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 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 Gallery Whitechapel Gallery 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 Art Gallery Gallery Abbot Hall Art 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 Museum Art 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 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. From one 4 gallery to the next, visitors will discover 100 Years Ago (Carrera) Doig’s world of painting and how he 2001, Oil on linen explores its expressive potential, narra- 229 x 359 cm tive power and its history with consum- Centre Pompidou, MNAM-CCI mate virtuosity. 3 Photo Jochen Littkemann

Scenes from everyday life, tropical landscapes, boats, forests, walls, visions of ghostly beings, solitary figures – for Doig, all subjects are opportunities to commit himself fully to the act of painting. At times, he can take years to complete a canvas, and he often returns to the same subject. The exhibition features a number of ‘pairs’ of works – paintings that share a similar motif but were not conceived of in series. These pairings, brought together, often for the first time, testify to the artist’s sense of 2 obsession and inventiveness. 4

www.mmfa.qc.ca International 29.01.2014 > 25.05.2014 Art Exhibitions 2014

Zurbarán

1 Master of Spain’s Golden Age

Centre for Fine Brussels Arts Opposite page Saint Lucas as a Painter, before Christ on the Cross c1660, Oil on canvas 105 x 84 cm Museo Nacional del Prado, Madrid 1 Agnus Dei c1635-40, Oil on canvas 35.56 x 52, 0.7 cm The San Diego Museum of Art, Gift of Anne R & Amy Putnam 2 Saint Casilda c1635, Oil on canvas 171 x 107 cm Museo Thyssen-Bornemisza, Madrid 3 Saint Francis of Assisi 2 3 4 in his Tomb c1635, Oil on canvas Francisco de Zurbarán (1598-1664) is, Four newly identified works by Zurbarán’s oeuvre is predominantly 204.8 x 113.35 cm alongside Velázquez and Murillo, one Francisco de Zurbarán are on display made up of works with religious Milwaukee Art Museum of the most important Baroque painters to the public for the first time (two of subjects, such as scenes from the lives 4 of Spain’s Golden Age. The last major them are ‘Appearance of the Virgin to of saints, martyrs, and monks, often Fray Jerónimo Pérez international exhibition of his work Saint Peter Nolasco’ and ‘Mystical commissioned by churches and c1632-34, Oil on canvas took place back in 1988 at the Metro- Marriage of Saint Catherine’) and six monastic orders. Like his patrons, he 193 x 122 cm politan Museum of Art (New York), the paintings have been especially restored was strongly committed to the Museo de la Real Academia de Louvre (Paris), and the Museo Nacional for the occasion, among them the ‘Saint energetic Counter-reformation spirit of Bellas Artes de San Fernando del Prado (Madrid). For the first time, Nicholas of Bari’ from the Monastery the Catholic Church. Painting, at that 5 exactly 350 years after his death, a retro- of Guadalupe, the ‘Saint Gabriel the time, was seen as the reading matter of A Cup of Water and a Rose spective of his art can now be seen in Archangel’ and the haunting ‘Saint the uneducated believer; for that reason, c1630, Oil on canvas Belgium. Francis’. it had to be clear, direct and inspiring. 21.2 x 30.1 cm The National Gallery, London BOZAR and the Fondazione Ferrare Arte, The exhibition is organised thematically in an exceptional collaborative project and chronologically and covers the key with the Museo Nacional del Prado phases of the artist’s career. The public (Madrid) and the Museo de Bellas Artes will be able to view his oeuvre from his (Seville), have brought together some early works, which show the influence 50 outstanding paintings from the most of Caravaggio and are characterised by prestigious collections including ‘Still dramatic lighting, to his late, more Life with Four Vessels’ and ‘Agnus Dei’. poetic and personal, paintings. 5

www.bozar.be International 30.01.2014 > 21.04.2014 Art Exhibitions 2014

Opposite page Franz Sedlacek The Chemist 1932 1 A Chemist of the Imagination Wien Museum

Wien Museum Vienna The painter and graphic artist Franz 1 Sedlacek (1891-1945) was one of Austria’s Portrait photograph leading artists between the World Wars. of Franz Sedlacek A creator of strange, bizarre and 1930s mysterious scenes, Sedlacek draws the Austrian National Library viewer into an unsettling world of © Österreichische National- surreal imagery. Sedlacek’s one-of-a- bibliothek, Vienna kind œuvre was inspired by Romantic 2 art, but the self-taught virtuoso painter Winter Landscape was also close to the New Objectivity 1931 school. Although he achieved inter- Wien Museum national success in his lifetime, renewed © Bildrecht, Vienna, 2014 interest was late in coming in the 1980s. 3 The first comprehensive retrospective Landscape of his paintings was presented by with Thunderstorm Landesgalerie Linz in 2012. This present- 1936 ation in Vienna appears in a slightly Nordico-Museum modified form, from that at Linz. Wien of the City of Linz Museum, owns ‘The Chemist’ (1932) and © Bildrecht, Vienna, 2014 ‘Winter Landscape’ (1931), two of Franz 4 Sedlacek’s key works. 2 Library 1926 Born in Wroclaw Franz Sedlacek grew In 1911, he took up studies in chemical Franz Sedlacek served as an officer in Museum of the Province up in Linz amid a German-nationalist engineering in Vienna and co-founded the German Wehrmacht from 1939 to of Upper Austria, and anti-Semitic environment that the artists’ group MAERZ in Linz in 1913. January 1945, when he was reported Landesgalerie Linz exerted a powerful influence on him. Following earlier graphic works and missing on the eastern front near Toruń. © Bildrecht, Vienna, 2014 caricatures, Sedlacek turned to painting in oils in the early 1920s. In a technique schooled on the Old Masters, he painted dream-like, grotesque scenes populated by weird beings, or placed set pieces from technology and modern life amid gloomy landscapes suffused with pathos, remote from modern civilisation. From 1921 onwards, he earned his living as curator of the chemistry department at the Vienna Technical Museum, whose deputy director he became in 1937. The tension between a conventional middle-class lifestyle and his artistic passion, which he could pursue only in his spare time, lends a particular fascination to the 3 painter and his work even today. 4

www.wienmuseum.at International 30.01.2014 > 11.05.2014 Art Exhibitions 2014

1934

1 A New Deal for Artists

Portland Museum of Art Maine Portland Museum of Art This is the last stop for a special Opposite page travelling exhibition organised by the Charles L Goeller Smithsonian American Art Museum in Third Avenue celebration of the the first federally- 1934, Oil on canvas funded art program. Established in 91.4 x 76.4 cm December 1933, the Public Works of Art 1 Project (PWAP) was conceived as part Lily Furedi of the New Deal – a series of economic Subway recovery programs introduced by 1934, Oil on canvas president Franklin Delano Roosevelt in 99.1 x 122.6 cm response to the Great Depression. 2 Paul Kelpe Over the course of seven months, Machinery the PWAP employed 3,749 artists and (Abstract No 2) commissioned more than 15,000 works 1933-34, Oil on canvas of art to adorn schools, libraries and 97 x 67 cm other public buildings. Even the White 3 House displayed a selection of 34 works Ross Dickinson hand-picked by President Roosevelt Valley Farms and the First Lady, an ardent and vocal 1934, Oil on canvas advocate of the PWAP. 3 101.4 x 127.3 cm 4 Artists across the nation responded to Images ranged from intimate portraits ‘1934: A New Deal for Artists’ showcases Harry Gottlieb the PWAP’s directive to give voice to the of local men, women and children to only a small selection of 54 works that Filling the Ice House American experience by turning to their romanticised landscapes and everyday nonetheless provide a lasting impres- 1934, Oil on canvas local environments for inspiration. scenes of labour and industry. sion of America during 1934. 102.5 x 153.4 cm

Particular emphasis was placed on conveying the values of community and hard work associated with the nation.

While the primary goal of the PWAP was to provide government aid to artists, the government also hoped that the public art produced by the artists would bolster the spirit and morale of a depressed nation. As Eleanor Roosevelt said in the dedication ceremony held in conjunction with an exhibition of 500 PWAP works at Washington’s Corcoran Gallery of Art, the works liberated society by expressing what many 2 people could find no words to describe. 4

www.portlandmuseum.org International 02.02.2014 > 18.05.2014 Art Exhibitions 2014

Odilon Redon 1840-1916

Fondation Beyeler Basel Odilon Redon was born in Bordeaux in Opposite page 1840 and died in Paris in 1916. With his Chariot of Apollo cosmos of colour, he is one of the most c1910, Oil and pastel on astonishing artists of the nascent years canvas of modernism. A leading representative 91.5 x 77 cm of French Symbolism, his oeuvre – which Musée d'Orsay, Paris spans the close of the 19th century and 1 the start of the 20th – is dominated by Ophelia the interplay of tradition and innovation. 1900-05, Pastel on paper On the basis of paintings, pastels, mounted on cardboard drawings, and lithographs from major 50.5 x 67.3 cm museums and private collections in Dian Woodner Collection, Switzerland and abroad, the exhibition New York at the Fondation Beyeler concentrates 2 on Redon’s signiﬁcance as a precursor Martyr, or Head of a Martyr of classical modernism and therefore on a Dish, or Saint John on the avant-garde aspect of his art. 1877, Charcoal on paper Redon’s cryptic and enigmatic oeuvre is 36.6 x 36.3 cm marked by breaks and contrasts and Kröller-Müller Museum, characterized by a stylistic evolution 1 Otterlo

that leads from the black of his early charcoal drawings and lithographs to the explosion of colour in his later pastels and oil paintings. His works oscillate between eerie strangeness and sunny cheerfulness: bizarre monsters appear alongside heavenly creatures as dream meets nightmare and nature meets fantasy. The exhibition addresses all the main themes and the most important ideas and innovations found in Redon’s oeuvre. It reﬂects the diver- sity of the artist’s sources of inspiration, which extend from the history of art, literature, and music, through Western and Far Eastern philosophy and religion, to the natural sciences. 3 3 In his art Odilon Redon sought to focus The Chalice of Becoming his gaze on the ‘wonders of the visible 1894, Oil on canvas mounted world.’ We hope this exhibition will open on cardboard up that wondrous world to the gaze of 49 x 34.3 cm 2 our visitors. Michael Altman Fine Art www.fondationbeyeler.ch International 04.02.2014 > 18.05.2014 Art Exhibitions 2014

Opposite page Paul Cézanne Portrait of a Peasant 1905‐06 1 Site | Non-Site Museo Thyssen‐Bornemisza, Madrid

Museo Thyssen-Bornemisza The Museo Thyssen is presenting the 1 first retrospective on Cézanne to be held Bathers in Spain in thirty years. The exhibition c1880 includes 58 works: 49 oils and 9 water- Detroit Institute of Arts. colours lent by museums and private Bequest of Robert H Tannahill collections around the world (including 2 the USA, Australia and Japan), many not House in Provence previously seen in Spain. They will be c1881 shown alongside nine works by artists Indianapolis Museum of Art, such as Pissarro, Gauguin, Bernard, Gift of Mrs James W Fesler in Derain, Braque, Dufy and Lhote. memory of Daniel W and Elizabeth C Marmon 3 The Buffet 1877-79 Museum of Fine Arts, Budapest 4 Mount Sainte‐Victoire c1904 Cleveland Museum of Art Bequest of Leonard C Hanna, Jr, 2 3 1958

Born in Aix‐en‐Provence, Paul Cézanne Critics considered him the clumsiest (1839‐1906) was the son of a wealthy hat and most eccentric of the group. The manufacturer and later banker. Cézanne negative words employed to describe Madrid was a fellow school pupil of the future his painting – brutal, coarse, infantile, writer Émile Zola, with whom he main- primitive – would eventually become tained a close and complex friendship terms of praise for the originality of his for many years. Although Cézanne work. embarked on studying law, he soon moved to Paris to follow his true While his fellow painters, led by Monet vocation of painting. There he made and Renoir, would enjoy increasing friends with Pissarro, ten years his senior, success, Cézanne, who had abandoned who would be the closest to a teacher the capital for Aix, would continue to be that he had. He also met Manet and took ignored until 1895 when he had his first part in the Impressionists’ informal solo exhibition of around 150 works at debates at the Café Guerbois. Every year Ambroise Vollard’s gallery This show from 1863 onwards Cézanne sent his earned him the respect and admiration paintings to the official Salon but they of his colleagues and made him a key were never accepted. In 1874 he took reference point for young painters. part in the first Impressionist exhibition By the time of his death ten years later but would subsequently only exhibit Cézanne was acknowledged as a key with them once, in 1877. figure in modern art. 4

www.museo-thyssen.org International 05.02.2014 > 11.05.2014 Art Exhibitions 2014

David Hockney

1 Printmaker

Dulwich Picture Gallery London Gallery Picture Dulwich David Hockney (born 1937) may be Opposite page Britain’s favourite painter – but many Celia would say that he is at his most creative 1973, Lithograph in his prints. This major exhibition of 108.6 x 72.4 cm printwork by the inimitable David Edition of 52 Hockney showcases the extent of his © David Hockney / Gemini output and range of styles charting Graphic Editions Limited his print production from his first print 1 60 years ago to his last print in 1998. Henry at Table It includes computer drawings which 1976, Lithograph are a prelude to his recent work on iPad. 75.6 x 106 cm Edition of 96 © David Hockney / Gemini Graphic Editions Limited 2 Views of Hotel Well III 1984-85, Lithograph 123.2 x 97.8 cm Edition of 80 © David Hockney / Tyler Graphics Limited Photo: Richard Schmidt 3 Lillies 1971, Lithograph 74.9 x 53.3 cm Editions of 65 & 35 2 4 © David Hockney 4 This is the first major show to focus on Self Portrait the complete trajectory of his printwork. 1954, Lithograph in 5 colours It concentrates on Hockney’s litho- 29.2 x 26 cm graphs and etchings, by exposing new Edition of 5 (approximately) insights beyond the purely formal © David Hockney aspects of his work and delving into his 5 mastery of technique. Rain on the Studio Window Graphic works of renowned sitters From My Yorkshire Deluxe include portraits of Celia Birtwell and Edition Henry Geldzahler while complete sets 2009, Inkjet printed will include ‘The Weather Series’ and computer drawing on paper ‘A Hollywood Collection’. 55.9 x 43.2 cm Edition of 75, with 25 HC 3 5

www.dulwichpicturegallery.org.uk International 07.02.2014 > 01.06.2014 Art Exhibitions 2014

Diderot’s Taste

1 Greuze, Chardin, Falconet, David

Fondation de l’Hermitage As part of the celebrations marking the Opposite page 300th anniversary of the birth of Denis Jean-Simon Berthélemy Diderot (1713-84), the Fondation de Portrait of an Artist l’Hermitage is pleased to host an with the Bust of Diderot exhibition focusing on the famous After 1784, Oil on canvas French philosopher’s relationship to art. 124.5 x 99 cm This important event will feature an Staatlische Kunsthalle, exceptional selection of the paintings, Karlsruhe sculptures, engravings and drawings 1 that Diderot had the opportunity to Jean-Marc Nattier admire at the temporary exhibitions of Jean-Marc Nattier the Académie royale de peinture et de and his Family sculpture, the well-known Salons held 1730-62, Oil on canvas at the Louvre, which he discussed in 142.5 x 163 cm reviews written in the years 1759-81. 3 Musée national des Châteaux These writings are remarkably free in de Versailles et de Trianon, tone and mark the emergence of art Versailles criticism as we know it today. They 2 reveal both Diderot’s initial awareness Jean-Baptiste Siméon of art and the way that his taste, eye and Chardin aesthetics were developed through The Basket of Peaches, acquaintance with the works of his time. 4 White and Black grapes with Wine Cooler and Wine Glass

Lausanne The exhibition also highlights the This collaboration is a reminder of the 1759, Oil on canvas impact of his writings on the art world. importance of relations between the 38.5 x 47 cm The exhibition begins with a section great minds of France and Switzerland Musée des Beaux-Arts, Rennes devoted to Diderot’s knowledge of art during the Enlightenment. 3 before his discovery of the Salons. It Charles-André Vanloo then explores three themes that shaped Lenders for the event include Sketch for The Graces his tastes and aesthetics: truth in prestigious collections in France chained by Love painting; the poetry of painting; art as (notably the Musée du Louvre, Paris, the 1763, Oil on canvas magic. The selection includes works Château de Versailles and the Palais des 58.4 x 46 cm 2 that Diderot either admired or disliked Beaux-Arts, Lille), other European Los Angeles County Museum and features some of the greatest artists countries (the Alte Pinakothek, Munich, of Art (LACMA), Los Angeles of the 18th century, including Chardin, the Boijmans-Van Beuningen Museum, 4 Boucher, Vernet, Falconet, Greuze, Rotterdam, the Walker Art Gallery, Joseph Marie Vien Robert, Houdon and David. Liverpool and the Princely Collections, Love Fleeing Slavery The event has been developed in Lichtenstein) and North America (the 17891763, Oil on canvas partnership with the Musée Fabre, County Museum of Art and Getty 130 x 160 cm Montpellier, which has a particularly Museum, Los Angeles and the National Musée des Augustins, fine collection of painting and sculpture Gallery of Canada, Ottawa). Toulouse from the second half of the 18th century and will be the exhibition’s initial host 3 from 5 October 2013–12 January 2014.

www.fondation-hermitage.ch International 07.02.2014 > 01.06.2014 Art Exhibitions 2014

Opposite page Esprit Montmartre Louis Anquetin Femme à la voilette Bohemian Life in Paris 1891, Oil on canvas 81 x 55 cm 1 around 1900 © Private collection, Courtesy of D Nisinson Schirn KunsthalleSchirn Frankfurt Montmartre – a notorious district in 1 Paris’s 18th arrondissement held special Théophile Steinlen appeal for a number of the most Le 14 juillet well-known modern artists. Having 1895, Oil on canvas preserved its original rural flair, it 38 x 46 cm represented a counter-world to the © Association des amis du mundane Paris of the ‘belle époque.’ Petit Palais Genève Schirn has set out to convey a sense of 2 the special Montmartre atmosphere. Pablo Picasso More than 200 works by Henri de Nu aux bas rouges Toulouse-Lautrec, Vincent van Gogh, 1901, Oil on canvas Pablo Picasso, Edgar Degas, Suzanne 66.5 x 52 cm Valadon and others will lure visitors into Musée des Beaux-Arts, Lyon the milieu of the Parisian ‘bohème’ bpk | RMN - Grand Palais | around the turn of the century. 23 Thierry Le Mage 3 Historical photographs and numerous poor bohemians on the fringe of society. Henri de Toulouse-Lautrec posters and prints will shed light on one Their striking portraits of outsiders, La Clownesse assise, of the most colourful chapters in the thieves, beggars, prostitutes, street Mademoiselle Ch-U-Ka-O history of art. Artists recorded the reality artists and drinkers mirrored their new 1896, Lithograph of everyday life there. They were people perception of themselves. The show will 51.5 x 39.4 cm who had consciously chosen to dis- investigate the sociological circum- © Collection J P Gimbergues sociate themselves outwardly from the stances of the period in question and its 4 4 bourgeoisie by embarking on lives as new definition of the role of the artist. Marie Laurencin Apollinaire et ses amis 1915, Oil on canvas 130 x 194 cm Centre Pompidou, Paris Musée national d´art moderne/ Centre de création industrielle bpk | CNAC-MNAM | Jean-Claude Planchet 5 Ramon Casas Le Bohème, Poète de Montmartre (Portrait d’Erik Satie) 1891, Oil on canvas 198.8 x 99.7 cm Courtesy Northwestern University Library 6 Exhibition view 56

www.schirn-kunthalle.de International 07.02.2014 > 11.05.2014 Art Exhibitions 2014

Opposite page Henri Matisse From Matisse Interior of Studio c1903-04, Oil on canvas to the Blue Rider 55 x 46 cm 1 EXPRESSIONISM IN GERMANY AND FRANCE Tate, bequest Lord Amulree, 1984 © Succession H Matisse, Paris / Kunsthaus Zürich Schmidt-Rottluff, Kirchner, Pechstein 2013 ProLitteris, Zürich and others come face to face with more 1 than 100 works by Cézanne, Gauguin, Paul Cézanne Matisse and Delaunay to correct the Large Apples widespread view that Expressionism c1891-92, Oil on canvas was a uniquely German invention. 44.8 x 58.7 cm Today, ‘Expressionism’ is commonly The Metropolitan Museum of Art, viewed as a German movement – yet in New York, bequest of Stephen fact it originally emerged at the start of C Clark, 1960 the 20th century from the enthusiastic 2 engagement of German artists with Erich Heckel Classical Modernism in France, even as Mädchen mit Puppe contemporary French art had already 1910, Oil on canvas established a presence in Germany. 65 x 70 cm ‘Van Gogh struck modern art like a bolt Serge Sabarsky Collection, of lightning,’ was how one German Courtesy Neue Galerie New York observer of the scene described the © Estate Erick Heckel / 2013 painter’s impact on German artists – ProLitteris, Zürich at a time when they were receptive to 3 the art of Seurat, Signac and the Post- Robert Delaunay Impressionists, followed by Cézanne, The Windows of the Town: Gauguin and Matisse. 2 First Part, First Simultaneous Contrasts 1912, Oil on canvas 53 x 207 cm Museum Folkwang, Essen 4 Kees van Dongen Modjesko, soprano singer 3 1908, Oil on canvas 100 x 81.3 cm The response by the artists of ‘Die Brücke’ The Museum of Modern Art, and ‘Der Blaue Reiter’ (Blue Rider) to New York, French Post-Impressionism and the gift of Mr & Mrs Peter A Rübel, 1955 ‘Fauves’ was an explosion of colour. © Kees van Dongen Estate / 2013 Collectors in Germany eagerly acquired ProLitteris Zurich and exhibited French art, while museum 5 directors with an eye to the future were 5 Ernst Ludwig Kirchner purchasing it for their own collections. Dodo at the Table It presents the ﬁndings of recent (Interior with Dodo) This exhibition demonstrates that research into the 107 masterpieces by 1909, Oil on canvas Expressionism is a movement shaped 38 artists on display, documenting a 120.5 x 90 cm by the spirit of cosmopolitanism and history of reception that has hitherto Kirchner Museum Davos, productive international exchange. 4 been little studied by scholars. Rosemarie Ketterer Foundation www.kunsthaus.ch International 15.02.2014 > 11.05.2014 Art Exhibitions 2014

All works Modern Nature © Georgia O’Keeffe Museum/Artists Rights Society 1 Georgia O’Keeffe & Lake George (ARS), New York de YoungMuseum Opposite page Autumn Leaves 1924, Oil on canvas 57.4 x 46.4 cm Columbus Museum of Art, Ohio. Museum Purchase, Howald Fund II, 1981.006 1 Lake George 2 (formerly Reflection Seascape) 1922, Oil on canvas 46 x 62.4 cm San Francisco Museum of Modern Art, Gift of Charlotte Mack 2 San Francisco Lake George Barns 1926, Oil on canvas 53.8 x 81.4 cm 3 5 Collection Walker Art Center, Minneapolis. Gift of the T B Despite the fact that the Lake George that included landscapes, flowers, fruit, Walker Foundation, 1954 work was critical to Georgia O’Keeffe’s trees, leaves, and architecture. Lake 3 development of her signature style of George served as a rural retreat for the Starlight Night, Lake George modernism and abstraction, this is the artist, providing the basic material for 1922, Oil on canvas first major exhibition and publication her art, which in turn evoked the spirit 40.6 x 61 cm devoted to this period in her career. of place that was essential to O’Keeffe’s Private Collection During this highly productive decade, modern approach to the natural world. 4 Georgia O’Keeffe created more than The exhibition will explore the full range Petunias 4 200 paintings on canvas and paper as of work she produced – including mag- 1925, Oil on board well as sketches and pastels, making nified botanical compositions inspired 45.7 x 76.2 cm Organised by the Hyde Collection, in the Lake George years among the most by the flowers and vegetables that she Fine Arts Museums of San association with the Georgia O’Keeffe prolific and transformative of her seven- grew in her garden; telescopic views Francisco, Museum purchase, Museum, the exhibition examines the decade career. The exhibition will of a single leaf or pairs of overlapping Gift of the M H de Young Family, extraordinary body of work created by include 55 of these works, drawn from leaves that are based on the variety of 1990.55 the artist at Lake George, New York. public and private collections. trees that grew around Lake George; 5 architectural subjects, including Apple Family II From 1918 until the early 1930s, Georgia On the shores of Lake George, O’Keeffe abstracted paintings of the weathered 1920, Oil on canvas O’Keeffe lived for part of the year at found a place to concentrate on her barns and buildings on the Stieglitz 20.6 x 25.7 cm Alfred Stieglitz’s 36-acre family property work without the distractions of her life property; and panoramic landscape Georgia O’Keeffe Museum. situated just north of Lake George in New York City. Working in her humble views of the lake and surrounding hills Gift of the Burnett Foundation Village, along the western shore of a studio, nicknamed the ‘shanty’, she that influenced her subsequent work and The Georgia O’Keeffe glacial lake in the Adirondack Mountains. reveled in the discovery of new subjects in New Mexico. Foundation

www.deyoung.famsf.org International 15.02.2014 > 15.06.2014 Art Exhibitions 2014

Stanley Spencer Heaven in a Hell of War

Pallant House Gallery Pallant House Gallery Sir Stanley Spencer (1891‐1959) is one of the most important English painters of the 20th century. He is best‐known for his paintings which elevate ordinary village life to epic, sometimes Biblical grandeur. His most famous large‐scale work is the cycle of murals at Sandham Memorial Chapel in the village of Burghclere, Hampshire, based on his experiences during the First World War, which has drawn such praise as ‘Britain’s answer to the Sistine Chapel’.

This major new exhibition, timed to mark the centenary of the First World War, temporarily relocates the paintings to Pallant House Gallery while the chapel undergoes conservation work, offering a unique opportunity to see the paintings at eye level in a gallery Chichester setting alongside related studies and drawings. 1

Opposite page Map Reading 1927-32, 213.5 x 185.5 cm 1 Bedmaking 1927-32, 105.5 x 185.5 cm 2 Tea in the Hospital Ward 1927-32, 105.5 x 185.5 cm

2 5

www.pallant.org.uk International 16.02.2014 > 06.06.2014 Art Exhibitions 2014

Alma-Tadema and the British Painters

1 of the 19th Century

Chiostro del Bramante It is neither a coincidence not Opposite page insignificant that Oscar Wilde should John William Godward have first won fame and popularity Classical Beauty by holding lectures on the Aesthetic 1908, Oil on canvas Movement in bigoted Victorian 51 x 40.9 cm London. The more the nobility with- 1 drew to manor houses crammed with John William Waterhouse Canalettos, the more the newly rich Song of Spring middle classes of what was becoming 1913, Oil on canvas the world’s leading power rushed to 71.5 x 92.4 cm buy the work of painters like Sir 2 Lawrence Alma-Tadema, Edward John William Godward Burne-Jones, John William Godward, Absence Makes The Heart Arthur Hughes and Albert Moore and Grow Fonder furnished their houses in accordance 1912, Oil on canvas with the dictates of the new taste. In 130.5 x 80 cm short, they set out to blaze their own 3 trail and forge an identity free from the Edward Poynter cobwebs of Queen Victoria’s puritanical Andromeda Great Britain. 23 1869, Oil on canvas

Rome 51.3 x 35.7 cm Time’s pendulum then swung one way Now it has swung back, however, to Pérez Simón and the renowned English 4 and these works were consigned by art redress the balance and what was once composer of musicals Sir Andrew Lloyd Lawrence Alma-Tadema and the world to the scrapheap and despised and discarded has found new Webber. The Pérez Simón Collection is Vain Courtship oblivion, the frames prized more than champions and admirers, including the the source of the fifty magnificent works 1900, Oil on canvas the paintings themselves. Mexican patron of the arts Juan Antonio to be seen in the Chiostro del Bramante. 76.6 x 41 cm 5 Lawrence Alma-Tadema Unwelcome Confidences 1895, Oil on wood 45.7 x 28.7 cm 70.5 x 54.8 x 11.3 cm 6 William Clarke Wontner The Dancing Girl 1903, Oil on canvas 135.5 x 100.3 cm

All works Pérez Simón Collection, 456 Mexico