
The Met’s first-ever exhibition exploring the work of Walt Disney and the Walt Disney Animation Studios. News, 5th September 2021Pink castles, talking sofas, and a prince transformed into a teapot: what sounds like fantasies from Walt Disney Animation Studios’ pioneering animations were in fact the figments of the colorful salons of Rococo Paris. The Met’s first-ever exhibition exploring the work of Walt Disney and the Walt Disney Animation Studios’ hand-drawn animation will examine Disney’s personal fascination with European art and the use of French motifs in his films and theme parks, drawing new parallels between the studios’ magical creations and their artistic models.
Forty works of 18th-century European decorative arts and design—from tapestries and furniture to Boulle clocks and Sèvres porcelain—will be featured alongside 150 production artworks and works on paper from the Walt Disney Animation Research Library, Walt Disney Archives, Walt Disney Imagineering Collection, and The Walt Disney Family Museum. Selected film footage illustrating the extraordinary technological and artistic developments of the studios during Disney’s lifetime and beyond will also be shown.
The exhibition will highlight references to European visual culture in Disney animated films, including nods to Gothic Revival architecture in Cinderella (1950), medieval influences on Sleeping Beauty (1959), and Rococo-inspired objects brought to life in Beauty and the Beast (1991). The exhibition marks the 30th anniversary of Beauty and the Beast’s animated theatrical release.
Harvard Art Museums, Mass, US
States of Play: Prints from Rembrandt to Delsarte. News, 1th September 2021Spanning more than three centuries, the works in this exhibition—by artists such as Pablo Picasso, Rembrandt, Lee Krasner, Jacques Philippe Le Bas, and Louis Delsarte—unveil the layers of creative revision, correction, and adjustment behind finished prints. Central to this process is the concept of a “print state,” which traditionally refers to a version of a print that precedes the final product. The exhibition explores how artists across time have maximized the iterative potential of states, for reasons ranging from the practical to the whimsical. By decoding creative choices that the artist pursued or abandoned in each successive step, the exhibition helps uncover the full breadth of experimentation and demystifies printmaking terminology and techniques.
The works on view, which also include prints by Anthony van Dyck, Louise Nevelson, Paul Signac, Edvard Munch, Albert Besnard, Félix Hilaire Buhot, Sol LeWitt, and others, are drawn from the Harvard Art Museums collections.
From September 4, 2021–January 2, 2022, University Research Gallery, Harvard Art Museums.
MET, NY, US
Japan: A History of Style. News, 1th September 2021
Miners in Botswana have uncovered what could be the third largest diamond of its kind in the world, bringing hope to the "struggling" African nation. - DW
The 1,098-carat diamond was unearthed on June 1 by Debswana, a joint venture between the Botswanan government and precious stone multinational De Beers.
As it is the biggest stone of gem quality the company has found, Botswana President Mokqweetsi Masisi was shown the giant diamond in the capital Gabronne.
How significant is this find?
"It is believed to be the third largest gem-quality find in the world," Debswana Managing Director Lynette Armstrong told the AFP news agency.
"This rare and extraordinary stone means so much in the context of diamonds andBotswana. It brings hope to the nation that is struggling," she said.
It follows the discovery of a 998-carat diamond in northeastern Botswana′s Karowe mine in November by Lucara Diamond. Botswana is the leading diamond producer in Africa.
Which are the biggest diamonds ever found?
The 3,106-carat Cullinan is the largest diamond ever discovered. It was found in South Africa and named after Thomas Cullinan, the mine′s founder.
It was eventually bought by the Transvaal Colony government and presented as a gift to the then king of the United Kingdom, Edward VII.
The 1,109-carat Lesedi La Rona was the second largest diamond ever found. It was also mined at Karowe in northeastern Botswana in 2015 and is the size of a golf ball.
Diamonds can fetch millions of dollars on the international market.
jc/msh (AFP, Reuters)
Gropius Bau, Berlin, Germany
Yayoi Kusama: A Retrospective. News, 17th June 2021
Yayoi Kusama, “Infinity Mirror Room – Phalli’s Field”, 1965© YAYOI KUSAMA, courtesy: Ota Fine Arts, Victoria Miro & David Zwirner
Presented across almost 3000 m², Yayoi Kusama: A Retrospective will offer an overview of the key periods in her oeuvre, which spans more than 70 years, and feature a number of current works as well as a newly realised Infinity Mirror Room.
The retrospective will focus primarily on tracing the development of Kusama’s creative output from her early paintings and accumulative sculptures to her immersive environments, as well exploring her lesser-known artistic activity in Germany and Europe.
Since the 1960s, the artist has been actively engaged in realising exhibition projects outside the former centre of her life in New York and showing her work in a European context. This has also brought to the fore Kusama’s role as a pioneer of personal branding, who early on in her practice intentionally staged and marketed her own artistic persona and multidisciplinary work.
Within the exhibition framework, reconstructions will allow viewers to experience the pioneering nature of her presentational forms and artistic subjects, making accessible Kusama’s early exhibition projects in Germany and Europe in the 1960s and central solo exhibitions in the USA and Asia from the 1950s to 1980s.
From 23 April to 15 August 2021.
MET, NY, US
In Praise of Painting. News, 17th June 2021Dutch paintings of the seventeenth century—the Golden Age of Rembrandt, Hals, and Vermeer—have been a highlight of The Met collection since the Museum's founding purchase in 1871. This exhibition brings together some of the Museum's greatest paintings to present this remarkable chapter of art history in a new light. Through sixty-seven works of art organized thematically, In Praise of Painting orients visitors to key issues in seventeenth-century Dutch culture—from debates about religion and conspicuous consumption to painters' fascination with the domestic lives of women.
The exhibition provides a fresh perspective on the canon and parameters of the Dutch Golden Age by uniting paintings from Benjamin Altman's bequest, the Robert Lehman Collection, and the Jack and Belle Linsky Collection. Works typically displayed separately in the Museum's galleries—such as Rembrandt's Gerard de Lairesse and Lairesse's own Apollo and Aurora—are presented side by side, producing a visually compelling narrative about the tensions between realism and idealism during this period. The presentation also provides the opportunity to conserve and display rarely exhibited paintings, including Margareta Haverman's A Vase of Flowers—one of only two known paintings by the artist and the only painting by an early modern Dutch woman currently in The Met collection. The exhibition takes its title from one of the period's major works of art theory, Philips Angel's The Praise of Painting (1642), a pioneering defense of realism in art.
In 1886, when England last saw Gustave Moreau’s Fables watercolours, the young George Bernard Shaw was most impressed by the French artist’s feverishly colourful illustrations, which were made to accompany the 17th-century poems of Jean de la Fontaine. “Lovers of literature, who have been soured and hardened against artists by the exasperating brainlessness of the common sort of illustrations to the works of great authors, need not fear the works of Moreau,” Shaw wrote. “The La Fontaine series entitles him to rank with Delacroix and Burne-Jones as illustrator.” - ART NEWSPAPER
It has been a long time since the public has had the chance to reassess this view. All the surviving Fables works are about to go on show at Waddesdon Manor, a National Trust mansion formerly owned by the Rothschild family, more than a century since they were last seen in public anywhere.
Gustave Moreau’s 34 surviving Fables watercolours get a very rare outing. The 19th-century French symbolist's works will go on show at Waddesdon Manor before travelling to Paris.
In 1886, when England last saw Gustave Moreau’s Fables watercolours, the young George Bernard Shaw was most impressed by the French artist’s feverishly colourful illustrations, which were made to accompany the 17th-century poems of Jean de la Fontaine. “Lovers of literature, who have been soured and hardened against artists by the exasperating brainlessness of the common sort of illustrations to the works of great authors, need not fear the works of Moreau,” Shaw wrote. “The La Fontaine series entitles him to rank with Delacroix and Burne-Jones as illustrator.”
It has been a long time since the public has had the chance to reassess this view. All the surviving Fables works are about to go on show at Waddesdon Manor, a National Trust mansion formerly owned by the Rothschild family, more than a century since they were last seen in public anywhere.
The series of 64 illustrations was commissioned by Moreau’s wealthy patron, Antony Roux. On his death in 1913, they were bought for 300,000 francs by Miriam Alexandrine de Rothschild, the daughter of the well-known collector Edmond de Rothschild, and a considerable collector in her own right, as research by the exhibition’s curator Juliet Carey has established.
Miriam gave one watercolour to the Musée National Gustave Moreau in Paris, which was once the artist home and studio, and where the exhibition will travel to this winter. But almost half the collection was looted by the Nazis from Miriam’s Paris flat and another Rothschild home. The 34 surviving works in the show are on loan from one of the family collections.
More than 250 works on paper—including drawings, sketchbooks, and rarely seen watercolors—are shown alongside a selection of related oil paintings, all drawn from MoMA’s collection as well as public and private collections from around the world. Presented together, these works reveal how this fundamental figure of modern art—more often recognized as a painter—produced his most radical works on paper.
It is the biggest legal fight the art world has ever witnessed: a Russian oligarch, who claims he was ripped off buying multi-million-dollar masterpieces, versus a Swiss art dealer who says it was just business. - CNN
Now, after six years of lawsuits in multiple jurisdictions, the tables appear to be turning once more in a saga so dramatic it's been given a name worthy of a movie script: "The Bouvier Affair."
Russian fertilizer tycoon Dmitry Rybolovlev has pursued Swiss art dealer and freeport storage magnate Yves Bouvier around the world for years in various courts, claiming to have been swindled out of $1 billion on 38 exorbitantly priced artworks sold to him by Bouvier over the course of a decade.
But in a new twist, Bouvier has told CNN he is preparing his own billion-dollar damage counter suit against Rybolovlev, after taking legal action in Singapore in February, alleging a long-running court battle with Rybolovlev has ruined his businesses and reputation.
The cases so far have kept an army of lawyers and reputation managers employed on either side, as one allegation against another is levied by each party, including claims of intimidation and political intrigue.
Fittingly, the tortuous imbroglio also involves some of the most priceless and controversial pieces of art, including the 2013 purchase of what is now the world's most expensive and enigmatic painting: the "Salvator Mundi," thought by some to be the work of Leonardo da Vinci despite years of debate over its authenticity -- a work on which Bouvier made a markup of more than 50%.
Long believed by others to be a copy or the work of Leonardo's studio, the "Salvator Mundi" was purchased in 2005 by a consortium of speculative art dealers for under $10,000. Eight years later, after the painting had been restored and declared the work of the Renaissance master, Bouvier bought it for $80 million after enlisting the help of a poker player to beat down the price. The dealer swiftly sold it on for $127.5 million to his then-client, Rybolovlev, via the pair's offshore vehicles, according to an invoice referred to in court papers, and taking a 1% commission. And while the oligarch later auctioned off the painting for an astonishing $450 million in 2017, to a secret buyer now widely believed to be Saudi Arabia's Crown Prince Mohammed bin Salman, he nonetheless alleges that Bouvier defrauded him -- a claim Bouvier denies.
Rybolovlev declined to be interviewed for this story, but a spokesperson for Dmitry Rybolovlev's family entities told CNN: "These matters are being fought in the courts where we expect to prove what happened and that Bouvier's fanciful story is false. For now, what is most notable is what Bouvier does not dispute: as an art adviser, he pretended to help his clients assemble an art collection at a cost of $2 billion while secretly reaping half of that price for himself."
Icecap, LLC, the first company to offer investment-grade diamonds via NFT technology, has announced the launch of tokenized “Icecap Collectibles,” a selection of high-end natural and rare colored diamonds, plus unique finished jewelry pieces. The company said in its press release that initial offerings include an intense red diamond valued at approximately $3 million USD. - GEMATLAS
Icecap recently relocated its headquarters to Dubai.
Non-Fungible Tokens, or NFTs, are blockchain-based tokens which document ownership of real world or virtual world assets. As blockchain tokens, once sold they can move efficiently between buyers/sellers for trading purposes on NFT exchanges.
“NFT technology has opened up diamonds as an asset class for diversification,” explained Jacques Voorhees, CEO of Icecap. “Diamonds typically out-perform inflation, but now with NFT technology diamonds can be bought, sold, and traded almost as efficiently as gold and silver. Thanks to NFTs, we might say the world’s hardest asset is now liquid.”
Icecap is the brainchild of the father/son team of Jacques Voorhees, who revolutionized the diamond industry in the 1980s by introducing online trading technology via Polygon, and Erik Voorhees, the well-known bitcoin advocate and founder of ShapeShift.
“Interest in diamonds as an investment goes back over a thousand years,” continued Voorhees. “But diamonds are not fungible—each one is unique. The technology of non-fungible tokens now makes it easy to trade this asset class without the friction of having to track the physical product itself—which is kept secure, vaulted, and insured.”
Icecap’s diamond tokens are traded on the world’s largest NFT exchange, OpenSea.io. A buyer can hold the token as an investment, sell the token to liquidate, or redeem the token and take delivery of the physical diamond itself—which can later be re-tokenized if desired.
Icecap’s decision to relocate from the United States to Dubai was an easy one, according to Voorhees. “In the last twelve months, Dubai has become the primary trading center for diamonds globally. And the UAE is a global leader in having a stable and well-evolved regulatory framework for the trading of blockchain assets. Dubai in general, and the DMCC free-zone, in particular, is a natural home for a company that combines diamonds with NFT trading.”
Icecap’s new line of diamond collectibles are targeted to those who value rarity and uniqueness over liquidity. The Company’s “investment grade” diamonds, by contrast, are lower price point, less unique, but highly liquid. “There’s a market for both,” added Voorhees. “And NFT technology is ideally suited to both.”
For more information on Icecap, please visit https://icecap.diamonds/. To visit the OpenSea marketplace directly, go to https://opensea.io/assets/icecap-diamonds.
NFT mania is showing no signs of slowing down.
The latest proof? The world’s first NFT house just sold for more than $500,000, according to CNN. And while artist Krista Kim’s Mars House is certainly a sight to behold, it’s also a property that doesn’t actually exist in the real world. The futuristic structure is a 3-D digital model that can only be experienced in virtual reality.
The one-of-a-kind Mars House is a non-fungible token (or NFT), which is a unique digital asset “minted” by the blockchain technology. The encryption provides proof of the asset’s authenticity as well as records showing who created it and who owns it.
The neon-lit, glass dwelling was listed for sale on SuperRare last week and sold to the Art on the Internet foundation for 288 Ethereum coins, which were worth $514,557.79 at the time of the sale. Kim announced that the “majority” of proceeds will go to the Continuum Foundation and used for a world tour of sound and light installation designed to promote mental health. Last week, the artist told Architectural Digest that the Mars House’s design is meant to promote meditative well-being, one of her creative focuses since the outbreak of the Covid-19 pandemic.
“Mars House represents the next generation of NFTs,” the artist told CNN. “It is a sign of things to come, as we enter an [augmented reality] interfaced future, with the launch of Apple AR glasses and AR contact lenses. Art, NFTs, cryptocurrencies. . .these sweeping changes and ideas of how we will live with digital assets is becoming a reality and will create a global paradigm shift.”
The Mars House NFT includes a 3-D file of the residence which can be uploaded to the foundation’s “metaverse.” It also comes with tech support and an ambient soundtrack composed by the Smashing Pumpkins’s Jeff Schroeder. Should the new owner ever decide to sell the home, they must delete the files from their metaverse and provide proof to Kim that they have done so.
The transaction is one of just several jaw-dropping sales of NFTs this month. Two weeks ago, Everydays—The First 5000 Days, a JPEG by the digital artist Beeple sold for sold for $69.3 million at auction. Earlier this week, an NFT of Twitter CEO Jack Dorsey’s first published tweet sold for $2.9 million.
Conservation work that began 20 years ago on a giant set of 16th-century tapestries is almost complete: 12 down -- as the most recently cleaned and repaired panel goes back on the wall at England's Hardwick Hall, where they have hung since 1592 -- and one to go, now on its way to the workshop. - CNN
The job has been the lengthiest textile project ever carried out by the British heritage charity, the National Trust. Each panel is around six meters (20 feet) tall, and the 13 add up to more than 70 meters (230 feet) in length, the largest surviving set in England.
The tapestries were bought by a suitably towering personality, Bess of Hardwick, who outlived four husbands and became richer each time she was widowed.
She built and remodeled English stately homes on an imperial scale, including Chatsworth House, family home of her second husband, and her own astonishing residence, Hardwick Hall in Derbyshire, famously dubbed "more glass than wall" at a time when any glass window was a costly luxury.
The tapestries were originally woven in Flanders, Belgium, for Sir Christopher Hatton, for his own vast new house, Holdenby Hall in Northamptonshire, and sold after his death in 1591 to meet heavy debts.
Bess paid the then-enormous price of £326, 15 shillings and 9 pence, roughly the equivalent of £128,000 ($182,000) today, according to the National Trust.
She brought the tapestries to Hardwick Hall, where they have remained ever since, and had patches of her own coat of arms stitched and painted over Hatton's. His golden hind emblem was also converted into a Cavendish stag by adding painted antlers.
The conservation work included replacing thousands of broken threads, strengthening points of heavy wear, and recording and removing some historic repairs made out of patches cut from other old tapestries. All the panels were strengthened by being stitched onto a linen backing, and then given a cotton lining.
Work on the 13th panel, funded by a private donation of more than £287,000 ($407,000), should be finished by 2023, completing the epic project. The 12th panel will be left to be admired on its own for at least two years, without reinstating the portraits which had hung on top of it.
The magazine The Art Newspaper published an article where states that after Podkarpackie declaring itself one of more than 100 “LGBT-free zones” in Poland, the region has apparently lost €1.65m in European heritage funding. Podkarpackie, at the foot of the Subcarpathian Mountains, is a popular winter holiday destination.
According to the Polish LGBTQ activist Bart Staszewski, the grant, which was earmarked for the development of a "Carpathian Route" that helps to "explore, promote and protect the richness of the cultural and natural heritage of the Carpathian region", was withdrawn in September last year. But details of its cancellation only came to light this month after Staszewski questioned Polish officials over their refusal to publicly acknowledge the matter.
Read the full article at The Art Newspaper
In January 2021, the Royal Academy of Arts will present Francis Bacon: Man and Beast, the first exhibition to chart the development of the artist’s work through the lens of his fascination with animals and its impact on his treatment of the human figure. Francis Bacon (1909–1992) is recognised as one of the most important artists of the twentieth century. Since his death, the world has changed in ways that make his unnerving work ever more prescient. This important exhibition will include 45 remarkable paintings spanning his career; from his earliest works of the 1930s and 40s through to the final painting he ever made in 1991, which will be exhibited publicly here for the first time in the UK. Among the works, a trio of paintings of bullfights will also be displayed together for the first time, all painted in 1969.
The exhibition will conclude with the last painting Bacon ever made, Study of a Bull, 1991 (Private Collection), which was not discovered until 2016. The bull emerges from the picture as if about to charge, but the black void behind has opened to claim it forever. From 30 January – 18 April 2021
Robert Simon Fine Art, New York. Lucas Cranach the Elder and Workshop (Kronach 1472-1553 Weimar) ‘The Judgment of Paris’. Oil on panel. 61.5 x 39.6 cm (24.2 x 15.6 in.). Circa 1518-1522
Goya's graphic imagination Post by Francisco Lacerda, 24th November 2020
Regarded as one of the most remarkable artists from the late eighteenth and early nineteenth centuries, Francisco Goya (1746–1828) is renowned for his prolific activity as a draftsman and printmaker, producing about nine hundred drawings and three hundred prints during his long career. Through his drawings and prints, he expressed his political liberalism, criticism of superstition, and distaste for intellectual oppression in unique and compelling ways.
This exhibition will explore Goya's graphic imagination and how his drawings and prints allowed him to share his complex ideas and respond to the turbulent social and political changes occurring in the world around him. The broadly chronological presentation will follow Goya's evolution and different phases as a graphic artist as well as his approaches to his subjects. Around one hundred works on display will come mainly from The Met collection—one of the most outstanding collections of Goya's drawings and prints outside Spain—with other works coming from New York, Boston, and Madrid’s Museo Nacional del Prado and the Biblioteca Nacional.
Body and Soul - Italian Renaissance Sculpture from Donatello to Michelangelo Post by Francisco Lacerda, 19th October 2020
Following on from the "Springtime of the Renaissance" exhibition (September 26, 2013–January 6, 2014), the "Body and Soul" exhibition, organized in collaboration with the Castello Sforzesco Museum in Milan, seeks to bring to light the main themes and ideas developed in Italy during the second half of the Quattrocento.
In the first two decades of the 16th century, these elements would lead to a defining moment in the history of Renaissance sculpture, with the arrival on the art scene of one of the greatest creators of all time, Michelangelo. The exhibition will focus primarily on the art of sculpting, but will also explore a number of works from other fields (painting, printmaking, and drawing). Sculptors were drawn to the interpretation of human beings; both in outward appearance and inner state. The portrayal of human figures in their range of movements took highly innovative forms at the time. These explorations of the expression and emotions of the human figure were at the heart of the approaches of the leading sculptors of the time, from Donatello to Michelangelo.
The exhibition discusses three major themes: “Fury and Grace” firstly reveals the interest for complex compositions and the intensification of bodily movements; next, “Affect and Persuasiveness” aims to highlight how emotional states were at the core of artistic practices, with the clear desire to have a powerful impact on viewers’ emotions; and lastly, “From Dionysos to Apollo” brings to light the inexhaustible contemplation of classical antiquity expressed in sculpture, developing the search for new harmony that transcended the naturalism of gestures and extreme emotions.
Furusiyya in the East meets Chivalry in the West. Discover how these distinct practices of combat and knightly values led to a specific culture in the Islamic East and the largely Christian West.
Tales of knightly culture have been told throughout history – of brave heroes fighting for their sovereign, their religion and their honour; stories of war, loss, comradery and courtly love. But what was this culture of furusiyya and chivalry? How did they begin? And how did they face each other in important historical periods?
This unique exhibition explores the ancient roots of chivalry as well as the role of a knight in combat and the different chivalric codes that developed around the world, from Iraq and Syria in the East, to France and Spain in the West. Through over 130 rare artworks from the 10th to the beginning of the 16th centuries, including spectacular arms, armour, and rare manuscripts, discover how some of these practices and the knightly spirit became a past time, and how some of them continue around the world to this day.
Organised by Louvre Abu Dhabi, Musée de Cluny – Musée national du Moyen Âge and Agence France Muséums. Curated by Elisabeth Taburet-Delahaye, Director, Musée de Cluny – Musée national du Moyen Âge; Carine Juvin, Curator, Department of Islamic Art, Musée du Louvre and Michel Huynh, Head Curator, Musée de Cluny – Musée national du Moyen Âge.
Between 9 October 2020 and 10 January 2021, "Carl Fabergé and Feodor Rückert. Masterpieces of Russian Enamel" will be on show at the exhibition halls of the Assumption Belfry and Patriarch’s Palace in the Moscow Kremlin Museums. Visitors will have a rare opportunity to see about four hundred enamelled pieces made of precious metals—all produced by Russian jewellery firms of the late 19th – early 20th century.
The project focuses on the works by the court jeweller to Russian Tsars, Carl Fabergé, and on the skill of the finest Russian "enamel painter" Feodor Ivanovich Rückert. For the first time, masterpieces of outstanding Russian jewellers and enamellists of the turn of the 19th and 20th centuries, now kept in more than twenty museums and private collections, will be united within a single exhibition space. Fabergé and Rückert enjoyed long and fruitful cooperation: Feodor Rückert created enamelled pieces, commissioned to him by the court jeweller, as well as worked for the legendary Russian firms of P. Ovchinnikov and I. Khlebnikov—suppliers to the Highest Imperial Court—and other famous Moscow companies. Along with the pieces by Fabergé and Rückert, visitors will be able to contemplate items produced by other firms, companies, workshops and artels founded by O. Kurlyukov, A. Postnikov, M. Semenova, G. Klingert, A. Kuzmichev.