International 07 Art Exhibitions 2013 International 18.10.2013 > 23.02.2014 Art Exhibitions 2013

Opposite page Mauve violet et rose 1954, Oil on canvas Serge Poliakoff 89 x 116 cm Private collection The Dream of Forms © Courtesy Galerie Applicat- Prazan, Paris. Musée d’Art Moderne de la Ville de Paris A large-scale retrospective devoted to Photo: Art Digital Studio. the abstract painter Serge Poliakoff 1 (1900-69) comprising some 150 works Composition abstraite from the period 1946-69. Since 1970 à la bande bleue there has been no significant exhibition 1951, Oil on canvas of the work of this major representative 89 x 116 cm of theSchool of Paris in what became Private collection, Frankfurt his home city. Lauded by leading © All rights reserved historians of abstraction as Charles 2 Estienne, Michel Ragon and Dora Espace orangé Vallier, and championed by dealers 1948, Oil on canvas Denise René and Dina Vierny, Serge 92 x 150 cm Poliakoff drew the interest of many Musée des Beaux-Arts de Liège private collectors. The exhibition is laid © Liège, Musée des Beaux-Arts out in sequences revolving around key (BAL) works: from his exploratory years and 3 the postwar period – when he was part Jaune et noir of the abstract avant-garde, showed in 1952, Oil on canvas various salons and caught Kandinsky’s 130 x 97 cm eye – until the pared-down modernity Centre Pompidou, Musée of the late paintings (1968-69). 1 national d’art moderne- Centre de création industrielle especially sensitive approach and the © Centre Pompidou, MNAM-CCI, intense spirituality of a body of work Dist. RMN-Grand Palais rigorously focused on what Pierre All rights reserved Guéguen called the ‘dream of forms in themselves which is the great mystery All works of the abstract’. © ADAGP, Paris 2013

The presentation is rounded off by a cluster of gouaches, while other projects involving fabrics, stained glass and ceramics underscore Poliakoff’s relationship with the ornamental. The exhibition is backed up by a mass of documentary material providing an 2 insight into the painter’s life. The tumultuous beginnings of a young Like all practitioners of full abstraction, Crucial here are concentration of colour, Russian emigrant fleeing the revolution; Serge Poliakoff was concerned with the vibrancy of texture and skilful arrange- the postwar artistic ambience; and relationships between line and surface, ment of forms that balance each other ultimately the years of success, but form and content, colour and light. But in contained, energetic tension. This is most of all, the young art scene of the apparent formal unity of his works the interpretation offered by a show the 1960s, which saw Poliakoff as one of conceals a host of painterly solutions. that demonstrates the singularity of an painting’s most radical modernists. 3 www.mam.paris.fr International 18.10.2013 > 02.03.2014 Art Exhibitions 2013

All images (except 1) Archiv Baumeister im Kunstmusem 1 International © VG Bild-Kunst, Bonn 2013

Kunstmuseum Stuttgart Stuttgart native Willi Baumeister is one of the most important artists in post- war . Not only was he instru- mental in the development of art in the young state, but as part of the avant- garde he also had a major influence on the advancement of abstract painting in Europe.

The Kunstmuseum Stuttgart holds the most comprehensive collection of this works in the world and houses the Baumeister Archive. In the large retro- spective Baumeister is presented as an 4 artist of international standing. Works from his own art collection, including pieces by Josef Albers, Hans Arp, Julius Bissier, Georges Braque, Carlo Carrà, Marc Chagall, Albert Gleizes, Roberta Gonzales, Camille Graeser, Hans Hartung, , , 4 Franz Krause, Le Corbusier, Fernand Léger, El Lissitzky, , Opposite page Kasimir Malewitsch, Otto Meyer-Amden, Tori with Blue Dot Joan Miró, László Moholy-Nagy, 1937, Oil on canvas Amédée Ozenfant, Pablo Picasso, Oscar 100 x 65.5 cm Schlemmer, Kurt Schwitters, Michel 1 Seuphor, Gino Severini, Alexej von Willi Baumeister Jawlensky und Zao Wou-Ki, assembled Photograph by Adolf Lazi, through friendships with other artists 1947 3 will be, for the first time, shown in public. 2 2 Red-Olive II The Kunstmuseum Stuttgart has The archive advises on content and 1924, Oil on canvas housed the Baumeister Archive since loans works to both comprehensive 100.5 x 81.3 cm January 2005. It contains the estate of retrospective exhibitions and smaller 3 artist Willi Baumeister (1889-1955). themed presentations. The archive is Apollo The archive was compiled by his widow administrated by Hadwig Goez. Opaque paint and and daughters and is now accessible for Felicitas Baumeister – as daughter of graphite on cardboard the purposes of academic research. the artist especially familiar with the 50 × 35 cm estate contents – fulfills a consulting 4 Several art historians were involved role with her knowledge of and about Orange-Green in producing the different catalogues the works and continues to produce 1923, Oil on canvas dedicated to paintings, drawings, specialist reports with the co-operation 123.7 x 68.3 cm 3 gouaches, collages and prints. of the catalogue authors. www.kunstmuseum-stuttgart.de International 21.10.2013 > 21.12.2013 Art Exhibitions 2013

Opposite page John Chateau Meyney 2013, Oil on canvas Currin 106.7 x 86.4 cm

Gagosian Gallery Gallery Gagosian Currin’s ambitious paintings seduce, repel, surprise, and puzzle. His masterful technique is achieved through the scrutiny and emulation of the composi- tional devices of 16th & 17th century Northern European painting, while his eroticized subjects exist at odds with the popular dialogue and politics of contemporary art. With inspirations as diverse as Old Master portraits, pin-ups, pornography, and B-movies, Currin paints challengingly perverse images of women, from lusty nymphs and dour matrons to more ethereal prototypes. Paris

12 1 Consistent throughout his oeuvre is sharp, brightly coloured figure stands Tapestry his search for the point at which the out within a fluid, grisaille-like setting 2013, Oil on canvas beautiful and the grotesque are held of floral patterns, light fabrics, and 117.2 x 86.4 cm in perfect balance. John Currin’s latest blurry bodies joined in sexual ecstasy. 2 paintings present an increased Conflating a heady mix of historic A Fool with Two Young complexity of background treatment. technique, humour and fantasy, Currin Women In Tapestry (2013), a casually dressed continues to provoke and titillate. 2013, Oil on canvas modern woman is portrayed in his 50.5 x 61 cm signature baroque style; her torn jeans Born in 1962 in Boulder, Colorado, Currin 2 and bohemian, peasant-style blouse now lives and works in New York. His Lynette & Janette contrast with the elaborate manner in work is sought after and represented in 2013, Oil on canvas 3 which she is painted. Her exquisitely major museum collections worldwide. 106.7 x 86.4 cm www.gagosian.com International 23.10.2013 > 02.02.2014 Art Exhibitions 2013

Albrecht Dürer

1 His Art in Context

Städel Museum Frankfurt Opposite page Albrecht Dürer Portrait of Elsbeth Tucher 1499 © Museumslandschaft, Hessen, Kassel, Gemäldegalerie Alte Meister, Kassel 1 Albrecht Dürer Study for the Heller-Altar: Feet of an Apostle 1508 Museum Boijmans Van Beuningen, Rotterdam 2 Albrecht Dürer Saint Jerome in his Study 2 1521 © Museu Nacional de Arte Antiga, A comprehensive survey of the work of Lisbon, General Directorate for Albrecht Dürer (1471-1528), arguably the Cultural Heritage most famous German artist of the 3 Renaissance. The exhibition compises Albrecht Dürer more than 250 works, including 190 by Portrait of Barbara Dürer Dürer. The Städel obtained loans from 1490 the Prado (Madrid), the National Gallery Germanisches (London) and the National Gallery of Art Nationalmuseum, Nuremberg (Washington). Further important works 4 are from the Louvre (Paris), the British Albrecht Dürer Museum (London) the Uffizi (Florence), Melancolia I the Staatliche Museen zu , the 1514, 24.2 x 18.9 cm Rijksmuseum (Amsterdam) and the Städel Museum, J Paul Getty Museum (Los Angeles). 3 Frankfurt am Main

On show will be 25 panel and canvas The Städel Museum is home to one of paintings, 80 drawings, 80 works using the world’s most prominent collections various printmaking techniques, and of German, Dutch, and Italian art of the books illustrated and written by Dürer. Late Middle Ages and the Early Modern These works will be juxtaposed with 70 period. Thus far it has been host to examples by forerunners and contempo- internationally acclaimed Old Master raries of Dürer, artists such as Martin exhibitions, for example ‘Cranach the Schongauer, Hans Baldung Grien, Hans Elder’ (2007-08), ‘The Master of Flémalle von Kulmbach, Joos van Cleve, Giovanni and Rogier van der Weyden’ (2008-09) 4 Bellini and Lucas van Leyden. and ‘Botticelli’ (2009-10). www.staedelmuseum.de International 24.10.2013 > 27.01.2014 Art Exhibitions 2013

Opposite page Vienna | Berlin Franz Lerch Girl with Hat The Art of Two Cities 1929 © Belvedere, Vienna From Schiele to Grosz 1 Otto Rudolf Schatz

Berlinische Galerie Galerie Berlinische Balloon Seller 1929 © Belvedere, Vienna 2 Egon Schiele Eduard Kosmack 1910 © Belvedere, Vienna 3 Otto Friedrich Elsa Galafrès 1 2 3 1908 © Belvedere, Vienna In their first major themed exhibition The dawn of modernism is reflected on Young Austrian artists such as Oskar 4 together, the Berlinische Galerie and both sides in a quest for new tools of Kokoschka and Egon Schiele stepped Ernst Ludwig Kirchner the Österreichische Galerie Belvedere expression, but while the Berlin Seces- out of Klimt’s shadow, presenting their Women on the Street will show key works of from sionists around Max Liebermann took a avant-garde work to a more open- 1915

Berlin Vienna and Berlin ranging from the growing interest in everyday reality and minded yet critical audience in Berlin. Von der Heydt-Museum, Secessions via to New made a theme of the urban experience, Art dealers and essayists were equally Wuppertal Objectivity. Masterpieces from both Viennese artists around Gustav Klimt at home in the art communities of 5 collections will combine with lesser- and Koloman Moser sought their style both cities and built a close network of Lotte Laserstein known specimens to create a panora- in ornamental forms, often associated contacts, enabling many artists to settle Evening over Potsdam mic insight into the vibrant exchange with the language of symbolism. Never- in Berlin, especially after the Great War. 1930 between these two metropolitan hubs theless, it is evident that they were well With the post-war decline of the © bpk / Nationalgalerie, in the early 20th century. This themed aware of each other’s work. In the 1910s, Danubian monarchy and the death of SMB exhibition of 200 works opens with the as a new generation of Expressionists important artists like Schiele and Klimt, 6 formation of the Secessions, whose emerged in the form of artists like Ernst the Viennese art world faded from Christian Schad champions turned their backs on aca- Ludwig Kirchner, Vienna was gradually international view during the 1920s and Portrait of the writer demic style to negotiate new positions ousted from its leadership role in the 1930s, while Dada, Verism and New Ludwig Bäumer between art nouveau and late fine arts by its recent but aspiring Objectivity rigorously confronted new 1927 impressionism. German counterpart. political and social realities in Berlin. Berlinische Galerie

45 6 www.berlinischegalerie.de International 24.10.2013 > 09.03.2014 Art Exhibitions 2013

Warhol

1 Works from the Brant Foundation

Palazzo Reale Milan Opposite page Diamond Dust Shoes 1980 1 Exhibition view 2 Shoe (red with blonde cherub) 1958 3 Skull (Ayn/Grey) 2 4 6 1976 4 Liz No 5 (Early Coloured Liz) 1963 5 Jean-Michel Basquiat 1982 6 Blue Shot Marilyn 1964 7 Self Portrait 3 5 7 (red on black) 1986 This exhibition is a rare opportunity Curated by Francesco Bonami and Peter 8 for the public to see one of the most Brant, the exhibition, presents more Flowers important groups of works by the father than 150 works (paintings, photographs (purple, blue and orange) of American Pop Art, collected not by sculptures) from the Brant Foundation. 1964 a simple collector, but by a character, They tell a powerful story and reflect a Peter Brant , who was to become a life- unique cultural exchange between the All works long friend of Warhol, sharing years young collector and artist. The show Collection Brant Foundation together in the culturally vibrant New begins with Warhol’s early drawings and © The Brant Foundation, York of the 60s and 70s. In 1967, Peter ends with the spectacular Last Suppers Greenwich (CT), USA Brant, then 20, bought his first work and self-portraits. We also see works © The Andy Warhol by Warhol, a drawing of the ‘Campbell from the intervening years such as the Foundation for the Visual Soup Can’ for $500. A few months Electric Chairs the large portrait of Mao, 8 Arts Inc by SIAE 2013 later, he acquired ‘Blue Shot Marilyn’ the flowers and one of the most famous for $5,000 – a lot of money back then. masterpieces by Warhol, namely ‘Shot The exhibition portrays the Brant Foun- This was the start of what would Blue Marilyn’, the portrait of the famous dation as not just the star of Warhol’s art become one of the most important American actress. There is also a lesser- world and the market but also shows private contemporary art collections known but equally amazing series of the intimate relationship with Warhol, in the world. Polaroids never seen before in Europe. the man and the friend. www.warholmilano.it International 25.10.2013 > 02.02.2014 Art Exhibitions 2013

Opposite page Great King 1938-45, Watercolour Emil Nolde 19.7 x 17.3 cm 1 1 In Radiance and Colour Large Poppy (red, red, red) 1942, Oil on canvas Belvedere The exhibition is devoted to a major 73.5 x 89.5 cm figure within the German Expressionist 2 movement and provides a lively demon- Two Grotesque Old Men stration of his colour explosions. and Bat (Nocturnal Figures) On show are major works from the 1938-45, Watercolour collection of Stiftung Seebüll Ada und 23.6 x 17.9 cm Emil Nolde, the Kunsthalle in Hamburg 3 as well as other museums and private Landscape collections. They include landscapes, with tropical plants

Vienna seascapes, portraits, Berlin scenes, 1914, Chalk drawing religious pictures and fantasies, a high- 12.5 x 21.1 cm quality series of watercolours and 4 almost 50 sheets of Unpainted Pictures. Young Couple 1931-35, Watercolour on paper With his closeness to nature and his mounted on cardboard eternal search for authenticity Nolde 53.5 x 36.9 cm travelled to distant lands as far as New On permanent loan to Belvedere, Guinea, where he hoped for inspiration Vienna © Thyssen-Bornemisza away from Western civilisation. Collections

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The canvas was his place of encounter He was often surprised himself at 5 with nature and life. As his work the results and therefore called the Excited People progressed, Nolde let himself be guided most beautiful of his works ‘personal 1913, Oil on canvas increasingly by the strength inherent in surprises’. The exhibition also features 102.5 x 76.5 cm the colours and created his pictures selected works by Austrian artists like from it. They are the product above all Werner Berg, Oskar Kokoschka and Max Images: 1,2,3,5 and opposite page 3 of his own imagination and sensitivity. Weiler who were influenced by Nolde. © Nolde Stiftung Seebüll www.belvedere.at International 26.10.2013 > 16.02.2014 Art Exhibitions 2013

Opposite page Caravaggio to Canaletto Caravaggio Ecce Homo The Glory of Italian Baroque c1605, Oil on canvas Galleria di Palazzo Bianco, Genoa and Rococo Painting 1 Orazio Gentileschi Museum of Fine Budapest Arts The exhibition will present the leading Gemäldegalerie in Berlin, the Gemälde- The fifth section will give an overview of Saint Cecilia and an Angel styles, outstanding artist figures as well galerie Alte Meister in Dresden, the the bourgeois genres of the still-life, the c1618-21, Oil on canvas as the extraordinary wealth of genres, Kunsthistorisches Museum in Vienna landscape, the portrait and the genre National Gallery of Art, techniques and themes of 17th & 18th and the Galleria Borghese in Rome. portrait, followed by the part devoted Washington century Italian painting through more to the main stylistic trends of the 18th 2 than 140 works by 100 masters, The material commands international century. The last two sections provide Cristofano Allori including nine paintings, the highest attention since such a large-scale, com- a glimpse into 18th century painting Judith with the Head number by a single artist, by the prehensive exhibition surveying the in Venice and introduce the veduta of Holofernes period’s prominent painter genius, entirety of Italian painting as the one (townscape), which became a popular c1615-17, Oil on canvas Caravaggio. The backbone of the in Budapest has not been put on for genre at that time, through four Galleria Palatina, Florence selection is formed by the 34 principal decades anywhere in the world. Venetian townscapes by Canaletto. 3 works from the internationally highly Orazio Gentileschi acclaimed Italian Baroque and Rococo The exhibition will survey the period in Way to Calvary collection of the museum’s Old Masters’ eight chapters. The opening section will c1605-07, Oil on canvas Gallery, which will be complemented by display works by Caravaggio followed Kunsthistorisches Museum, 106 masterpieces arriving in Budapest by some religious compositions of Vienna from 62 collections of 11 countries, such Caravaggist painting. The third section 4 as the national galleries in Washington will showcase classicising Baroque Canaletto and London, the Musée du Louvre in linked to such figures as Lodovico, The Molo towards the Paris, the Museo del Prado and the Agostino and Annibale Carracci, while Riva degli Schiavoni Museo Thyssen-Bornemisza in Madrid, the fourth unit will present the spread- c1738, Oil on canvas the Galleria degli Uffizi in Florence, the ing and flourishing of Baroque art. 3 Castello Sforzesco, Milan

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2 4 www.szepmuveszeti.hu International 26.10.2013 > 20.01.2014 Art Exhibitions 2013

Opposite page Self-Portrait with Red Braces 2003, Watercolour on paper David Hockney 61 x 46 cm © David Hockney The Bigger Exhibition Private Collection de Young This exhibition marks the return of the celebrated British artist to California with an display assembled exclusively for the de Young. Expansive in scope and monumental in scale, this show is the first comprehensive survey of his 21st century work and represents one of the most prolific decades of his career. Renowned for his use of traditional Fine Museums of San Francisco Art media as well as evolving technologies, Hockney has selected monumental 1 paintings, Photoshop portraits, digital 1 films that track the changing seasons, Large-scale, multi-canvas oil paintings The portraits, central to Hockney’s The Jugglers vivid landscapes created using the and digital movies shot with multiple practice since his youth, depict friends, 2012, Eighteen digital videos iPad, as well as never-before-exhibited cameras, some requiring as many as colleagues, and family members, and synchronized and presented charcoal drawings and paintings 18 monitors for their display, portray provide a glimpse of the artist’s intimate on eighteen 55-inch NEC completed in 2013. David Hockney’s beloved England. relationships with his sitters. screens to comprise a single artwork (68.6 x 121.6 cm each) 205.7 x 729 cm overall Duration: 22:13 © David Hockney 2 A Bigger Message 2010, Oil on 30 canvases (91.4 x 121.9 cm each) 457.2 x 731.5 cm overall © David Hockney 3 Self-Portrait with Charlie 2005, Oil on canvas 3 182.9 x 91.4 cm © David Hockney Collection National Portrait 2 Gallery, London 4 His unique perspectives of California, Bridlington Rooftops Iceland, and Norway are also presented, October to December 2005 including iPad drawings of Yosemite. Oil on canvas This first comprehensive showing of 121.9 x 152.4 cm Hockney’s diverse output since 2002 © David Hockney includes a new series documenting the Private Collection arrival of spring in 2013 and reveals the 34artist at the peak of his creative powers. www.deyoung.famsf.org International 08.11.2013 > 23.02.2014 Art Exhibitions 2013

1914 The Avant-Garde

1 and the Great War

Bundeskunsthalle Opposite page Max Beckmann Self-Portrait as Nurse 1915 Kunst-und Museumsverein, Von der Heydt-Museum, Wuppertal 1 Giacomo Balla Demonstration, XX September 1915 Collezioni d'arte e di storia della Fondazione Cassa di Risparmio in Bologna 2 Ernst Ludwig Kirchner 2 4 Self-portrait as Soldier Bonn 1915 The exhibition comprises an analysis It brings together works by Ernst Lyubov Popova, George Grosz, August The Allen Memorial Art of avant-garde art (Expressionism, Ludwig Kirchner, Max Beckmann, Paul Macke and many others. Their creations Museum, Cubism, Futurism, Vorticism and early Klee, Wassily Kandinsky, , reveal the prophetic mission that avant- Oberlin College,Oberlin, abstraction) through more than 200 Egon Schiele, Constantin Brancusi, Marc garde assumed in relation to the events Ohio works of art loaned from museums and Chagall, Emil Nolde, , that would bring about its crisis; the 3 private collections around the world, Giacomo Balla, Umberto Boccioni, Ossip capacity of the new artistic idioms to Ludwig Meidner with the First World War as its backdrop. Zadkine, Fernand Léger, Gino Severini, transform representations into the Apocalyptic Landscape visual currency of war; the various types 1913 of apocalyptic art that arose and died Westgälisches out at this period; and the anti-war Landesmuseum für Kunst stance adopted by some artists at this und Kulturgeschichte time. Few historical events have been Münster so decisive for the development of the 4 early avant-garde movements as the Félix Valloton 1914 war. The immediate period prior to Verdún the outbreak of the conflict coincided 1917 with the high point of creativity among Musée de l'Armée, Paris these movements, whose rebellious spirit prefigured the militant stance of most of the artists with regard to the war. Also, the experience of the war had a powerful effect on the work of many of them, not just with regard to subject matter but also as a new reality that highlighted ideological contradictions 3 within the concept of modern art. www.bundeskunsthalle.de International 22.11.2013 > 23.03.2014 Art Exhibitions 2013

Dix | Beckmann Opposite page Otto Dix 1 The World as Myth Portrait of Frau Martha Dix, 1923 Kunsthalle Mannheim The exhibition presents a riveting Kunstmuseum Stuttgart parcours through the art of these quite 1 disparate painters. Fifteen galleries, Otto Dix each devoted to a different topic, show The Salon I, 1921 unexpected analogies and differences Kunstmuseum Stuttgart in their views of the world and their 2 pictorial language. The gallery ‘The Max Beckmann world as stage’, for instance, places the Pierrette and Clown, 1923 viewer within the roaring Twenties, Kunsthalle Mannheim when both painters were extremely 3 successful and caught the pulsating Max Beckmann metropolitan life on canvas. ‘Drive and Dance in Baden-Baden Dream’, on the other hand, reveal secret 1923 longings and nightmares depicted in oil Bayerische Staatsgemälde- and watercolour. While Max Beckmann sammlungen, Pinakothek der leaned towards symbolically dense Moderne, Munich compositions, Dix stuck to his approach 4 of visual truth. The exhibition shows Otto Dix how much both artists were affected by The Match Seller II, 1927 the extremes of the age they lived in. 23 Kunsthalle Mannheim

World War I marked the artistic starting point for both Dix and Beckmann, and both lived and worked through the rise and fall of the Weimar Republic. In the mid-1920s, both artists were appointed to renown Academies of the Arts, while the National Socialist regime ostracised them equally and threated their very existence. It is here their paths parted: Otto Dix remained in Germany which became a divided country after 1945. Max Beckmann emigrated to Amsterdam, and in 1947 to America. 5 Beckmann and Dix apparently never 5 met in person. Yet as artists they both Max Beckmann reach the magic moment, when the Large Reclining Woman known turns alien and the world into with Parrot, 1940 a myth. The exhibition presents 100 Kunsthalle Mannheim paintings and 165 works on paper, 6 among them key works from renown Max Beckmann museums and private collections in Family Picture, 1920 Amsterdam, Berlin, London, Munich, The Museum of Modern Art, 4 New York and Washington. 6 New York www.kunsthalle-mannheim.de International 30.11.2013 > 02.03.2014 Art Exhibitions 2013

Opposite page The Great Upheaval 1910-18 Kazimir Malevich Morning in the Village Masterpieces from the Solomon after Snowstorm 1912, Oil on canvas 1 R Guggenheim Collection 80 x 80 cm 1 Art Gallery of Ontario Gallery Art The exhibition showcases the dyna- Franz Marc mism, creativity, and innovation of art Yellow Cow produced in Europe in the years leading 1911, Oil on canvas up to and during the First World War. 140.5 x 189.2 cm Featuring paintings from the Solomon 2 R Guggenheim Museum collection by Constantin Brancusi artists such as Constantin Brancusi, Muse Marc Chagall, Marcel Duchamp, Vasily 1912, Marble Kandinsky, Amedeo Modigliani, Henri 45 x 23 x 17 cm Matisse, Fernand Leger, Piet Mondrian 3 and Pablo Picasso, among others, the Amedeo Modigliani exhibition chronologically traces the Head achievements of these tumultuous 1911-13, Limestone years as artists experimented with new 71.8 x 18.4 x 20.6 cm ways to create art while launching such 4 movements as expressionism, futurism 2 3 Franz Marc and cubism. Stables 1913, Oil on canvas The exhibition’s focus on the years 1910 73.6 x 157.5 cm to 1918 represents an intense chapter in 3 5 Toronto European and world history, marked by Juan Gris sweeping social change, technological Newspaper developments and scientific advances. and Fruit Dish During this time of tremendous inno- 1916, Oil on canvas vation and creativity, European cities 46 x 37.8 cm were evolving, and artists, who were 6 founding groups, staging exhibitions Oskar Kokoschka and issuing manifestoes, likewise Knight Errant adapted and responded to 20th century 1915, Oil on canvas modernity. 4 89.5 x 180 cm

The Great Upheaval’ spotlights the dynamism of this fertile period – as artists hurtled toward abstraction and the ultimate ‘great upheaval’ of a catastrophic war – while presenting some of the foundational modern masterpieces that shaped the art of future generations.

5 6 www.ago.net International 07.12.2013 > 15.06.2014 Art Exhibitions 2013

The Scottish Colourist Series

1 J D Fergusson

Scottish National Gallery of Modern Art of Modern Art Scottish National Gallery The National Galleries of Scotland’s Opposite page landmark Scottish Colourist Series of Portrait of exhibitions culminates with the eagerly Anne Estelle Rice anticipated retrospective of the work of 1908, Oil on board J D Fergusson (1874-1961). 66.5 x 57.5 cm Scottish National Gallery John Duncan Fergusson was born in of Modern Art, Edinburgh, Leith, near Edinburgh and was, in purchased 1971 essence, self-taught. Fergusson moved 1 to Paris in 1907 where, more than any Grey Day, Paris-Plage of his Scottish contemporaries, he 1906, Oil on canvas assimilated and took forward the latest 35.6 x 45.7 cm developments in French painting. Glasgow Life (Glasgow Museums) on behalf of In 1913 Fergusson met Margaret Morris 2 Glasgow City Council, (1891-1980), the dance pioneer who presented by the Trustees of became his life-long partner. Morris, her the Hamilton Bequest, 1981 technique, pupils and Summer Schools, 2 became the main sources of inspiration A Lowland Church for Fergusson’s work. More than 100 1916, Oil on canvas paintings, sculptures, works on paper 50.8 x 55.9 cm and items of archival material, lent from Dundee Art Galleries & public and private collections through- Museums (Dundee City out the UK, will be on display. 2 Council), purchased from the J D Fergusson Art Foundation with the assistance of the National Fund for Acquisitions, 1968 3 Le Manteau Chinois 1909, Oil on canvas 199.5 x 97 cm The Fergusson Gallery, Perth and Kinross Council, presented by the J D Fergusson Art Foundation, 1991 Edinburgh 4 Summer 1914, 1934, Oil on canvas 88 x 113.5 cm The Fergusson Gallery, Perth and Kinross Council, presented by the J D Fergusson Art 3 4 Foundation, 1991 www.nationalgalleries.org International 08.12.2013 > 27.04.2014 Art Exhibitions 2013

Jawlensky

1 A New Perspective

Museum Gunzenhauser Kunstsammlungen Chemnitz Opposite page Mystical Head (Light Green Look) 1917, Oil over pencil on textured cardboard on wood 40 x 31 cm 1 Landscape (Murnau) 1909, Oil on textured cardboard 33 x 42.8 cm 2 2 3 4 French Woman 1912, Oil on untextured In 2003 Dr Alfred Gunzenhauser paper, mounted on textured donated his private collection of 20th cardboard and fully reworked century German art towards the by the artist before 1914 foundation of a museum in Chemnitz. 53.9 x 49.7 cm The collection contains more than 2,400 3 artworks, the main section comprising Messalina groups of works by Otto Dix and Alexej 1913, Oil on textured cardboard von Jawlensky. The Museum Gunzen- 53.6 x 49.6 cm hauser has the world’s third largest 4 public collection of works by Jawlensky, Yellow House (Bordighera) while its 278 works by Dix cover that 1914, Oil on textured cardboard artist’s complete oeuvre. Since the 49.3 x 53.7 cm opening of the museum, together with 5 the Kunstsammlungen Chemnitz, New Large Meditation Objectivity and Expressionism have (Yellow-Blue-Red) turned Chemnitz into an important art 1936, Oil on textured paper and cultural attraction. 5 6 on cardboard 25.2 x 17.7 cm This exhibition comprises 75 works by The outbreak of the First World War in It was here that Jawlensky began his first 6 Jawlensky from the museum’s holdings. 1914, meant that many foreign artists at large series of paintings, ‘Variations’. The Abstract Head The 40 paintings and 35 drawings, the time suffered immediate expulsion artist’s personal circumstances and how (Enlightenment) watercolours and prints mean that the from the German Empire. Jawlensky and they are mirrored in his paintings will be 1927, Oil over pencil on museum is in a position to present the Kandinsky, who had come to Munich explored with the help of a selection of textured paper on cardboard artist’s complete development between from Russia in 1896, now had to leave works on loan. Also on show are a broad 42.5 x 32.5 cm the years 1906 and 1938.The project will the country within 48 hours. Both went range of materials to do with painting be thematically complemented by high- to Switzerland: Kandinsky and Gabriele technique, special pigments, the All works lighting two particular aspects: the year Münter to Zurich and Jawlensky, Helene splitting of cardboards, the framing of Kunstsammlungen Chemnitz- 1914 as a focus in the artist’s life and Nesnakomoff, their son and the painter works, and the often informative backs Museum Gunzenhauser work, and a presentation of technical colleague Marianne Werefkin settled in of picture carriers, assembled by the Eigentum der Stiftung issues related to his painting. Saint Prex on Lake Geneva. Jawlensky Archive over the past 15 years. Gunzenhauser, Chemnitz www.kunstsammlungen-chemnitz.de International 17.12.2013 > 27.04.2014 Art Exhibitions 2013

All works Vasily Kandinsky © Centre Pompidou, MNAM-CCI/Distance RMN-GP 1 From the Collection Pompidou © Vasily Kandinsky by SIAE 2013

Palazzo Reale Milan The exhibition which consists of over Opposite page 100 pieces on loan from the Paris’s Accent in Pink Pompidou Centre, traces Kandinsky’s 1926, Oil on canvas career from his early days in Russia 100.5 x 80.5 cm through to his tenure at the influential Donation Nina Kandinsky, 1976 Bauhaus school in the 1930s, right up 1 until the end of his life in France. Works Untitled from the (Blue Rider, 1917, Oil on canvas pasted 1911-14) period are also included. on cardboard Kandinsky founded the group together 21 x 28.7 cm with Franz Mark, August Macke, Paul Legacy Nina Kandinsky, 1981 Klee and other German and Russian 2 artists. The group shared a common Improvisation III desire to express spiritual truths 1909, Oil on canvas through their art. They believed in the 94 x 130 cm promotion of modern art; the connec- Donation Nina Kandinsky, 1976 tion between visual art and music; the 3 spiritual and symbolic associations of Yellow, Red, Blue colour; and a spontaneous, intuitive 1925, Oil on canvas approach to painting. 2 128 x 201.5 cm Donation Nina Kandinsky, 1976 Works on display takes the visitor within Because Kandinsky saw music, colour In addition to painting, the multi- 4 a symphony of points, lines, surfaces and painting as inter-related, he used faceted Vasily Kandinsky was an art Rectangles and colours, where each elements has – musical terms to identify his works; he theorist. Works such as ‘Concerning the (Thirteen Rectangles) in Kandinsky’s conception – its own called his most spontaneous paintings Spiritual in Art’ (1912) and ‘Point and 1930, Oil on cardboard function, which is communicative as ‘improvisations’ and described more Line to Plane’ (1926) have been highly 69.5 x 59.5 cm well as symbolic and musical. elaborate works as ‘compositions’. influential in Western Art. Bequest Nina Kandinsky, 1981

Renowned as the first artist to create purely abstract compositions, Vasily Kandinsky developed his own visual vocabulary that combined influences ranging from folk art and music to children’s drawings.

Viewers will be able to witness the artist’s chronological transformation, from his colourful, figurative works, made during his tenure at art school, up to his most avant-garde pieces.

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3 www.kandinsky.milano.it International 21.12.2013 > 09.03.2014 Art Exhibitions 2013

Emily Carr

1 Deep Forest

Vancouver Gallery Art The Vancouver Art Gallery is home Carr’s remarkably personal and spiritual Opposite page to the richest collection of Emily Carr vision of the forest is seen in these Forest, British Columbia works in the world. We are fortunate to works. While her art was strongly 1931-32, Oil on canvas have major pieces from throughout her influenced by modernist ideas–which 1 career, but our collection is particularly came from her reading and looking at Young Pines and Old Maple rich in her forest paintings from the the work of artists such as Mark Tobey 1937-38, Oil on paper 1930s, both canvases and works in a and Lawren Harris, among others–her 2 medium she began using during synthesis of the spiritual and natural is Wood Interior that period, oil on paper. Her images uniquely her own. 1932-35, Oil on canvas depicted the coastal forest landscape, 3 generally around Carr’s Victoria home, While others thought of the forests as Tree Trunk in a way previously unseen in British impenetrable and unappealing, Emily 1931, Oil on canvas Columbian art. Far from feeling that the Carr saw the vitality of the natural 4 forests of the West Coast were a difficult world and seized the opportunity to Deep Forest subject matter, Carr exulted in the express her vision. The paintings of the c1931, Oil on canvas symphonies of greens and browns forest profoundly shaped not only found in the natural world. She entered Carr’s own work but the way British the forest to make her work and saw Columbians came to perceive the All works nature in ways unlike her fellow British natural world. No subsequent painter Collection of the Vancouver Columbians, who perceived it as either can depict the forests of British Art Gallery, Emily Carr Trust untamed wilderness or a plentiful Columbia without acknowledging her Photo: Trevor Mills, 2 source of lumber. achievement. Vancouver Art Gallery

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3 4 3 www.vancouverartgallery.ca International 21.12.2013 > 21.04.2014 Art Exhibitions 2013

Opposite page Jannis Kounellis Da inventare sul posto Ileana Sonnabend 1972, Oil and graphite on canvas 247 x 300 cm 1 Ambassador for the New Rheingold Collection The New York Museum of Modern Art

5 1 Andy Warhol Ileana Sonnabend 1973, Acrylic and silkscreen ink on canvas, two panels 101.6 × 203.2 cm The Sonnabend Collection 2 Jeff Koons 2 4 Pink Panther 1988, Porcelain on formica base The show reveals her remarkably Opening her first gallery in Paris in 1962 104.1 x 52 x 48.2 cm prescient selection of the art of her time. and her second in New York in 1970, MoMA, New York Some fifty works by forty-one artists, Sonnabend displayed a steadfast 3 including Andy Warhol, Jasper Johns, commitment to exhibiting demanding Mario Merz Robert Rauschenberg, Robert Morris, new art. This interest stemmed from a Igloo Fibonacci Mario Merz, Vito Acconci, Mel Bochner, deep curiosity. Sonnabend once noted, 1970, Mixed media Jeff Koons and John Baldessari are ‘I like what I do not at first understand,’ 182.9 x 243.8 x 243.8 cm drawn from The Museum of Modern and she was instinctively drawn to art Kunstmuseum Wolfsburg Art’s holdings and from other public that she considered ‘difficult to classify 4 and private collections, spanning a on the basis of things already known.’ James Rosenquist range of mediums including painting, Embracing an ambassadorial role, Volunteer sculpture, photography, video, and live Sonnabend was instrumental in 1964, Oil on canvas 3 performance. bringing new art across the Atlantic, 182.9 x 198.1 cm helping to introduce American Pop art The Art Institute of Chicago MoMA pays tribute to the legacy of the During a career spanning half a century, and Minimalism to Europe in the 1960s 5 legendary gallerist and collector Ileana Ileana Sonnabend helped to shape the and Italian Arte Povera to the United Robert Rauschenberg Sonnabend (1914-2007) with an exhibi- course of postwar art in Europe and States in the early 1970s. In the ensuing Canyon tion of works reflecting the activities of North America, championing some of decades, she continued to seek out and 1959, Mixed media her galleries in Paris and New York from the most significant and challenging support work that reinvented the 207.6 x 177.8 x 61 cm the 1960s through the 1980s. artists of her time. notion of what art could be. MoMA, New York www.moma.org