International 03 Art Exhibitions 2012 International 11.07.2012 > 06.01.2013 Art Exhibitions 2012

Picasso & Matisse The DIA’s Prints & Drawings

Detroit Institute of Arts Opposite page Woman with Hairnet 1943, Pochoir printed in colour on wove paper 1 Henri Matisse, Edmond Vairel, Teriade Icarus, Jazz, Plate VIII c 1943, Pochoir printed in colour on wove paper 2 Henri Matisse, Edmond Vairel, Teriade The Cowboy, Jazz, Plate XIV c 1943-44, Pochoir printed in 1 2 colour on wove paper 3 Pablo Picasso Profile of a Woman c 1903, Black crayon with watercolour or wash and white highlights on cream paper 4 Pablo Picasso Bather by the Sea 1943, Pochoir printed in colour on wove paper 5 Pablo Picasso Le Chapeau a Fleurs 1943, Pochoir printed in colour on wove paper

3 4 5 All works: Detroit Institute of Arts

This exhibition features almost all of The story of Pablo Picasso’s and Henri Other highlights include Matisse’s © 2012 Estate of Pablo Picasso the works by Pablo Picasso and Henri Matisse’s stylistic progression and series ‘Jazz’ and Picasso’s etchings for the Artists Rights Society (ARS), Matisse in the Detroit Institute of Arts artistic range will be told through more ‘Dream & Lie of Franco’, as well as many New York prints and drawings collections, show- than 100 prints and drawings, including linoleum cuts by both artists. The DIA’s casing their revolutionary achieve- exceptional works such as Matisse’s 1919 13 and two bronze sculptures © 2012 Succession H Matisse ments that defined much of 20th drawing ‘The Plumed Hat’ and Picasso’s on permanent display will be on view in Artists Rights Society (ARS), century art. 1939 gouache ‘The Bather by the Sea’. the museum’s modern art galleries. New York

www.dia.org International 14.07.2012 > 03.03.2013 Art Exhibitions 2012

Abstract

1 Expressionism

National Gallery of AustraliaNational Gallery Abstract Expressionist art is vibrant and Opposite page still surprising, even after a century Willem de Kooning dominated by the genius of Matisse and Woman V Picasso. Without Abstract Expression- 1952-53, Oil and charcoal ism modern art and contemporary on canvas would be very different. The National Gallery of , great American painter Canberra Purchased 1974 and the second-generation Abstract © Willem de Kooning/ARS Expressionist, Morris Louis, were both 1 born in 1912. This exhibition mark stheir Helen Frankenthaler anniversaries. 2 Other generations 1957, Oil on canvas The impact of these influential and National Gallery of Australia, unique painters stretched far and wide. Canberra, Purchased 1973 Australians such as Tony Tuckson and © Helen Frankenthaler Peter Upward show how these artists 2 developed in related and complemen- Lee Krasner tary ways. Over four galleries, this Combat presentation of Abstract Expressionism 1965 , Oil on canvas offers a fascinating journey through the National Gallery of Victoria, National Gallery’s holdings, as well as a Felton Bequest, rare opportunity to experience the 1992 3 quality and depth of the collection. © Lee Krasner/ARS 3 TheGallery’s strong holdings of Pollock, Jackson Pollock Louis and their contemporaries, and Blue Poles

Canberra other painters associated with Colour 1952, Oil, enamel, aluminium Field painting and the New York School, paint, glass on canvas go to make up the show. Pollock’s ’Blue National Gallery of Australia, Poles‘, one of his most famous paintings, Canberra, Purchased 1973 and the earlier ‘Totem lesson 2’ accom- © Pollock/Krasner Foundation/ pany six drawings and six etchings by ARS him, rarely on public view. Paintings and 4 works on paper by Willem de Kooning, Lee Krasner Mark Rothko, Arshile Gorky and Lee Untitled Krasner will also be on display, along 1953, Oil, collage, gouache with three paintings by Louis. National Gallery of Australia, Canberra, Purchased 1983 Key works by Robert Motherwell, Philip © Lee Krasner/ARS Guston and Hans Hofmann elucidate the dynamic connections between artists. Also included is an early work by Helen Frankenthaler, in commemora- tion of her death in December 2011. 4

www.nga.gov.au International

Francis Picabia

Retrospective

Kunstalle Krems Opposite page Tableau Rastadada

Bibliothèque Paul Destribats, Paris

Aux Bords de la Creuse / Soleil d'Automne

Kunsthalle Emden

Transparence

Private Collection Courtesy Hauser & Wirth

La brune et la blonde

Private Collection Courtesy Hauser & Wirth

While Picabia was a leading Dadaist His contempt for strict beliefs regarding First he went back to the Fauves only Femme ajustant son bas artistic ideologies frequently led him to then to develop a unique form of oppose the predominant theories of the abstract painting through cubist Friedrich Christian Flick art historical categories of the avant- day, time and again trying to avoid any principles. He turned to making the Collection im Hamburger garde or classical modernism. kind of appropriation. Picabia is seen as so-called mechanomorphic pictures Bahnhof an innovator, provocateur, instigator, which drew upon and ironically played man about town, unconventional with the fascination at the time with the thinker and maverick of modernism who mechanization of everyday life, with entered into art history both as a painter both conceptual wit and surreal alien- and a poet. Few artists of the twentieth ation transformed into idiosyncratic century have expressed as many contra- portraits. With the founding of the dictory aspects and styles in their pioneers of Dadaism in Europe, only a by the Barbizon School and Symbolism, year later to abandon this direction too.

Impressionism, he came under the spell end of World War II, Picabia developed a of the intellectual play of light and photorealistic style of painting concen- colour of modernist painting. trating mostly on the female nude, Tauromachie Already at this time, he began to which he in part copied or paraphrased Private Collection, movements, and any kind of stubborn retrospective of Picabia in Austria aims Neuilly sur Seine devotion to a single, recognizable style to examine the role of irony in the appeared to him as stagnation. continual changes of style in his work. Paris

www.kunsthalle.at International 04.08.2012 > 31.08.2013 Art Exhibitions 2012

Masterpieces of Modernism

1 The Haubrich Collection

Ludwig Museum Cologne Opposite page Chargesheimer Portrait of Josef Haubrich 1956 , Cologne 1 Exhibition view Photograph © Sabrina Walz, Rheinisches Bildarchiv 2 Five Women on the Street 1913, Oil on canvas 120 x 90 cm Museum Ludwig, Cologne 3 Richard Seewald 2 Cat with Salamander 5 1933, Oil on canvas In 1946, Josef Haubrich entrusted his It was during the first World War that 95 x 115 cm treasures to the city of Cologne – a world Haubrich began to collect works by Museum Ludwig, Cologne of art that everyone thought was lost. contemporary artists, mainly from 4 The collection, which comprises over Germany, . These included such major Ernst Ludwig Kirchner 140 works, is considered one of the pieces as 's Portrait of Doctor Semi-Nude Female with a Hat greatest in Europe for Expressionism is Hans Koch, the very first modernist 1911, Oil on canvas in the keeping of Museum Ludwig. painting to enter the collection, or 76 x 70 cm Haubrich (1889-1961) was a lawyer. He Dreamers by Emil Nolde, and the Museum Ludwig, Cologne was courageous considering the Third celebrated Half-Length Nude with Hat 5 3 Reich’s prevailing attitude to art. by Ernst Ludwig Kirchner, which was exhibited as early as 1925 at the Venice Carnival | Masks Biennale and is now a shining example 1929, Oil on canvas of the collection. Among the other 68.5 x 95.5 cm masterpieces are works by Paula Museum Ludwig, Cologne Modersohn-Becker, , Karl 6 Hofer, Wilhelm Lehmbruck and Heinrich Otto Dix Hoerle. Josef Haubrich was loathe to Portrait of Dr Hans Koch cross the boundary to abstraction, and 1921, Oil on canvas avoided Constructivism and the Blue 100.5 x 90 cm Rider, just as he did Dada and the Museum Ludwig, Cologne November Group. It was not until 1946 – © VG Bild-Kunst Bonn, 2012 when the collection was further expanded – that works by the Blue Rider, 46 the Bauhaus and Cubism were included.

www.museum-ludwig.de International 25.08.2012 > 05.03.2013 Art Exhibitions 2012

Opposite page Arnold Newman Picasso | Duchamp Picasso 1954 ‘He was wrong’ © Arnold Newman

Moderna Museet Stockholm The exhibition sets two giants, Picasso Moderna Museet has a particularly fine and Duchamp, up against each other for collection of works by these two artists. the first time. Picasso was the painter The museum presented Picasso’s with magic hands and eyes who legendary Guernica at its very first personified modernism, and Duchamp, exhibition in 1956, and when, in 1961, was the cool ironist and chess genius, Duchamp visited Stockholm, he had a who challenged painting and trans- seminal impact on the young formed art into a maze of intellectual generation of artists at the time, and amusements. They lived and worked in was featured in several exhibitions at close proximity, yet seem to have the museum. Separately and together, moved in completely different worlds. these two oeuvres demonstrate the rise When Duchamp died, Picasso is reputed of modernism in the early 20th century, to have made a laconic comment: and its consolidation in post-war Europe 1 “He was wrong.” and USA. 4

Christer Strömholm Marcel Duchamp 1961/c1990 © Christer Strömholm Estate 1 Marcel Duchamp Roue de Bicyclette 1913/1960 © Succession Duchamp BUS 2012 2 Pablo Picasso Buste de Femme 1907 © Succession Picasso 2 BUS 2012 3 There are two artists that may have Pablo Picasso influenced modernism and our La Femme perception of what art is more than any à la Collerette Bleue others: Pablo Picasso and Marcel 1941 Duchamp. © Succession Picasso BUS 20122 4 Marcel Duchamp Fountain 1917 © Succession Duchamp 3 BUS 2012

www.modernamuseet.se International 31.08.2012 > 30.12.2012 Art Exhibitions 2012

1912 Mission Moderne 1 The Centennial Retrospective of the Sonderbund Exhibition

Wallraf das Museum Cologne Almost 100 years ago Cologne was host Opposite page to what was the single most important Vincent van Gogh presentation of European Modernism. The Diggers Entitled the ‘Sonderbund Exhibition’, 1890, Oil on canvas the show charted the developments in Stiftung Sammlung the latest movements in painting and E G Bührle, Zürich the plastic arts by means of 577 canvases 1 and 57 sculptures by 173 artists. The Vincent van Gogh spectrum of the works ranged from Fishing boats on the Post-impressionism to German beach of Saintes-Maries- Expressionism, bringing together an de- la-Mer abundance of masters that would be 1888, Oil on canvas quite inconceivable today, including Vincent van Gogh Museum, Cézanne, Gauguin, Macke, Munch, Van Amsterdam Gogh Nolde, Picasso, Schiele and Signac. 2 The Wallraf celebrates the centenary of 2 the original exhibition by looking back Rococo at the Sonderbund’s show of 1912. 1912, Oil on canvas With over 100 masterpieces that were all National Museum of Art, exhibited on the occasion, the original Architecture and Design, goals and focuses of the exhibition will Oslo on permanent loan all be reconstructed. The Wallraf will from The Savings Bank bring back to light the fundamental Foundation DnB NOR trends that held sway at the dawn of the 3 20th century art. 2 Paul Cézanne Still-life with Apples 1893-94, Oil on canvas The J Paul Getty Museum, Los Angeles 4 Egon Schiele Mother & Child II 1912, Oil on wood Leopold Museum, Wien

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This retrospective underscores just how revolutionary and trail- blazing the 3 ‘Sonderbund Exhibition’ was in its time.

www.wallraf.museum International 15.09.2012 > 10.02.2013 Art Exhibitions 2012

Opposite page Leda Aristide Maillol 1900, White clay 27.5 x 12.8 x 12.5 cm 1 1861-1944 Galerie Dina Vierny 1 Kunsthal Rotterdam Sixteen monumental Maillol sculptures Maillol built his entire oeuvre around Two Young Girls have been transported to Rotterdam. a range of subjects including nature, 1891, Oil on canvas The famous sculpture La Nuit (Night), the human being, the artist and the 59 x 105 cm one of the first monumental sculptures Mediterranean, portraying these Collection Musée-Maillol, Paris by Maillol is to be temporarily removed through the female shape in various 2 from a public square in Stuttgart and poses, materials and sizes. He took his The Night brought to Rotterdam together with inspiration from early classical sculptors 1902, Bronze 120 of Maillol’s other works for a major but combined this with a modern take 17.5 x 11 x 14 cm retrospective of his work at the Kunsthal. on shape, rhythm and style. Collection Musée-Maillol, Paris Maillol is known in particular for his 3 monumental female figures and is The development of his sculptures The Mountain famous for his contribution to the and the diversity of the female figure 1937, Bronze development of 20th century sculpture. is emphasised by exhibiting a large 193 x 212 x 103 cm The exhibition provides an overview number of his monumental sculptures Private collection comprising 20 monumental sculptures, and the accompanying studies together 4 a wide selection of smaller sculptures, in one space. The exhibition includes Dina 10 remarkable drawings that have never various disciplines, which provides 1937, Terracotta before been exhibited, and several early insight into Maillol's methods and his 16.5 x 17.5 x 16.5 cm 2 and late paintings and studies. power of expression. Collection Musée-Maillol, Paris

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www.kunsthal.nl International 20.09.2012 > 07.01.2013 Art Exhibitions 2012

Ferdinand Hodler Opposite page The Sick 1 View to Infinity Valentine Godé-Darel 1914, Oil on canvas Neue Galerie Neue Galerie The exhibition will be the largest in Musée d’Orsay, Paris America ever devoted to this major 1 Swiss artist. Hodler was admired by Self-Portrait such Austrian artists as Gustav Klimt 1916, Oil on canvas and Egon Schiele, whose work is Aargauer Kunsthaus Aarau, essential to the Neue Galerie collection. donated by the estate of Prof Dr Arthur Stoll The exhibition includes 65 paintings 2 and 20 drawings from both public and The Dents du Midi private collections from around the from Champéry world, as well as furniture designed by 1916, Oil on canvas Josef Hoffmann for the Hodler apart- Nestec SA, Private Collection New York ment. The Musée d’Art et d’Histoire in 3 Geneva was responsible for the loan The Grammont of the superb drawings. The show will 1917, Oil on canvas cover all key aspects of Hodler’s work: Nestec SA, Private Collection his numerous self-portraits; his 4 Symbolist canvases; his majestic Portrait of paintings of the Swiss Alpine landscape; Gertrud Müller and a series of shockingly frank portraits 1911, Oil on canvas of his lover, Valentine Godé-Darel, Kunstmuseum Solothurn, documenting her decline and death. 2 Dübi-Müller-Stiftung

45 5 There are also 45 intimate photographs Two Women in Flowers of Hodler taken by Gertrud Dübi-Müller, 1901-02, Oil on canvas showing him as a very engaging figure, Archäologie und Museum 3 4 in bowler hat and striking various poses. Baselland

www.neuegalerie.org International 26.09.2012 > 14.01.2013 Art Exhibitions 2012

1 Bohemians

Grand Palais Soon after gypsies first appeared in the and misunderstood, who anticipated They were free spirits and wanderers, West in the 15th century, the figure of social upheavals. For generations of social outcasts and indigent. Elusive and the Bohemian became a hero for budding artists, these rebellious uncon- shrewd, party to inaccessible secrets, novelists and a favourite subject for ventional figures, idle womanisers and definitively misfits, they disturbed, artists. The gypsies’ mysterious origins, drunkards scraping a meagre living, provoked and enchanted our sedentary incomprehensible language, close links sparked the dream of redeeming glory society. The term Bohemian was applied with nature, and fortune-telling skills at the risk of oblivion and death. both to the gypsies and to the artists’ made them legendary characters. The Bohemian life- style rapidly became marginal lifestyle. By making new The figure of the Bohemian reappeared immensely popular, running like wild- rapprochements and crossing several in the mid 19th century at a time when fire through the collective imagination disciplines (painting, literature, photo- the artist’s status was undergoing a and linking Paris indissolubly with the graphy, music), this exhibition aims to

Paris profound transformation. A talented Latin Quarter and Montmartre. Their shed new light on this common history. young artist no longer sought the sudden appearances and disappear- It draws on over 180 works, including protection of some prince or other; he ances nourished the fantasy of an new, discoveries and outstanding was a solitary genius, impoverished intense, sensual life, with no ties or rules. loans. 5

Opposite page Boccaccio Boccaccin The Gypsy Girl Galleria degli Uffizi, Florence 1 Georges de la Tour The Fortune Teller The Metropolitan Museum of Art, New York 2 Frans Hals The Bohemian 2 Musée du Louvre, Paris département des peintures 3 Edgar Degas In a Café (L'absinthe) Musée d'Orsay, Paris 4 Octave Tassaert Workshop Interior Musée du Louvre, Paris département des peintures 5 Gustave Courbet The Man with the Pipe Musée Fabre, Montpellier 3 4

www.rmngp.fr International 27.09.2012 > 06.01.2013 Art Exhibitions 2012

Opposite page In the Professor Ernst Ludwig Kirchner Nude Woman Network of Will Grohmann Combing Her Hair 1913, Oil on canvas 1 Modernism 1887-1968 Private Collection

Staatliche Kunstsammlungen Dresden To establish themselves, the artistic collection of classical modernism, Through this comprehensive presenta- avant-gardes of the 20th century which was later lost as a consequence tion of outstanding key works and the required knowledgeable advocates who of the National Socialist campaign additional information, Grohmann’s had access to a large network of people. ‘Degenerate Art’. The list of artists whose communicative network, which One of the most influential of those was works are exhibited in the show seems contributed so decisively to the accep- Will Grohmann. He left his mark on like a Who’s Who of modern art: Segall, tance of the avant-gardes, becomes numerous important public and private Kirchner, Klee, Kandinsky, Feininger, visible. collections. His own collection also Jawlensky, Schmidt-Rottluff, Schlemmer, reflects the canon of modernism that he Baumeister, Moore, Hartung, Nay, Bill, The exhibition brings together more helped define. Based at first in Dresden, Wols, Richter, and many more. The focus than 200 works of art in Dresden, then after 1948 in Berlin, he built up a is on those objects that are linked to scattered over Europe, North and South global network that he used to support Grohmann on several levels; they are America. Some of them are exhibited in numerous artists. Grohmann played a contextualised and commented Germany for the first time since the Nazi key role in building up the Dresden accordingly. campaign ‘Degenerate Art’. 6 1 Exhibition view 2 Lasar Segall The Eternal Wanderer 1919 Museum Lasar Segall, Säo Paulo 3 Sunset 1930 The Art Institute of Chicago 4 Gerhard Altenbourg The Remote Mountains 1952 Staatliche Museen zu Berlin 5 Ernst Wilhelm Nay 2 4 The Freiburg Image 1956 University of Freiburg 6 Edmund Kesting Portrait of Professor Will Grohmann 1947 Staatliche Kunstsammlungen 3 5 Dresden

www.skd.museum International 29.09.2012 > 13.01.2013 Art Exhibitions 2012

The Ecstacy of Colour Munch, Matisse 1 and the Expressionists

Museum Folkwang Essen The exhibition is dedicated to one of Opposite page the most fascinating chapters in early Maurice de Vlaminck 20th century art. It confronts, for the Portrait d'André Derain first time, the ‘Fauves’, the so-called 1906 ‘Wild Ones’ of French art – Henri Matisse, Metropolitan Museum of Art, André Derain, Maurice de Vlaminck – New York, Jacques & Natasha with the Norwegian Edvard Munch and Gelman Collection, 1998 the young German and Russian 1 Expressionists – Ernst Ludwig Kirchner, Georges Braque , Alexej von Jawlensky, The harbour of l'Estaque Wassily Kandinsky, Gabriele Münter 1906 and Franz Marc. The Fauves chose an Foundation Collection, entirely original artistic path, redefining E G Bührle, Zürich the relationship between art and nature 2 in their paintings, they allowed the Erich Heckel pictorial space to unfold through the Bathers at a Forest Pond powerful interaction of different colours. 1910 Artists in Germany followed this new Museum Folkwang, Essen, style of painting and took it as a starting On permanent loan from a point for their own revolutionary private collection developments leading to the birth of 3 Expressionism. 4 Edvard Munch Nude Seated on the Bed 1902 Staatsgalerie, Stuttgart 4 Henri Matisse View of Collioure 1905 Hermitage, St Petersburg 5 André Derain 2 View of Collioure 1905 Museum Folkwang, Essen

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www.museum-folkwang.de International 30.09.2012 > 27.01.2013 Art Exhibitions 2012

Edgar Degas

1 The Late Years

Fondation Beyeler Basel This exhibition is devoted to the late Opposite page work of Edgar Degas (1834-1917), one of Ballet Class the most renowned French painters of 1880-1900, Oil on canvas the late 19th century. This period 61 x 50 cm marked the artistic apotheosis of a Private collection daring pioneer of modernism. 1 Self-portrait in the library 1895, Photocopy paper with silver gelatin coating 6.3 x 8.1 cm Private collection, San Francisco 2 Three Dancers (blue skirts, red bodice) c1903, Pastel 94 x 81 cm Fondation Beyeler, Basel 3 After the Bath 2 3 Woman Drying Herself 1896, Oil on canvas The show has more than 150 works, Experimenting like no other artist of The exhibition unites masterworks from 89.5 x 116.8 cm covering all the themes and motifs that his day with diverse forms of expression, the collections of renowned European, Philadelphia Museum of Art, marked his late phase – dancers, nudes, Degas created his sensuous late work North American and Asian museums. Purchase with funds from a jockeys, racehorses, landscapes and in an obsessional ecstasy of colour in Especially important are the numerous bequest of George D Widener, portraits in different media including which past and present, things seen and loans from private collections. These are 1980 painting, pastel, drawing and prints, remembered, entered an indissolubly often works that have not been on 4 as well as sculpture and photography. interwoven whole. public view for decades. Dancers against a Landscape Backdrop 1895-98, Pastel 78 x 50 cm Private collection, Switzerland 5 Dancers 1896, Pastel 51 x 40 cm Private collection, Asia 6 Getting out of the Bath c1895, Pastel on paper 52.5 x 52.8 cm 4 56 Private collection

www.fondationbeyeler.ch International 02.10.2012 > 06.01.2013 Art Exhibitions 2012

Egon

1 Schiele

Guggenheim This exhibition, Egon Schiele, presents Schiele developed a personal style Opposite page a comprehensive approach to the through the use of flat surfaces and fluid Seated Couple great Austrian Expressionist’s universe, ornamental lines, a signature of the 1915, Watercolour, pencil, through a selection of drawings, Viennese Secession. The expressionistic embossing, mounted on gouaches, and watercolours from body language and gestures of his cardboard Albertina in Vienna, home to one of figures respond both to the influence of 51.8 x 41 cm the most important and extensive clinical photographs documenting Dr Albertina, Vienna, inv 29766 collections of works on paper in the Jean- Martin Charcot’s female patients, 1 world. who suffered from hysteria in the Reclining Female Nude Salpêtrière hospital located in Paris, and with Legs Spread Apart Approximately one hundred works are to Otto Schmidt’s erotic studio photo- 1914, Pencil, opaque colour included in the exhibition, revealing the graphs. In his work, Schiele freed the on Japanese vellum

Bilbao artist’s stylistic evolution. The exhibition erotic representation of the female 31.4 x 48.2 cm traces a course through his oeuvre, nude from the ties to caricature or porn- Albertina, Vienna, inv 26667 examining early works created while ography, and eliminated the historical 2 he was attending the Akademie der antagonism between beauty and Self-Portrait bildenden Künste (Academy of Fine ugliness, giving the feminine nude a Pulling down an Eyelid Arts) in Vienna, pieces he created while renewed and different role in art. 1910, Chalk, watercolour, influenced by Gustav Klimt and the In Schiele’s work, the sick body and opaque colour on brown Viennese Jugendstil, and his departure pathological disintegration of the self packing paper from naturalism through a radical both transcend to the category of art. 44.3 x 30.5 cm treatment of colour to the use of new, Schiele was a significant figure of early Albertina, Vienna, inv 30395 disconcerting motifs, such as the 20th century art who died prematurely 3 2 explicit, erotic nude. when he was only twenty-eight. Two Crouching Girls 1911, Pencil, watercolour, opaque white on primed Japanese vellum 41.3 x 32 cm Albertina, Vienna, inv 27945 4 Old Houses in Krumau 1914, Opaque colour and pencil on Japanese vellum 32.5 x 48.5 cm Albertina, Vienna, inv 31158

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www.guggenheim-bilbao.es International 05.10.2012 > 23.01.2013 Art Exhibitions 2012

Picasso

1 Black & White

Guggenheim Museum Opposite page Marie-Thérèse, Face and Profile Paris, 1931 Oil and charcoal on canvas 111 x 81 cm Private collection 1 Exhibition view 2 Woman Ironing Paris, 1904, Oil on canvas 116.2 x 73 cm Solomon R Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K Thannhauser 3 24 Man, Woman & Child Paris, 1906, Oil on canvas

New York This will be the first exhibition to The recurrent motif of black, white, and 115.5 x 88.5 cm explore the remarkable use of black & grey is evident in his Blue and Rose Kunstmuseum Basel, Gift of white throughout the Spanish artist’s periods, pioneering investigations into the artist to the City of Basel, prolific career. Claiming that colour Cubism, neoclassical figurative 1967 weakens, Pablo Picasso purged it from paintings, and retorts to Surrealism. 4 his work in order to highlight the formal Even in his later works that depict the The Kiss structure and autonomy of form atrocities of war, allegorical still-lifes, Mas Notre-Dame-de-Vie, inherent in his art. His repeated minimal vivid interpretations of art-historical Mougins, 1969, Oil on canvas palette correlates to his obsessive masterpieces, and his sensual canvases 97.2 x 130.2 cm interest in line and form, drawing, and created during his twilight years, he Koons Collection monochromatic and tonal values, while continued to apply a reduction of colour. 5 developing a complex language of Managing a complicated composition Head of a Horse, pictorial and sculptural signs. without having to organise contrasts of 5 Sketch for Guernica colour, Picasso created such master- Paris, 1937, Oil on canvas pieces as The Milliner’s Workshop (1926), 1932), and to European drawing (Man 65 x 92 cm The Charnel House (1944-45), and The with Pipe, 1923). Picasso used this Museo Nacional Centro de Maids of Honour (Las Meninas, after distinctive motif to explore a centuries- Arte Reina Sofía, Madrid, Velázquez, 1957). The graphic quality of long tradition of Spanish masters, such Bequest of the artist Picasso’s black & white works harks back as El Greco, Francisco de Zurbarán, to Paleolithic cave paintings created Diego Velázquez, Francisco de Goya and from charcoal and simple mineral José de Ribera, whose use of black and All works pigments (Female Nude with Guitar, grey was predominant. Picasso’s palette © 2013 Estate of Pablo Picasso 1909), to the tradition of grisaille (Study reveals a unique working process, Artists Rights Society (ARS), 3 for Sculpture of a Head, Marie-Thérèse, which he pursued until his death. New York

www.guggenheim.org International 06.10.2012 > 13.01.2013 Art Exhibitions 2012

Alex Katz All images © Alex Katz/Licensed by 1 Give Me Tomorrow VAGA, New York, NY

Turner Contemporary Margate Alex Katz (born 1927) is one of the most layers of paint to dry before applying Opposite page important and prolific living American the next. We are also exhibiting some Eleuthera painters. He had his first solo show in of his collages, and a rare ‘cut out’ made 1984, Oil on canvas 1954 and has since then carved out a from oil paint on aluminium. We are 305 x 670.5 cm distinct style, often going against the showing early work from the 1950s right 1 ‘fashion’ of the time, (eg eschewing up to 2000. Works include cut-out paper Alex Katz Abstract Expressionism at its height). collages made with flat shapes and 2 He has been influential not only on colour, large-scale paintings depicting Islesboro Ferry Slip visual art, but also fashion, style, music waves, light and boats, a large four- 1976, Oil on linen and theatre throughout his career. He is panel work, Eleuthera, which invites 198 x 213.4 cm now 85, and his latest exhibition, ‘Give comparisons between art, fashion, 3 Me Tomorrow’, at Turner Contemporary lifestyle and advertising, and recent Black Hat (Bettina) explores themes including family work in a graphic, colourful style, 2010, Oil on linen portraits, friends and social relation- some shown for the first time this year, 152.4 x 213.4 cm ships, style and the American Dream, including work very recognisable as Galerie Thaddaeus Ropac, flowers, seascapes and beach life. a homage to Monet. Paris & Salzburg 2 The majority of the exhibition is made up of paintings – usually on a very large scale. Katz’s process involves making small studies from life, which he scales up using the traditional charcoal cartoon and pinhole ‘pouncing’ method, then paints the final large scale work in one go, working ‘wet on wet,’ quickly painting without waiting for previous 45

4 Penobscot 1999, Oil on board 229 x 305 cm Artist Rooms Collection Acquired jointly with the National Galleries of Scotland 5 Round Hill 1977, Oil on linen 180.3 x 243.8 cm Los Angeles County Museum of Art, Partial and Promised 4 2 Gift of Barry & Julie Smooke Art Digital Image © 2012 Museum Associates / 3 LACMA

www.turnercontemporary.org International 07.10.2012 > 30.12.2012 Art Exhibitions 2012

The Kimbell at 40

1 An Evolving Masterpiece

Kimbell Museum of Art Kimbell Museum of Art ‘The Kimbell at 40’ begins with works Opposite page acquired from the late 1940s to the Frederic Leighton 1960s. These consist primarily of 18th Portrait of May Sartoris century British paintings and illustrate c1860, Oil on canvas the Kimbell’s desire to bring a greater 152.1 x 90.2 cm appreciation of art to the community. Framed: 181.6 x 121.9 x 14.6 cm This gallery also chronicles the archi- ACF 1964.03 tectural legacy, beginning with the 1 Louis I Kahn building and looking ahead Caravaggio to the Renzo Piano pavilion. The period (Michelangelo Merisi) from 1965-72 sees the acquisition of The Cardsharps several works, three of which are still c1595, Oil on canvas regarded as some of Museum’s greatest 94.2 x 130.9 cm treasures – Monet’s ‘Point de la Hève at AP 1987.06 Low Tide’, Bellini’s ‘Christ Blessing’ and 2 the 8th-century bronze ‘Bodhisattva Georges de La Tour Maitreya’ from Prakonchai, Thailand. 2 The Cheat with the Ace of Clubs The next chapter, from 1972-79, includes Ife culture of Nigeria; a Standing The collection now consists of only c1630-34, Oil on canvas such masterpieces as Duccio’s ‘Raising Bodhisattva from the ancient region of about 350 works that touch individual 97.8 x 156.2 cm of Lazarus’ and El Greco’s ‘Portrait of Dr Gandhara; and an inlaid figurine of a high points of aesthetic beauty and Framed: 124.5 x 182.9 x 12.7cm

Fort Worth Francisco de Pisa’. The section represen- Standing Ruler from the Wari culture of historical importance. The museum, AP 1981.06 ting the 1980s & 1990s, interweaves Peru. Bernini’s ‘Modello for the Fountain designed by Louis I Kahn, is widely 3 works by Mantegna, Caravaggio, Fra of the Moor’, Michelangelo’s ‘Torment of regarded as one of the outstanding Claude Monet Angelico, Velázquez, Picasso, Matisse Saint Anthony’ and Poussin’s ‘Sacrament architectural achievements of the Point de la Hève at Low Tide and other European masters with Asian, of Ordination’ are among the highlights modern era. A new building, designed 1865, Oil on canvas African and Pre- columbian treasures of the latter portion of the exhibition by Renzo Piano and now under con- 90.2 x 150.5 cm including such works as the Chinese that illustrate the Kimbell’s ongoing struction, will provide space for special Framed: 119.4 x 179.1 x 12.7 cm Bodhisattva Torso; the Japanese Shaka commitment to enriching the collection exhibitions, allowing the Kahn building AP 1968.07 Buddha; the terracotta Head from the with acquisitions of the highest caliber. to showcase the permanent collection. 4 Giovanni Bellini Christ Blessing c1500, Tempera, oil and gold on panel 59 x 47 cm Framed: 78.7 x 66 x 7.6 cm AP 1967.07 5 Paul Cézanne 3 Man in a Blue Smock c1896-97, Oil on canvas 81.5 x 64.8 cm Framed: 104 x 90.2 x 8.9 cm 4 5 APg 1980.03

www.kimbellart.org International 10.10.2012 > 13.01.2013 Art Exhibitions 2012

Cotman

1 in Normandy

Dulwich Picture Gallery Gallery Picture Dulwich The exhibition takes a fresh look at the Opposite page central chapter of the career of John Fountains Abbey, Sell Cotman (1782-1842), revered as the Yorkshire quintessential English watercolourist. 1804, Watercolour Displaying 80 drawings, watercolours 85.9 x 60.6 cm and prints by Cotman, along with © Fitzwilliam Museum, 20 studies by other artists, including Cambridge J M W Turner, the exhibition will place 1 Cotman’s visits to Normandy within the Saint George broader context of his lifelong engage- de Bocherville ment with buildings, particularly the 1831 architecture of the Middle Ages. His Graphite and watercolour exploration of the undeniable French on paper influence on some of Britain’s finest 27.3 x 39.8 cm architecture provided a contro- versial Scottish National Gallery, commentary on Anglo-French cultural Edinburgh. exchange in the aftermath of the John Scott Bequest, 1864 Napoleonic wars. 2 2 Tower in Normandy John Sell Cotman, long considered Antiquities of Normandy. This major on Normandy in particular, is often c1831-32 one of the greatest exponents in the publication was the climax of over a presented as a distraction from his Watercolour on paper field of watercolour, made three visits decade during which print-making as a lyrical watercolours but this exhibition 25.9 x 39.6 cm to Normandy, in 1817, 1818 and 1820. medium and architecture as a subject will seek to establish the significance Norfolk Museums & In 1822, he published two monumental had been the primary focus of John Sell of this period in Cotman’s development Archaeology Service folio volumes entitled Architectural Cotman’s art. This period, and his work as an artist. (Norwich Castle Museum & Art Gallery) This is much more than just a water- 3 colour show. Cotman had a wonderfully Chateau Navarre, clear sense of design, which emerges near Evreux, Normandy gloriously in his drawings and water- c1828 colours of architecture. There are many Graphite and watercolour works which have never been exhibited 24.4 x 34.9 cm in public before, many from the United Yale Center for British Art, States, and many fascinating compari- Paul Mellon Collection sons where Cotman’s contemporaries drew the same buildings, often from the same spot. The round-arched Norman style which dominates the exhibition will be entirely in tune with Soane’s architec- ture, and since the Dulwich Picture Gallery opened to the public in 1817, the year of Cotman’s first tour in France, there could be no more ideal 3 venue for this show.

www.dulwichpicturegallery.org.uk