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2014 International 14.01.2014 > 30.03.2014 Art Exhibitions 2014

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2014 International 14.01.2014 > 30.03.2014 Art Exhibitions 2014 International 01 Art Exhibitions 2014 International 14.01.2014 > 30.03.2014 Art Exhibitions 2014 Piero della Francesca Personal Encounters The Metropolitan Museum of Art Metropolitan The Opposite page Madonna and Child with Two Angels c1464-74, Tempera and oil on wood (walnut) 62.7 x 52.8 cm Galleria Nazionale delle Marche, Palazzo Ducale, Urbino 1 Saint Jerome and a Supplicant c1460-64, Tempera and oil on wood 49.4 x 42 cm 1 Gallerie dell’Accademia, Venice Through a special collaboration with 2 the Gallerie dell'Accademia, Venice, and Madonna and Child the Galleria Nazionale delle Marche, c1439-40, Tempera on Urbino, The Metropolitan Museum of panel Art is hosting a focused presentation of 53 x 41 cm four devotional paintings by Piero della The Alana Collection, Francesca. These are works painted in Delaware tempera on canvas, intended for private 3 prayer, some featuring portraits of the Saint Jerome patrons who commissioned them. in the Wilderness As the four works on view have never 1450, Tempera and oil before been brought together; the on wood (chestnut) exhibition promises to facilitate an 51 x 38 cm New York important contribution to the study of Gemäldegalerie, Piero della Francesca – a major figure of Staatliche Museen the Renaissance. 2 zu Berlin The four paintings are ‘Saint Jerome and There’s a precise mathematical study a Supplicant’, ‘Madonna and Child with underlying his work, and much has two Angels (the Senigallia Madonna)’, been said of his use of the Golden Mean. ‘Saint Jerome in a Landscape’ and His work features remarkable psycho- ‘Madonna and Child’. logical studies of individuals – the people, saints, patrons are not idealised Piero della Francesca is considered one renderings of prototypes, but rather of the masters of Renaissance Art; his portraits of real persons. His most use of geometry and Albertian perspec- famous work are the frescoes in the 3 tive was groundbreaking for his day. Church of San Francesco, in Arezzo. www.metmuseum.org International 15.01.2014 > 23.03.2014 Art Exhibitions 2014 Hannah Höch Whitechapel GalleryWhitechapel Hannah Höch (1889-1978) was an artistic Opposite page and cultural pioneer. A member of Untitled Berlin’s Dada movement in the 1920s, From an Ethnographic she was a driving force in the develop- Museum ment of 20th century collage. Splicing 1930, Collage together images taken from fashion 48.3 x 32.1 cm magazines and illustrated journals, Museum für Kunst und she created a humorous and moving Gewerbe, Hamburg commentary on society during a time Photo: courtesy of Maria of tremendous social change. Höch was Thrun admired by contemporaries such as 1 George Grosz, Theo van Doesburg and Little Sun Kurt Schwitters, yet was often over- 1969, Collage looked by traditional art history. As the 16.3 × 24.2 cm first major exhibition of her work in Landesbank Berlin AG Britain, the show puts this inspiring 2 figure in the spotlight. 1 Made for a Party 1936, Collage Bringing together over 100 works from A believer in artistic freedom, Höch The series ‘From an Ethno- graphic 36 x 19.8 cm London major international collections, the questioned conventional concepts of Museum’ combines images of female Collection of IFA, Stuttgart exhibition examines Höch’s extraordin- relationships, beauty and the making of bodies with traditional masks and 3 ary career from the 1910s to the 1970s. art. Höch’s collages explore the concept objects, questioning traditional gender Untitled Starting with early works influenced by of the ‘New Woman’ in Germany and racial stereotypes. Establishing From the series: her time working in the fashion industry, following World War I and capture the collage as a medium for satire, Höch From an Ethnographic it includes key photomontages. style of the 1920s avant-garde theatre. was a master of its poetic beauty. Museum 1929, Photomontage with collage 49 x 32.5 cm Federal Republic of Germany, Collection of Contemporary Art Image: bpk / Kupferstich- kabinett, SMB / Jörg P Anders 4 From the Collection: From an Ethnographic Museum 1929, Collage and gouache on paper 26 x 17.5 cm Scottish National Gallery of Modern Art, Edinburgh Bequeathed by Gabrielle 234 Keiller, 1995 www.whitechapelgallery.org International 17.01.2014 > 29.03.2014 Art Exhibitions 2014 Patrick Caulfield 1 1936-2005 Abbot Hall ArtAbbot Gallery An exhibition of vibrant and witty A simplified style combined with an Although his paintings can appear All works paintings and prints by Patrick Caulfield, astute commentary on modern life cast straightforward, they are deceptively © The Estate of Patrick Caulfield / whose iconic and bold style makes him Patrick Caulfield as one of the early sophisticated, combining different All rights reserved, DACS 2013 one of the UK’s most distinctive artists. proponents of Pop Art in England – pictorial languages. His work reveals a Following on from Tate Britain’s a label he rejected preferring to be seen timeless subject matter executed with Opposite page successful summer exhibition surveying as a ‘formal’ artist who engages with deadpan humour, all contained within Sweet Bowl, 1967 Caulfield’s paintings, Abbot Hall’s European painting traditions. his characteristic solid black outlines. British Council Collection exhibition, in contrast, includes prints alongside paintings to explore his unique style. This show begins with works taking inspiration from modern master artists then continues to explore how Caulfield breathes new life into two traditional forms of subject matter: interiors and the still life. Containing over 30 works and featuring major loans from Tate, The British Council and Alan Cristea Gallery, London, the selection will include iconic works such as ‘Coloured Still Life’ (1967), ‘Pottery’ (1969) Kendal, Cumbria and ‘Hemmingway Never Ate Here’ (1999). In addition the exhibition will present Patrick Caulfield’s art alongside paintings by celebrated artists who inspired his work; Georges Braque, ‘Glass and Plate of Apples’ (1925), Juan Gris, ‘Still Life with a Guitar’ (1924) and Fernand Léger, ‘Still Life with a Beer Mug’ (1921-22). 1 Patrick Caulfield studied at the Chelsea 1 School of Art later progressing to the Coloured Still Life, 1967 Royal College of Art where his fellow British Council Collection students included David Hockney. 2 Pottery, 1969 He exhibited in the exhibition ‘Young Oil paint on canvas Contemporaries’ in 1961 and 1962 and © Tate, London 2013 was part of the prestigious ‘The New 3 Generation’ exhibition at the White- Hemingway Never Ate Here chapel Gallery in 1964. In 1987 Caulfield 1999, Acrylic paint and rope was nominated for the Turner Prize and on canvas 3 23 in 1996 he was made a CBE. © Tate, London 2013 www.abbothall.org.uk International 24.01.2014 > 13.04.2014 Art Exhibitions 2016 Opposite page Breakup 2011, Oil and mixed media Dear Nemesis… on panel 142.24 x 109.22 cm 1 Nicole Eisenman 1993-2013 Collection of Robert & Bonnie Friedman, Los Angeles Contemporary Art Museum Contemporary Over the past twenty years, Eisenman 1 has developed a creative and versatile Sloppy Bar Room Kiss vision that combines high and low 2011, Oil on canvas culture with virtuosic skill. Fusing old 99.06 x 121.92 cm art-making conventions and a multi- Collection of Cathy & Jonathan tude of historic influences – including Miller, Westbury, NY impressionism, German expressionism, 2 and 20th-century social realist painting – The Triumph of Poverty with contemporary subject matter, she 2009, Oil on canvas depicts settings and themes as varied as 165.1 x 208.3 cm bar scenes, motherhood, and the plight Private collection of the artist. Among her core concerns 3 are depictions of community, identity, The Session and sexuality. Eisenman’s continual 2008, Oil on canvas representation of women (both ‘butch’ 127.5 x 155 cm and ‘femme’) and female love not only Baryn S Futa, Denver imbues the practice of figurative 4 painting with an audaciously queer Guy Artist bent but also recasts art history in a 2011, Oil and collage on feminist light. 2 canvas 193.04 x 152.4 cm Her wit spares no one and nothing, and Martha & John Gabbert, it is through her humour and the dis- Montecito, CA comfort caused by her work that she 5 communicates the multifaceted rich- Guy Reading the Stranger St Louis ness of the human condition. Her socio- 2011, Oil on canvas political critique operates in ways that 193.04 x 152.4 cm are both playful and breathtaking. Maxine Gluskin, Toronto 3 45 www.camstl.org International 24.01.2014 > 04.05.2014 Art Exhibitions 2014 Peter Doig 1 No Foreign Lands Montreal Museum of Fine Arts Museum of Fine Montreal Few exhibition spaces are as well suited Opposite page to display the oeuvre of Peter Doig as Red Boat (Imaginary Boys) the great classical galleries of the Michal 2004, Oil on canvas and Renata Hornstein Pavilion. These 200 x 186 cm galleries were created in 1912 for salon The Weston Collection painting characteristic of the late 19th Photo Jochen Littkemann and early 20th centuries, a period in 1 painting that Doig acknowledges as an Photo George Whiteside influence. His work follows in the great 2 tradition of artists that include Bonnard, Pelican (Stag) Matisse, Gauguin and Munch, but also 2003, Oil on canvas of Tom Thomson and James Wilson 276 x 200.5 cm Morrice, Canadian painters he admires, Courtesy Michael Werner and of Wifredo Lam and Armando Gallery, New York and London Reverón, the celebrated Cuban and Photo Thomas Mueller Venezuelan artists. Doig is widely held 3 to be a legitimate successor to these Figures in Red Boat great masters. 2005-07, Oil on linen 250 x 200 cm The exhibition unfolds like a voyage, Private Collection, New York a descent into the secrets of Doig’s Courtesy Michael Werner creative process and into the imagina- Gallery, New York and London tion that inhabits his canvases and Photo Marcus Leith makes them so evocative.
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