International 01 Art Exhibitions 2011 International 29.01.2011 > 24.04.2011 Art Exhibitions 2011

Gottfried Helnwein

1 Inferno of the Innocents

Crocker Museum Art Gottfried Helnwein’s art addresses Opposite Page themes of inhumanity, violence and Untitled (Payton 4) the virtue of personal expression. This 2005, Mixed media exhibition features 70 major (oil & acrylic) on canvas and photographs from throughout 160 x 106 cm Helnwein’s career. Highlights include 1 his iconic portraits of performer Marilyn The Last Child Manson, works from his recurring Helnwein abseiling down theme, ‘The Child,’ and his most recent an 80ft tall installation in series, ‘Disasters of War.’ For over forty Wexford, Ireland years, the artist has pursued a singular, 2008 radical vision realised in monumental 2 paintings and photographs. With stark The Golden Age 1 and probing psychological intensity, he () critiques not only the past, but present- 2003, Pigment print day veneers, jolting us from the comfort 301 x 195 cm of complacency. Such confrontations Courtesy of Helnwein are informed by his upbringing in the Studio, Los Angeles post-war – an experience that 3 Sacremento fueled the artist’s passion for truth and The Disasters of War 19 tolerance. Today, Helnwein immerses 2007, Mixed media himself in our everchanging cultural (oil & acrylic) on canvas landscape, working between his studio 152 x 162 cm in Los Angeles and his castle in County In memory of Francisco Tipperary in Ireland. 3 de Goya 4 The Murmur of the Innocents 1 2009, Mixed media (oil & acrylic) on canvas 198 x 290 cm Private Collection

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www.crockerartmuseum.org International 11.02.2011 > 29.05.2011 Art Exhibitions 2011

Picasso

1 Peace & Freedom

Louisiana Museum of Modern Art Louisiana Museum of Modern Art Louisiana Museum of Modern Art is Opposite page intrigued by Picasso (1881-1973). The The Charnel House, Paris museum has three fine works by the (Installation view) artist in its collection as well as drawings 1944-45, Oil and charcoal and prints, and throughout its 50-year on canvas history Louisiana has hosted no less 199.8 x 250.1 cm than four Picasso exhibitions. It is with Museum of Modern Art, great joy and pride, that the museum New York presents ‘Picasso: Peace & Freedom’ 1 with a selection of about 100 works that Picasso with Owl show the artist’s social and political Le Fournas, Vallauris 1953 commitments in the period from 1944 Photo © André Villers until his death in 1973. This Cold War 2 period was a time for reflection and with Candlestick deliberation after the horrors of 1944, Oil on canvas Guernica and World War II, in which the 2 73 x 92 cm artist had lost several of his friends Centre Georges Pompidou, either at the front or in the concentra- Paris tion camps. But despite the horror and 3 grief, Picasso raised his art to a new level The Studio so it flourished in a perspective of hope. 2 1955, Oil on canvas 80,9 x 64,9 cm After the war, Picasso left Paris and Tate. Presented by Gustav settled in the south of France. Being a and Elly Kahnweiler 1974, socially engaged artist he kept abreast accessioned 1994 of world events, and much of his art in © Succession Picasso / his last three decades deals with human Billedkunst.dk 2011 conflict and wars – the liberation of 4 Algiers; the Cuban crisis; and his support Musketeer with Rapier of the French Communist Party. At the 1972, Oil on canvas

Humlebæk same time, he expresses a deeply felt 162 x 130 cm wish for peace, international under- Ludwig Museum, Budapest standing and solidarity. And typical of (Long-term loan from the Picasso, he embraces the events in a Peter und Irene Ludwig, wide spectrum, bringing all his artistic Aachen) passion into play in order to capture the © Succession Picasso / essence of the times. 3 4 Billedkunst.dk 2011

Here paintings, drawings, lithographic The exhibition is divided into 8 themes: Created as a collaboration with Tate prints, letters and photography are Nature morte (still lifes), The Women Liverpool and Albertina in Vienna, the document how Picasso relates to key from Algeria, Las Meninas, Picasso’s exhibition gives Louisiana a unique historical events and a wide array of Arcadia, The Rape of the Sabine Women, chance to unfold yet another theme in material testifies to Picasso’s commit- Mothers & Musketeers, War & Peace and Picasso’s vast, multi-faceted oeuvre for ment, activities and political convictions. The Dove of Peace. the museum’s guests.

www.louisiana.dk International 11.03.2011 > 17.07.2011 Art Exhibitions 2011

Opposite page Picasso | Miró | Dalí Salvador Dalí Portrait of my Sister Angry Young Men: 1925, Oil on canvas 92 cm x 65 cm The Birth of Modernity FundacióGala-Salvador Dalí, Figueres Palazzo Strozzi Florence The exhibition will bring together over 1 60 early works of three young artists: Salvador Dalí , Joan Miró and Salvador The Bleeding Roses Dalí, as well as over 100 of Picasso’s 1930, Oil on canvas sketches. All three were raised in 61 cm x 50 cm Catalonia, but came to fame in France Colleción Caixa Galicia, where two of them chose to live and to La Coruña build up their careers, whereas Salvador 2 Dalí stayed largely in Spain. Pablo Picasso Les Demoiselles d’Avignon 1907, Oil on canvas 243.9 x 233.7 cm Museum of Modern Art, New York, aquired through the Lillie P Bliss Bequest 4 Pablo Picasso The Two Saltimbanques 1901, Oil on canvas 73 cm x 60 cm The State Pushkin Museum of Fine Arts, Moscow 4 Joan Miró Composition (Petit Univers) 1933, Gouache on card 39.5 cm x 31.5 cm 1 2 Fondation Beyeler, Riehen, Basel

The exhibition is structured like a film Picasso’s groundbreaking Cahier 7 is in a series of ‘flashbacks’ that take the shown in its entirety for the first time visitor back in time to the very birth outside Spain. The product of just two of modernity. Beginning with Dalí’s months of intense creativity in 1907, meeting with Picasso (1926), it traces the album’s pages show Picasso clearly the birth of modernism to its earliest straddling two centuries and two beginnings through Dalí’s responses traditions, with one foot in the 19th to Miró, Miró’s encounter with Picasso century, and the other in the 20th. (1917), and ends just before the young Among the 120 spreads we can see the Picasso’s arrival in Paris in 1900, at the first sketches of his revolutionary work start of the new century. The exhibition ‘Les Demoiselles d’Avignon’ .Three major moves through a series of spaces that works: Dalí’s ‘Arlequin’, Miró’s ‘Petit investigate the common roots of the Univers’ and Picasso’s ‘La Femme qui styles that later made Picasso, Miró and pleure’ show clearly the debt owed by Dalí household names. the three artists to the sketchbook. 3 4

www.palazzostrozzi.org International 26.03.2011 > 19.06.2011 Art Exhibitions 2011

Man Ray 1890-1976

Museo d'Arte Man Ray (born Emmanuel Radnitzky) Opposite Page has been one of the most influential Perpetual Motif artists of the twentieth century, and is 1923, Photograph of the replica universally known for such iconic works of original metronome (1971) as Le Violon d’Ingres and Cadeau, which 23.5 x 12 x 12 cm epitomize the artistic canons of a whole Fondazione Marconi, Milano century. The outstanding inventiveness 1 of this prolific photographer, painter, Le violon d'Ingres maker of objects and experimental films 1924, New black & white is presented in the exhibition through photographic print (c1980) some 400 works that document the 30 x 24 cm artist’s creative path, and cast light on Fondazione Marconi, Milano

Lugano the leitmotifs underlying his oeuvre: the 2 female figure, his passion for the chess Black & White game, the relationship between reality 1926, New black & white and fiction, the mask and the veiled photographic print (c1980) persona, experimental photography, 23 x 30 cm and many others. Fondazione Marconi, Milano

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3 Landscape 1913, Oil on canvas 36 x 25 cm Private collection, France 1 3 4 Chess The iconography is further enriched The presentation of the works to the Black & white photograph by the works of some other leading visitor is entrusted to the artist himself: 12.2 x 16.7 cm twentieth century artists – Jean (Hans) Man Ray wrote a brilliant autobiography Private collection Arp, Marcel Duchamp, Francis Picabia, in which he narrates the circumstances and Pablo Picasso, to name just a few. in which some of his most famous works These objects and paintings provide were created and recalls the reasons All works useful insights into the context in which and the models – mostly female ones – © Man Ray Trust / Prolitteris, 2 Man Ray’s works were created. which inspired him. Zurigo

www.mdam.ch International 08.04.2011 > 28.08.2011 Art Exhibitions 2011

David Draw me Hockney on iPad Louisiana Museum of Modern Art Louisiana Museum of Modern Art

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Hockney’s discovery of the inexpensive Opposite page drawing application called Brushes for Untitled 7 iPhones and iPads opened up a different December 2010 world for the English artist. Sometimes 1 on a daily basis, during the past few years, Untitled 10 Hockney has created more than 400 June 2010 drawings, first on his iPhone, and later on 2 his iPad. Louisiana’s installation includes Untitled 11 several hundred of the works displayed January 2011 on 20 iTouches; 20 iPads; a triptych slide 3 show directed by the artist especially for Untitled 31 the Louisiana and several projections. December 2010 Viewers are also able to see some of the 4

Humlebæk works as they were drawn from start to Untitled finish thanks to the animation playback 2010 feature of the Brushes app. 5 6 5 Untitled 28 During the course of showing at the and the iPad ranging in subject matter Hockney loves looking and drawing and May 2010 Louisiana, Hockney will occasionally from flowers, plants, portraits and has said that his current work in all media 6 send new iPad drawings via email to the self-portraits to landscapes and still lives. has allowed him to see and feel nature Untitled exhibition. Hockney began working with Hockney used his thumbs and fingers to much more clearly. He draws to see, and 2010 the iPhone in 2008, and his subsequent create full-colour images directly on the he calls it self-deception if we assume we discovery of the Brushes application as device’s screen in his early works, have seen all the dimensions of nature. © well as other ‘apps’ enabled him to modifying the colour and hue and produce works of extra- ordinary variety. layering brushstrokes of various widths Since that time, the artist has created and opacities. Recently, the artist began hundreds of images, on both the iPhone to also use a stylus designed for the iPad.

www.louisiana.dk International 09.06.2011 > 05.08.2011 Art Exhibitions 2011

George Tooker 1920-2011

1 Reality Returns as a Dream

D C Moore Gallery D C Moore Gallery This Memorial Exhibition celebrates Opposite page the life and art of a painter who was Waiting Room acclaimed for his powerful imagery and 1957, Egg tempera on wood technical mastery. For over sixty years, 61 x 78.4 cm Tooker has been highly regarded for Smithsonian American Art his luminous and often enigmatic pain- Museum, Washington DC tings. His themes range from alienation 1 and the dehumanizing aspects of Lunch contemporary society to personal 1964, Egg tempera on gesso meditations on the human condition. panel, 50.8 x 66 cm Over the course of his long career, he Columbia Museum of Art, created fewer than 170 paintings, most Ohio of which are seldom on public view. 2 As such, this exhibition offers a rare Government Bureau opportunity to see works from 1956, Egg tempera on gesso museums, private collections, and the panel, 49.8 x 75.3 cm

New York artist’s estate that span his career, from Metropolitan Museum of Art, the late 1940s to the 2000s. 2 New York

A deeply spiritual and contemplative man, George Tooker created hauntingly beautiful modernist works through an intuitive artistic process combined with a precise and deliberate technique. He was not interested in rendering 4 events or documenting life, but was after the essence of experience.

In doing so, George Tooker chose a timeless method to pursue his purpose. He preferred working in egg tempera, a traditional Renaissance medium that produces a rich, lustrous finish yet demands focussed attention and exacting execution. His figures, too, often embody classical sensibilities even when they are placed in contem- porary settings. 3 3 By reducing action and anecdote to His work was often categorised or His response to such comments, was Subway subtle gestures and juxtapositions that described as Magic Realism, a term ‘I am after reality impressed 1950, Egg tempera on board carry meaning and express essential Tooker didn’t care for. He considered on the mind so hard that it returns as a 46 x 91.8 cm truths, he created modern allegories his work to be rooted in actual human dream, but I am not after painting Whitney Museum of American without traditional narrative content. experience, not fantasy or Surrealism. dreams as such, or fantasy.’ Art, New York

www.dcmooregallery.com International 09.07.2011 > 08.10.2011 Art Exhibitions 2011

R B Kitaj Portraits 1 & Reflections

Abbot Hall Art Gallery Gallery Abbot Hall Art This is the first major exhibition in the Opposite page UK of the American artist R B Kitaj Poet (1932-2007), since the Tate’s controver- 2006, Oil on canvas sial retrospective in 1994. 30.5 x 30.5 cm 1 Offering an opportunity for a fresh Self-Portrait reappraisal of his artistic achievements (after Masaccio) it will feature approximately fifty 2005, Oil on canvas paintings and works on paper, which 61 x 61 cm have been selected from the point of view of Kitaj’s own concept of painting as portraiture in its broadest sense.

Kitaj was an artist for whom dialogue with creative people was an essential component of his approach to art, and among his portraits of friends are a number of well-known figures, including architects Sir Colin St John Wilson and M J Long, fellow artist David

Kendal, Cumbria Hockney, poets Robert Creeley and Robert Duncan, and philosopher Isaiah Berlin.

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The exhibition features a number Born in Cleveland, Ohio in 1932, Kitaj 2 of self-portraits, including paintings studied at art schools in New York and K Enters The Castle from the last years of Kitaj’s life, that Vienna. He then went onto serve with At Last strongly evoke arthistorical sources of the army in Germany before settling in 2004, Oil on canvas inspiration, including Cimabue, Britain in 1957. He won a scholarship to 91.4 x 91.4 cm Rembrandt, Cézanne and Van Gogh. study at the Ruskin School in Oxford 3 Many of these late paintings, including (1958-59) and at the Royal College of His Last Painting the artist’s last self-portrait, ‘The Jewish Art (1959-61). During a period when 1987, Oil on canvas Scream’, have never before been abstract art was prevalent, Kitaj choose 99.7 x 62.9 cm exhibited in the UK. In addition, there to work figuratively, developing a 4 will be a number of more complex personal, artistic language derived Self-Portrait as compositions, which reveal Kitaj’s from pictorial and literary sources. He The Baal Shem reflections on political, social, sexual became associated with the grouping 2005, Oil on canvas and artistic themes. These range from of artists that he called the ‘School of 61 x 50.8 cm the lives of emigrants in London and London’, who were concerned with the the rise of fascism in the 1930s to the human form. In 1997 Kitaj moved to Los preoccupations of post-Civil War Spain – Angeles, where he died in 2007 from 3 all of which deeply concerned the artist. what is believed to be suicide. © The Estate of the Artist

www.abbothall.org.uk International 13.07.2011 > 11.09.2011 Art Exhibitions 2011

Private Passions Public Treasures

Musée cantonal des Beaux-Arts Musée cantonal des Beaux-Arts Making a donation to a museum of a set Opposite page of artworks, or even a single work, is to Charles Gleyre participate actively in a great human and Girl in a Pompeii interior cultural adventure. It signifies enriching (Sapho) the public heritage whilst also ensuring 1867, Oil on canvas the preservation of the artworks in the 108 x 72 cm long term. It means making a personal Gottfried Keller Foundation, contribution to projects that allow an 1909 institution to carry out its principal 1 vocation: the collection of works of art Esodo Pratelli for the benefit of future generations. Impending storm 1926, Oil on canvas The exhibition acknowledges some 65 x 80 cm of those private individuals whose Don de Benito Mussolini, 1927 generosity has affected the history of the 2 collections. In a purely arbitrary manner, Edgar Degas it takes the end of the nineteenth century Woman wiping her hair as the starting point of its narration, c1903, Charcoal and pastel although the number of donations had on tracing paper been abundant since the creation of the 77 x 75 cm Musée des Beaux-Arts de in Legs Henri-Auguste Widmer, 1841. 1 1939 3 René Auberjonois Italian near a chapel for votive offerings 1924, Oil on canvas 90.3 x 69 cm Property of the Swiss Lausanne Confederation, Federal Office of Culture, Berne. Deposited on long-term loan, 1925 4 Giovanni Giacometti Alberto reading c1915, Oil on canvas 46 x 38 cm 2345Long-term deposit from the Collection du Dr M Bahro, Through the display of some 130 major national foundations, artists, companies 2011 works held by the museum, the visitor wishing to promote their region, have will learn how discreet individuals and enriched, broadened and changed the © Musée cantonal des famous figures in possession of a family face of the canton’s collections, and Beaux-Arts de Lausanne inheritance, avid collectors, beneficent confirmed their confidence in mcb-a. Photos: J-C Ducret

www.mcba.ch International 15.09.2011 > 18.12.2011 Art Exhibitions 2011

Intervention Marianna Gartner An Eye for an Eye

Belvedere capturing visible reality in a picture, For her intervention, Marianna Gartner many painters had used invented created new paintings in which she backdrops for their elegant portraits. took up aspects from works by This analogy serves as Gartner’s starting Ferdinand Georg Waldmüller, Anton point for her pre-occupation with Romako, Michael Pacher, and others in selected works from the Belvedere’s order to interpret them in her own 1 collection. artistic language.

Within the framework of Belvedere’s Marianna Gartner series of bi-annual exhibitions, entitled Vienna ’Interventions’, contemporary artists Opposite page are invited to deal with specific aspects Dog Walker (detail) of the museum’s collection and 2011, Oil on wood (12 parts) architecture. Such a balancing act 162 x 91 cm between the past and the present is an Galerie Michael Haas, Berlin inherent aspect of Marianna Gartner’s 1 work in general. The Canadian artist Portrait of István Kertesz finds her material in portrait shots 2010, Oil on canvas dating from the early days of photo- 183 x 122 cm graphy, when the sitters were still Galerie Michael Haas, Berlin frequently depicted against painted 2 sets that were only occasionally I Wear My Fur Inside Out furnished with accessories. The issue of 2011, Oil on canvas the relationship between figure and 148 x 88.5 cm background also played an important Galerie Michael Haas, Berlin role in nineteenth-century painting. 3 Before Realism and Dining Room Painting appeared on the scene and called for 3 2010, Oil on canvas 193 x 244 cm Galerie Michael Haas, Berlin 4 Little Birds 2011, Oil on canvas 200 x 349 cm Galerie Michael Haas, Berlin

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www.belvedere.at International 17.09.2011 > 11.12.2011 Art Exhibitions 2011

Opposite Page Dancers 1899, Pastel on tracing paper, laid down on board Degas and the Ballet 58.8 x 46.3 cm Princetown University of Art 1 Picturing Movement Museum, Henry K Dick bequest

Royal Academy London of Arts A landmark exhibition focusing on Edgar Degas’s preoccupation with movement as an artist of the dance. It’ traces the development of the artist’s ballet imagery throughout his career, from the documentary mode of the early 1870s to the sensuous expressive- ness of his final years.

The exhibition is the first to present Degas’s progressive engagement with the figure in movement in the context of parallel advances in photography and early film; indeed, the artist was keenly aware of these technological developments and often directly involved with them. 2 1 The show explores the fascinating links The Rehearsal between Degas’s highly original way c1874, Oil on canvas of viewing and recording the dance and 58.4 x 83.3 cm the inventive experiments being made Lent by Culture & Sport, at the same time in photography by Glasgow on behalf of Etienne-Jules Marey and Eadweard Glasgow City Council, gifted Muybridge and in film-making by such by Sir William & Lady pioneers as the Lumière brothers. Constance Burrell, to the City By presenting the artist in this context, of Glasgow,1944 the exhibition demonstrates that Degas 2 was far more than merely the creator The Dance Lesson of beautiful images of the ballet, but c1879, Oil on canvas instead a modern, radical artist who 38 x 88 cm thought profoundly about visual National Gallery of Art, problems and was fully attuned to the Washington, Mr & Mrs Paul technological developments of his time. Mellon Collection, 1995.476 The exhibition comprises around 85 3 paintings, , pastels, drawings, Ballet Scene from prints and photographs by Degas, as Meyerbeer’s opera well as photographs by his contempo- ‘Robert le Diable’ raries and examples of early film. 1876, Oil on canvas It brings together selected material 76.6 x 81.3 cm from public institutions and private Victoria & Albert Museum, collections in Europe and North London, bequest of America including both celebrated Constantine Alexander 3 and little-known works by Degas. Ionides

www.royalacademy.org.uk International 17.09.2011 > 15.01.2012 Art Exhibitions 2011

Stanley Spencer

1 Between Heaven & Earth

Kunsthal With his figurative, narrative style of Major events such as seeing action in the 1 painting and his choice of subjects, First World War and his unhappy love life Last Supper Spencer has contributed significantly formed the inspiration for his paintings. 1920, Oil on canvas to the development of modern art. He His work brings together countless 91.5 x 122 cm deals with his turbulent life through his aspects of life, including love, sexuality, Stanley Spencer Gallery paintings, also incorporating countless death, religion, reality and fantasy. 2 contrasts and visionary fantasies. Spencer developed a realistic style by Self Portrait placing the his life experiences in faithful 1936, Oil on canvas

Rotterdam Over 80 paintings and drawings from reproductions of his beloved home 61.5 x 46 cm Stanley Spencer are placed in an art surroundings. His fascination with ‘earthy’ Stedelijk Museum Collection historical context by including 20 works materials like dust, dirt and rubbish form Amsterdam of English contemporaries such as Lucian a stark contrast with his ‘heavenly’ 3 Freud and Dora Carrington. Spencer’s renditions of Christ. He allows reality to On the Tiger Rug artistic influence in the Netherlands is dominate in his silent landscapes and 1940, Oil on canvas illustrated using several works by Dick intimate portraits, while fantasy and joie 92 x 61 cm 2 Ket and Charley Toorop. de vivre enjoy their heyday in other works. Private collection

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Right This exhibition provides a comprehensive As a young artist, Spencer greatly The exhibition comprises a large selection 4 St Francis and the Birds overview of work by Sir Stanley Spencer admired Italian Renaissance art by Giotto, of Sir Stanley Spencer’s best work from Resurrection: Re-Union 1935, Oil on canvas (1891-1959), one of the most important romantic Pre-Raphaelite art, and later museum and private collections collec- 1945, Oil on canvas 66 x 58.4 cm British artists of the twentieth century. Gauguin, whose work he saw in London. tions. The Tate and the Stanley Spencer 77.1 x 152.1 cm Tate, London His oeuvre is characterised by a wealth of He spent most of his life in Cookham, a Gallery in Cookham have very generously Aberdeen Art Gallery themes that include biblical stories, village that played an important role in allowed a large number of the most & Museum Collections landscapes, self portraits and domestic many of his works, serving as a backdrop important works from their collections scenes. for his narrative images. to be exhibited.

www.kunsthal.nl International 18.09.2011 > 09.01.2012 Art Exhibitions 2011

Opposite page Pirate (Untitled II) 1981, Oil on canvas Willem de Kooning 223.4 x 194.4 cm The Museum of Modern Art, 1 Reprospective New York, Sidney & Harriet Janis Collection Fund Museum of Modern Art The Museum of Modern Art presents 1 the first major museum exhibition Seated Woman on a Bench devoted to the full scope of the career 1972, Bronze of Willem de Kooning, considered to be 95.9 x 91.4 x 87.3 cm) among the most important and prolific Private collection artists of the 20th century. It provides 2 an opportunity to study the artist’s Seated Woman development over nearly 70 years, c1940, Oil & charcoal on beginning with his early academic masonite works, made in Holland before he 137.3 x 91.4 cm moved to the United States in 1926, Museum of Art, and concluding with his final, sparely The Albert M Greenfield & abstract paintings of the late 1980s. Elizabeth M Greenfield Collection 3 Woman I 1950-52, Oil on canvas 192.7 x 147.3 cm The Museum of Modern Art, New York 4 Pink Angels New York c1945, Oil & charcoal on canvas 132.1 x 101.6 cm Frederick R Weisman Art Foundation, Los Angeles 5 Easter Monday 1955-56, Oil and newspaper 243.8 x 188 cm Lent by The Metropolitan Museum of Art, New York, 2 3 Rogers Fund

Bringing together more than 200 works important series, ranging from his from public and private collections, the figurative paintings of the early 1940s to exhibition will occupy approximately the breakthrough black & white 17,000 square feet of gallery space. compositions of 1948-49, and from the Representing nearly every type of work urban abstractions of the mid 1950s to de Kooning made, in both technique the artist’s return to figuration in the and subject matter, this retrospective 1960s, and the large gestural abstrac- includes paintings, sculptures, drawings, tions of the following decade. Also and prints. Among these are the artist’s included is Willem de Kooning’s famous most famous, landmark paintings – plus yet largely unseen theatrical backdrop, 4 in-depth presentations of all his most the 17-foot-square Labyrinth (1946). 5

www.moma.org International 24.09.2011 > 31.12.2017 Art Exhibitions 2011

Rik Wouters 1882-1916 Highlights

Royal Museum of Fine Arts Rik Wouters was only 33 years of age Opposite page when he died, yet he left behind an Self Portrait with Cigar impressive oeuvre. Having started out 1913 as an apprentice in his father’s furniture KMSKA workshop in Mechelen, he eventually 1 moved to and enrolled at the The Painter on the Academy of Fine Arts and got to work at Hoogbrug in Mechelen the studio of sculptor Theo Blickx. 1908 KMSKA 2 Etching Table 1909 KMSKA 3 Woman at Window 1915 KMSKA 4 Self-Portrait with Black Eye Patch 1915 KMSKA 1 2

Antwerp Whilst at the Academy he met the love of his life, a young model called Hélène Duerinckx (Nel), who would become his wife, soul mate and muse. If it had not her, Wouters’s oeuvre would never have become what it is: an uninterrupted declaration of love. It was here that Wouters, who was already a prolific draughtsman, discovered painting as an artistic medium. His first exhibition was an instant success. His paintings, water- colours,drawings and sculptures vibrate with life, light and passion, making him one of ’s most popular artists. 345

The Royal Museum of Fine Arts However, whilst renovation work is collection augmented by its own holdings 5 (KMSKA) houses the world’s most carried out to the KMSKA building, the of one of the town’s most famous artistic Exhibition view important collection of Wouter’s works, Schepenhuis Museum in Mechelen will sons. The exhibition will be made up of comprising 26 paintings, 19 sculptures play host to the bulk of the Rik Wouters five thematic galleries, namely portraits, Photographs of the above and 55 watercolours and drawings. collection. It will showcase the KMSKA landscapes, daily life, nudes and still-lifes. by Lukas-Art in Flanders

www.kmska.be International 01.10.2011 > 08.01.2012 Art Exhibitions 2011

Opposite Page in The Lawyer Dr Fritz Glaser in the 1920s and his Family 1925, Tempera and oil on Paintings from Dix to Querner pressplatte, 100 x 79 cm Galerie Neue Meister, Dresden Staatliche Kunstsammlungen Dresden 1 Otto Dix Three Women 1926, Mixed media on wood 181 x 101.5 cm Kunstmuseum, Stuttgart

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In the 1920s, the city of Dresden, which The movement reflected the period of Around 140 paintings and about 40 2 had an established reputation for its art, the Weimar Republic, combining biting drawings and prints by some 70 artists became an important focus for the irony and social criticism with old- will be on show. A thorough training in Unemployed Cigarette ‘Neue Sachlichkeit’ (New Objectivity) masterly elegance and Neo Romantic drawing at the Dresden Kunst-akademie Worker and Verism. ideas. The artists’ personal styles ranged and moulded an 1925, Oil on cardboard from powerfully naive painting to rigid entire generation of artists, including 91 x 62 cm construction to tranquil traditionalism. Otto Dix, , , Kulturhistorisches Museum Although Franz Radziwill produced Wilhelm Lachnit, Hans Grundig and Magdeburg unconventional landscapes in Dresden, Bernhard Kretzschmar. These artists’ 3 and Richard Oelze and Franz Lenk works expressed a desire for social Franz Radziwill painted strangely alienated still-lifes, change reflected in disillusioned images Backs of Houses in the main interest of nearly all the artists of unemployed people, war invalids Dresden was portraiture: whimsical and ordinary, and prostitutes as well as portraits of 1931, Oil on wood, 98 x 112 cm touching and sometimes also sophisti- working women and children. At the Hessisches Landesmuseum, cated faces painted with a fine brush, end of the 1920s, against the backdrop Darmstadt often using the technique of layer of the Wall Street Crash and the sub- 4 painting used by the Old Masters. This sequent Great Depression, the students Curt Querner exhibition includes the collection held of Otto Dix’s paint shop – among them Demonstration in the Galerie Neue Meister, augmented Curt Querner, Rudolf Bergander and 1930, Oil on canvas, 87 x 66 cm by important works on loan from other Willy Wolff – again turned their attention Nationalgalerie, Staatliche 2 renowned museums. to socio-critical themes. Museen zu Berlin

www.skd.museum