2015 International 02.10.2015 > 21.11.2015 Art Exhibitions 2015

International 05 Art Exhibitions 2015 International 02.10.2015 > 21.11.2015 Art Exhibitions 2015

Eleanor Macnair Opposite page Original photograph Photographs rendered in Portrait with Blue Hair, 2013 by Daniel Gordon 1 Play-Doh rendered in Play-Doh 1 Atlas London Gallery This ‘project’ will be exhibited for the Original photograph ﬁrst time this autumn at Atlas Gallery. Aerial Suspension detail, The photographs reproduced in this 2009 from the series exhibition range from the well-known conjurations by Clare Strand and iconic to lesser-known images by rendered in Play-Doh contemporary photographers. 2 The ‘project’ was started by Macnair on Original photograph a whim in August 2013 with no expecta- Woman, 1971 by Akira Sato tion of reaching a wide audience. The rendered in Play-Doh images are produced late at night using Play-Doh, a chopping board, a highball glass as a rolling pin and a blunt Ikea knife. Each photograph takes 1-2 hours to reproduce, paring the image down to just form and colour, before being shot the next morning then disassembled back into the Play-Doh pots. The works themselves no longer exist and the Play-Doh is reused for future renderings, so these photographs are all that remain.

The project was shared on both tumblr and instagram and now reaches a wide audience – a testament to the democracy of the internet. 2 5 3 Although there is a strong following Original photograph amongst professional photographers Young Boy, Gondeville, and curators, the project has been Charente, France, 1951 by viewed by thousands of people all over Paul Strand the world who aren’t involved in photo- rendered in Play-Doh graphy as far aﬁeld as Kazakhstan, 4 Congo, Mongolia and Bolivia. In the Original photograph modern world we can view hundreds of Jack Crowley with dove, images a day on phones, computers, Munich, 1969 by Will McBride through adverts, on billboards and in 4 rendered in Play-Doh newspapers. The objective of ‘Photo- 5 graphs Rendered in Play-Doh’ was only I take this a step further and pare them Original photograph ever to encourage viewers to slow down to almost nothing, just form and Leonard (Red) Jackson, down and re-engage with familiar colour. They are what they are. It’s my Harlem, 1948 by Gordon photographs and discover new ones. strange tribute to photography’. The Parks ‘On the surface, photographs can con- project has been featured in BBC online, rendered in Play-Doh dense complex ideas and present them The Observer Magazine, Hufﬁngton 3 in a straightforward visual language. Post and Design Week amongst others. All images © Eleanor Macnair

www.atlasgallery.com International 03.10.2015 > 10.01.2016 Art Exhibitions 2014

Opposite page V S Gaitonde Untitled 1977, Oil on canvas Painting as Process 177.8 x 101.6 cm Taj Mahal Palace Hotel, 1 Painting as Life Mumbai

Peggy Guggenheim Collection The retrospective will comprise over The artist spent months conceiving a forty major paintings and works on new work but allowed for accident and paper drawn from thirty leading public play to ultimately inform the final result. institutions and private collections Never prolific, he is known to have across Asia, Europe and the United made only five or six paintings a year. States, forming the most comprehensive overview of Gaitonde’s work to date. Achieving silence was essential in his The exhibition will reveal Gaitonde’s creative process. He equated the circle, extraordinary use of colour, line, form, which appears in several of his canvases, and texture, as well as symbolic with silence, speech with the splitting of elements and calligraphy, in works that the circle in half, and Zen with a dot: 5 seem to glow with an inner light. ‘Everything starts from silence. 1 Gaitonde employed palette knives and The silence of the brush. The silence V S Gaitonde painting in paint rollers and often used torn pieces of the canvas. The silence of the his studio at the Chelsea of newspaper and magazines to create painting knife. The painter starts by Hotel, New York abstract forms through a ‘lift-off’ absorbing all these silences. You are January, 1965 2 technique. The resulting paintings have not partial in the sense that no one 2 a sense of weightlessness, yet their tex- part of you is working there. Your Untitled First presented at the Solomon R ture assures physicality and presence. entire being is. Your entire being is 1995, Oil on canvas Guggenheim Museum in New York in His work spans the traditions of non- working together with the brush, 152.4 x 101.6 cm 2014, the V S Gaitonde (1924-2001) objective painting and Zen Buddhism the painting knife, the canvas to Courtesy Pundole Family exhibition has now come to the Peggy as well as Indian miniatures and East absorb that silence and create.’ Collection and Khorshed Guggenheim Collection in Venice. Asian hanging scrolls and ink paintings. V S Gaitonde (1991) and Dadiba Pundole 3 Untitled 1963, Oil on canvas 182.9 x 106.7 cm Venice Private collection 4 Untitled 1962, Ink and watercolour on paper 55.9 x 76.2 cm Collection of Kiran Nadar, New Delhi 5 Untitled 1954, Oil on paper 27.9 x 30.5 cm Private collection, San Francisco

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www.guggenheim-venice.it International 04.10.2015 > 18.01.2016 Art Exhibitions 2015

New Objectivity Modern German Art in 1 the Weimar Republic 1919-1933

Los Angeles County Museum of Art Germany’s Weimar Republic, which Opposite page came into being between the end of Heinrich Maria World War I and the Nazi rise to power, Davringhausen was a thriving laboratory of art and The Profiteer culture. As the country experienced 1920-21, Oil on canvas unprecedented and often tumultuous 120 x 120 cm social, economic, and political upheaval, Stiftung Museum Kunstpalast, many artists rejected Expressionism in Düsseldorf favour of a new realism to capture this 1 emerging society. Dubbed ‘Neue George Grosz Sachlichkeit’, its adherents turned a cold Portrait of Dr Felix J Weil eye on the new Germany: its desperate 1926, Oil on canvas prostitutes, crippled war veterans, and 134.6 x 154.9 cm alienated urban landscapes, but also its Los Angeles County Museum emancipated ‘New Woman’, modern of Art architecture, and mass-produced 2 commodities. This is the first compre- Georg Scholz hensive show in the United States to Self-Portrait in front of explore the themes that characterise an Advertising Column the dominant artistic trends of the 1926, Oil on pasteboard Weimar Republic. 2 60 x 77.8 cm Staatliche Kunsthalle, Karlsruhe Featuring nearly 200 paintings, photo- Also included are lesser known artists, Situated between the end of World 3 graphs, drawings, and prints by more including Herbert Ploberger, Hans War I and the Nazi assumption of power, Otto Dix than 50 artists, many of whom are little Finsler, Georg Schrimpf, Heinrich Maria Germany’s first democracy thrived as a Portait of the Lawyer known in the United States. Key figures Davringhausen, Carl Grossberg, and laboratory for widespread cultural Hugo Simons like Otto Dix, George Grosz, Christian Aenne Biermann. Special attention is achievement, witnessing the end of 1925, Tempera and oil on Schad, August Sander, and Max devoted to the juxtaposition of painting Expressionism, the exuberant anti-art plywood Beckmann – whose heterogeneous and photography, offering the opportu- activities of the Dadaists, the establish- 100.3 × 70.3 cm careers are essential to understanding nity to examine the similarities and ment of the Bauhaus design school, and Museum of Fine Arts, Montreal 20th century German modernism. differences between the diverse media. the emergence of a new realism. 4 Christian Schad (LACMA) Half Nude 1929, Oil on canvas 55.5 x 53.5 cm Von der Heydt-Museum, Wuppertal 5 Karl Völker Picture of Industry c1924, Oil on canvas 93 x 93 cm Kunstmuseum Moritzburg, 3 45 Halle (Saale)

www.lacma.org International 07.10.2015 > 24.01.2016 Art Exhibitions 2015

Opposite page Masterworks in Dialogue Sandro Botticelli Idealised Portrait of a Lady Eminent Guests for the Städel c1480-85 Städel Museum, Frankfurt Museum’s 200th Anniversary 1 Jan van Eyck Städel Museum Frankfurt-am-Main The Städel Museum will host sixty-ﬁve Works by artists such as Jan van Eyck, Annunciation masterpieces from the world’s most Fra Angelico, Johannes Vermeer or c1434-36 renowned museums (Albertina, Museo Nicolas Poussin bear close relationships National Gallery of Art, Thyssen-Bornemisza, Victoria & Albert to works from the Städel’s Old Masters Washington Museum, Musée d’Orsay, National collection. Masterworks by Edgar Degas, Gallery of Ireland, Mauritshuis, Tate, Max Liebermann, Pablo Picasso and Vatican Museums, National Gallery of Franz Marc will sojourn in the Modern Art, Washington) together with selected Art collection, and examples by Martin works from its own collection. The out- Kippenberger, Georg Baselitz, Thomas standing Städel works will represent a Struth, Daniel Richter and Corinne cross-section of the museum’s history Wasmuht will await discovery in the while at the same time offering insights collection of Contemporary Art. into a collection that has evolved over The Department of Prints and Drawings twohundred years. Companions from will present opera magna by Adam far and wide will join them in temporary Elsheimer, Edgar Degas, Rembrandt partnerships and long-awaited unions. Harmensz van Rijn, Ernst Ludwig The show will be the ﬁrst ever to spread Kirchner and Max Beckmann side by throughout all the galleries of the side with Städel treasures, thus forming 1 Städel Museum’s collections. the thematic pairs and groups. 5

2 Johann Heinrich Wilhelm Tischbein Goethe in the Roman Campagna 1787 Städel Museum, Frankfurt 3 Jan van Eyck Lucca Madonna 1437 2 Städel Museum, Frankfurt 4 Andy Warhol Johann Wolfgang von Goethe 1982 Städel Museum, Frankfurt On loan from Commerzbank AG 5 Dante Gabriel Rossetti Fazio’s Mistress (Aurelia) 1863, revised by the artist in 1873 34 Tate, London

www.staedelmuseum.de International 09.10.2015 > 06.01.2016 Art Exhibitions 2015

Alberto Burri 1 The Trauma of Painting

Solomon R Guggenheim Museum Solomon Alberto Burri (1915-1995), a pivotal ﬁgure Opposite page in the history of 20th-century art, Sacco e oro (Sack and Gold) established his career in Rome and New 1953, Burlap, thread, acrylic, gold York in the early 1950s. He developed a leaf and PVA on black fabric new art of assemblage at a time when 102.9 x 89.4 cm the gestural painting of American Private collection, courtesy Abstract Expressionism and European Galleria dello Scudo, Verona Art Informel prevailed. Burri created 1 surfaces and supports out of humble Rosso plastica (Red Plastic) and prefabricated materials. In the 1961, Plastic (PVC), acrylic, and immediate postwar years he worked combustion on plastic (PE) with tar, ground pumice stone, and and black fabric cast-off linens and burlap sacks; as Italy 142 x 153 cm entered the economic boom of the Modern Art Foundation 1950s he turned to wood veneer, cold- 2 rolled steel, and plastic sheeting straight Grande ferro M 4 from the factory. Burri made his ‘un- (Large Iron M 4) painted paintings’ by tearing, stitching, 1959, Welded iron sheet metal welding, melting, and burning. In their and tacks on wood framework, large scale and affective power, these 199.8 x 189.9 cm artworks are distinct from earlier Solomon R Guggenheim modernist collage. Unlike later assem- Museum, New York 60.1572 blages with found objects, they neither 3 celebrate nor critique mass culture. Ferro SP (Iron SP) Instead, his materials and process based 1961, Welded iron sheet metal, oil art anticipated currents of the 1960s and tacks on wood framework such as Arte Povera & Post-Minimalism. 2 130 x 200 cm Galleria nazionale d’arte moderna e contemporanea, Rome 4

New York Combustione legno (Wood Combustion) 1957, Wood veneer, paper, combustion, acrylic, and Vinavil on canvas 149.5 x 99 cm Private collection, courtesy Galleria dello Scudo, Verona

All works © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2015 Artist Rights Society 3 4 (ARS), New York/SIAE, Rome

www.guggenheim.org International 09.10.2015 > 13.03.2016 Art Exhibitions 2015

Opposite page Hampstead Road High Summer 2010 Private collection 1 Frank Auerbach Courtesy Marlborough Fine Art

Tate Britain Frank Auerbach was born in Berlin in 1931. In 1939, his parents sent him to England. Left behind in Germany, Auerbach's parents later died in a concentration camp in 1942. He became a naturalised British citizen in 1947.

He is an artist who has made some of the most vibrant, alive and inventive paintings of recent times. Often com- pared to Francis Bacon and Lucian Freud London in terms of the revolutionary and powerful nature of his work, his depic- 5 tions of people and the urban landscapes near his London studio show 1 him to be one of the greatest painters Mornington Crescent alive today. 1965 Private collection Tate Britain’s exhibition, featuring Courtesy of Eykyn Maclean, LP paintings and drawings from the 1950s Courtesy Marlborough Fine Art to the present day, offers fascinating 2 new insights into his work. The artist Head of William Feaver suggested the selection of the ﬁrst six 2003 galleries. The depth, texture and sense Collection of Gina & Stuart of space in a painting by Auerbach Peterson makes standing in front of one a unique Courtesy Marlborough Fine Art and unforgettable experience. 2 3 Self-Portrait For half a century he has lived and 1958, Charcoal and chalk on worked in the same part of London, in paper Camden Town, one of the major 76.8 x 56.5 cm subjects of his work. ‘What I wanted to Courtesy of Daniel Katz Gallery, do was to record the life that seemed to London me to be passionate and exciting and 4 disappearing all the time.’ Head of E.O.W 1959-60, Charcoal, paper and Painting 365 days a year, he has contin- watercolour on paper ued discarding what he does, scraping Tate back the surface of the canvas to start 5 and re-start the painting process daily, Head of J.Y.M ll continuing afresh for months or years 1984-85, Oil on canvas until the single painting is realised in a Private collection matter of hours, having ﬁnally surprised 3 4 him, seeming true and robust. All works © Frank Auerbach

www.tate.org.uk International 10.10.2015 > 17.01.2016 Art Exhibitions 2015

1 Pieter Bruegel Bauer und Vogeldieb Uncovering Everyday Life 1568, Panel 59.3 x 68.3 cm Kunsthistorisches Museum, 1 From Bosch to Bruegel Vienna

Museum Boijmans Van Rotterdam Beuningen The three generations of artists beginning with Hieronymus Bosch and ending with Pieter Bruegel the Elder brought about a veritable artistic revolution. This major exhibition presents paintings and prints that make a mockery of respectability. This is the first exhibition ever devoted to masterpieces of genre painting from the 16th century. Welcome to a world of lecherous pensioners, randy monks, vomiting peasants, penniless beggars, fraudulent dentists, avaricious tax collectors and fools. The exhibition brings together ‘politically incorrect’ paintings and prints of the highest standard. About forty 16th-century paintings and a similar number of prints will be on loan from important museums and private collections. 2 2 Pieter Aertsen The Pancake Bakery 1560, Panel 87 x 169.3 cm Museum Boijmans Van Beuningen, Rotterdam 3 Pieter Bruegel The Three Soldiers 1568, Panel 20.3 x 17.8 cm 3 The Frick Collection, New York 4 Meester van de vrouwelijke halffiguren Drei Musizierende Damen c1500-50, Panel 40 x 33 cm Schloss Rohrau Collection , Rohrau 5 5 Jan Sanders van Hemessen The Surgeon Marinus van Reymerswaele The show is devoted to 16th-century In addition to paintings and prints, the c1550, Panel 100 x 141 cm The Lawyer’s Office genre scenes, thus departing from the exhibition will include manuscripts and Museo Nacional del Prado, 1545, Panel 49 x 57 cm 4 traditions of religious art and portraiture. other objects. Madrid New Orleans Museum of Art www.boijmans.nl International 14.10.2015 > 17.01.2016 Art Exhibitions 2015

Opposite page Eye October 1946, Mezzotint The Amazing World of 14.1 x 19.8 cm 1 1 M C Escher Drop (Dewdrop) February 1959, Mezzotint Dulwich Picture Gallery London Gallery Picture Dulwich The imaginative world of Maurits 17.9 x 24.5 cm Cornelis Escher (1898-1972) is a playful 2 and impossible place, his work executed Regular Division of with mathematic precision. the Plane with Reptiles/ Lizards No 56 This will be the ﬁrst major show in the November 1942 UK of work by the great Dutch master 22 x 20.7 cm draughtsman, bringing together works 3 which made him one of the most Bond of Union famous artists of the twentieth century. April 1956, Lithograph The exhibition will include woodcuts, 25.3 x 33.9 cm lithographs, drawings, watercolours and 4 mezzotints, as well as exclusive archive Drawing Hands material. 1948, Lithograph 28.2 x 33.2 cm In 1918, Escher set out on a career as an architect, studying at the School of Architecture and Decorative Arts in Haarlem, Holland. It was here that a teacher spotted his talent as a draughtsman and printmaker, and he was advised to move into the Graphic Arts department. His career as a printmaker dates from this moment, and in his early prints it is clear that he already had an interest in the peculiarities of perspec- tive and unusual vantage points. 2 6

M C Escher worked during the turn of 5 the century, through two world wars, Hand with Reflecting and alongside signiﬁcant scientiﬁc Sphere (Self-Portait in and mathematic advancements. Spherical Mirror) He continued his career in to the 1960s, January 1935, Lithograph when demand for copies of his prints 31.8 x 21.34 cm reached fever pitch. These decades of 6 development and revolution, as well as Circle Limit III 3 uncertainty, can be seen in Escher’s December 1959, Woodcut, exploration of pattern, space and his Diameter 41.5cm surrealist viewpoints. The exhibition has been organised by the Scottish National Gallery of Modern Art, Edinburgh, and showcases nearly 100 works from the All works from the Collection collection of the Gemeentemuseum Gemeentemuseum Den Haag, 4 5 Den Haag in the Netherlands. The Hague, The Netherlands

www.dulwichpicturegallery.org.uk International 15.10.2015 > 10.01.2016 Art Exhibitions 2015

Opposite page Jenny Saville Red Muse (study) 2012-15, Pastel and charcoal Drawing on watercolour paper A contemporary response to the exhibition ‘Titian to Canaletto: Drawing in Venice’ 214 x 166 cm

Ashmolean Museum Oxford This exhibition offers the opportunity to see 20 new works on paper and canvas by Jenny Saville inspired by the Ashmolean’s exhibition ‘Titian to Canaletto: Drawing in Venice’. The works exhibited here for the ﬁrst time evoke Jenny Saville’s profound engagement with art history. The striking expressive and material qualities of drawings by Venetian artists such as Titian, Tintoretto and Palma Giovane have become catalysts for exploring the nature and power of drawing in thoughtful yet visceral new works on paper and canvas. For British artist Jenny Saville, the marks and traces of painting and drawing are interwoven. She depicts the relationship between the movement and musculature of the human body, and the movement of line and gesture through drawing. Narrow marks allude to the shape of forms, and broader marks to their internal surfaces. Linear drawing and painterly values are fused. 1

‘Drawing has become an important 1 way for me to study movement Ebb & Flow and therefore time, whether it’s 2015, Oil stain, pastel and a wrestling infant in a mother’s charcoal on canvas arms, couples embracing, a fight 174 x 274 or children digging in the sand. 2 It’s this part of Tintoretto and Pastel Bodies Titian that I’ve particularly been 2014, Pastel on paper looking at. These drawings may 152 x 122.5 cm not have the astonishing anatomy 3 and draughtsmanship of Michel- Muse angelo or Leonardo but they 2012-14, Charcoal on canvas represent a moment in Venice 212 x 170.4 cm when the materiality of drawing and expression come to the All works © Jenny Saville surface.’ Courtesy Gagosian Gallery Jenny Saville 3 Private Collection

www.ashmolean.org International 15.10.2015 > 10.01.2016 Art Exhibitions 2015

Opposite page Giovanni Battista Piazzetta Head of a Youth Titian to Canaletto Black and white chalks on brownish paper 1 Drawing in Venice 31.5 x 29.9 cm © Ashmolean Museum, Ashmolean Museum Oxford Venetian art has long been associated Venetian artists used drawing for innova- University of Oxford with brilliant colours and free brush- ting and experimenting, or as a tool for 1 work, but drawing has been written out research and observation; a variety of Bernardo Strozzi of its history. This exhibition highlights drawings were made and admired as Head of a Young Man the significance of drawing as a concept works of art in their own right. Charcoal or oiled crayon with and as a practice in the artistic life of white on faded blue paper Venice. It reveals the variety of purposes 23.8 x 26.2 cm and techniques in drawing from Bellini, © Gabinetto Disegni e Stampe Titian and Tintoretto to Tiepolo and degli Uffizi, Florence Canaletto. 2 Giovanni Battista Tiepolo The intellectual and reflective qualities Head of a Man foreshortened encapsulated in drawing are seen as Red and white chalk on blue irrelevant in the artistic world of Venice. paper The idea that Venetian artists did not 26 x 18.2 cm use or value drawing was articulated in © Ashmolean Museum, 2 Florence, in Giorgio Vasari’s Lives of the 3 University of Oxford Artists of 1568. Vasari’s influential state- 3 Featuring a hundred drawings from ments were repeated and elaborated by The Uffizi in Florence acquired one of Tiziano Vecellio (Titian) the Uffizi, the Ashmolean, and Christ later writers, so that in 1770s London, the greatest collections of drawings in St Jerome against a Lagoon Church, Oxford, this groundbreaking Joshua Reynolds confidently asserted the mid-7th century for Leopoldo de’ Background exhibition is based on new research that artists in Venice did not care about Medici. This not only included master- Pen and brown ink on paper which traces continuities in Venetian drawing with all of its virtues of discrimi- pieces by Titian, Carpaccio, Bassano and 13.6 x 16.7 cm drawing over three centuries, from nation and judgement, and that they Tintoretto, but also high-quality works © Gabinetto Disegni e Stampe around 1500 to the foundation of the went straight to working with brushes by lesser-known artists. Many of these degli Uffizi, Florence first academy of art in Venice in 1750. on canvas. works are included in the exhibition. 4 Jacopo Robusti (Tintoretto) Head of Giuliano de’Medici, after Michelangelo Charcoal and white chalk on faded blue paper 35.7 x 23.8 cm © Christ Church Picture Gallery 5 Giovanni Antonio Canal, (Canaletto) An Island in the Lagoon Pen, brown ink with grey wash over ruled pencil lines on blue paper 20 x 27.9 cm © Ashmolean Museum, University of Oxford 4 5

www.ashmolean.org International 23.10.2015 > 14.02.2016 Art Exhibitions 2015

1 The Poetry of Colour

Staatsgalerie BLUE | YELLOW | RED – Opposite page Parallel Phenomenon: Wassily Kandinsky Sad | Happy | Brutal Improvisation 9 August Macke in a letter to Franz Marc 1910, Oil on canvas (December 1910) 110 x 110 cm Staatsgalerie Stuttgart, Franz Marc responded to his friend Purchased with lottery funds August Macke’s deﬁnition of the three 1 primary colours the same month: Franz Marc ‘Blue is the male principle, stern and The Red Dog spiritual. Yellow the female principle, 1911, Oil on canvas gentle, cheerful and sensual. Red is 50 x 70 cm

Stuttgart matter, brutal and heavy.’ Staatsgalerie Stuttgart 2 These emotional categories – Lyonel Feininger melancholy, cheerfulness, brutality – Norman Village II serve as the point of departure for the 1920, Oil on canvas individual sections of the exhibition, 78 x 98 cm featuring paintings, drawings and prints Staatsgalerie Stuttgart of the Classical Modern period from the Purchased with lottery funds prominent holdings of the museum. 2 © VG Bild-Kunst, Bonn 2015 3 ‘Blue’, as the principle of spiritualization Emil Nolde and abstraction, is represented by the Self-Portrait with Hat artists of the Blauer Reiter in Munich, c1917, Watercolour on raw Franz Marc and Wassily Kandinsky, as white Japanese paper well as a number of their friends such as 21.1 x 17.4 cm August Macke, Heinrich Campendonk, Staatsgalerie Stuttgart, Robert Delaunay, Alexej Jawlensky and Graphische Sammlung, Emil Nolde. © Nolde Stiftung Seebüll 4 ‘Red’, as a symbol of brutality, aggression Robert Delaunay and, by implication, war, unites Max Simultaneous Windows No 2 Beckmann, Otto Dix, George Grosz and 1912, Oil on canvas Paul Klee, who – each in his own way – 32,9 x 26,5 cm struggled to come to terms with the Staatsgalerie Stuttgart, on loan incomprehensible. 3 4 5 Heinrich Campendonk The balancing act between calmness ‘Yellow’ is the concluding satyr play in Farmer and Fisherman and uncertainty from the 1920s onward which several of the artists once again in Landscape is manifest in the artists’ group ‘Die come together – sensual, ironic, 1919, Gouache on ivory paper Blaue Vier’ (The Blue Four), in which extreme to the point of grotesqueness, 41.5 x 47.5 cm Lyonel Feininger, Wassily Kandinsky and and thus defying all abysses and Staatsgalerie Stuttgart, on loan 5 Paul Klee encountered Alexej Jawlensky. adversities with the help of art. © VG Bild-Kunst, Bonn 2015

www.staatsgalerie.de International 24.10.2015 > 31.01.2016 Art Exhibitions 2015

Opposite page Encounters Cat with Mirror II 1986-89, Oil on canvas with Balthus 200 x 170 cm Private collection Scuderie del Quirinale del Quirinale Scuderie Rome is to mark the 15th anniversary of 1 the death of Balthasar Klossowski de The Street Role, known as Balthus (1908-2001), one 1933, Oil on canvas of the most original and enigmatic 195 x 240 cm masters of the 20th century, whose Museum of Modern Art, relationship with Rome was a crucial New York element in the formation of his art. 2 The King of Cats Around 200 works of art, including 1935, Oil on canvas paintings, drawings and photographs, 71 x 48 cm from some of the leading museums and Private collection most prestigious private collections in 3 Europe and the United States, offer a Young Girl Sitting fascinating opportunity to explore 1974, Lead pencil on tracing Balthus’ art in two different venues: at paper the Scuderie del Quirinale with a 40 x 30 cm retrospective built around his best- Private collection known masterpieces; and at the Villa 4 Medici with an exhibition of works The Week of Four Thursdays realized during his stay in Rome. 1 1949, Oil on canvas

| Katherine Sanford Deutsch,

Villa Medici Rome Together, they present an in-depth with a ﬁgurative thought and logical to become such a distinctive feature Collection, Frances Lehman analysis of his working method, his clarity that he inherited from Italian art. of his painting production, especially Loeb Art Center, Vassar College, creative process, his use of models, It is precisely that tradition, supplemen- from the 1930s. After the war, Balthus’ Poughkeepsie his techniques and his recourse to ted by his familiarity with the Italian brushwork became denser while his 5 photography. Dazzled at an early age Magical Realism and Metaphysical iconography, more oriented towards Nude in Profile by the Tuscan Renaissance masters, and movements as well as with German the nude, developed the theme of the 1973-77, Oil on canvas by Piero della Francesca in particular, New Objectivity, that spawned the adolescent girl captured in moments 225 x 200 cm Balthus conceived his compositions enigmatically static quality which was of intimacy or contemplation. Private collection

2 345

www.scuderiequirinale.it International 24.10.2015 > 31.01.2016 Art Exhibitions 2015

Colours of Jazz 1920s Modernism in Montreal 1 The Beaver Hall Group

Montreal Museum of Fine Arts It was one of the most original expres- The exhibition brings together 140 Opposite page sions of pictorial modernism in Canada, works, in addition to more than 50 from Prudence Heward with women asserting themselves as the archives. More than 20 institutions, The Immigrants professional artists for the first time, on among the most prestigious in the 1928, Oil on canvas an equal footing with men. The first country, and close to 50 private collec- 66 x 66 cm aesthetic shock that heralded modern- tors have loaned paintings for the show. Private collection, Toronto ity in the Montreal of the Art Deco era, 1 this hit-em-in-the-eye school was Artists featured in the exhibition Adrien Hébert notable for the vitality of its palette, the include Nora Collyer, Emily Coonan, Saint Catherine Street friendship among its members and the Adrien and Henri Hébert, Prudence 1926, Oil on canvas solidarity among its professional Heward, Randolph S Hewton, Edwin 81.5 x 102.2 cm 2 painters. Holgate, A Y Jackson, John Y Johnstone, Archambault family Mabel Lockerby, Mabel May, Hal Ross 2 This comprehensive examination of the Montreal was alive with the vibrancy of Perrigard, Robert W Pilot, Sarah Randolph S Hewton Beaver Hall Group sheds new light on the jazz years, with its industrial activity Robertson, Anne Savage, Adam Sherriff Carmencita this short-lived group of artists (1920-23) and its bustling port, and these artists Scott, Regina Seiden and Lilias Torrance c1922, Oil on canvas whose production gave ‘new impetus’ affirmed this confidence in a new world Newton, along with André Biéler, Ethel 63.5 x 66 cm to artistic life in Montreal, Quebec and without nostalgia, as seen in Prudence Seath, Kathleen Morris and Albert Private collection Canada between the two wars. Heward’s iconic work, ‘The Immigrants’. Robinson. 3 Lilias Torrance Newton Nude in the Studio 1933, Oil on canvas 203.2 x 91.5 cm A K Prakash Collection Estate of Lilias Torrance Newton © NGC 4 Prudence Heward At the Theatre 1928, Oil on canvas 101.6 x 101.6 cm Montreal Museum of Fine Art, purchase, Horsley and Annie Townsend Bequest

www.mmfa.qc.ca International 24.10.2015 > 21.02.2016 Art Exhibitions 2015

Opposite page Capel-y-ffin 1926-7, Watercolour & gouache David Jones 55 x 37 cm © Amgueddfa Cymru – 1 Visions & Memory National Museum Wales 1 Pallant House Gallery Pallant House Gallery ‘David Jones: Vision and Memory’, Lourdes provides a long overdue reappraisal 1928, Watercolour of one of the 20th century’s most Kettle’s Yard, University of signiﬁcant British artists. David Jones Cambridge (1895-1974) is renowned for the wholly 2 original work that he created across The Garden Enclosed numerous disciplines throughout his 1924, Oil on board life. A draughtsman, engraver, painter, 35.6 x 29.8 cm maker of inscriptions, as well as a © Tate, London 2015 modernist poet revered by peers such 3 as T S Eliot and W H Auden, David Jones Human Being was named by Kenneth Clark as ‘the 1931, Oil on canvas most gifted of all the young British 75 x 60.3 cm painters’ and ‘absolutely unique – Private Collection a remarkable genius’. 4 Portrait of a Maker Over 80 works from public and private 3 1932, Oil on canvas collections trace Jones’ entire artistic 76 x 61 cm output, which ranged from sketches © Amgueddfa Cymru – drawn in the trenches of the Western National Museum Wales Chichester Front, to works made whilst living in nearby Ditchling, a period which is acknowledged as being formative to Jones’ artistic vision and subsequently to some of his ﬁnest creations.

In 1921, Jones converted to Roman Catholicism and moved to Ditchling, Sussex, where he became part of Eric Gill’s Guild of St Joseph & St Dominic. 2 5

It was during his stay with the Guild 5 (1922-24), and whilst under the influence Quia Per Incarnati of Eric Gill and Desmond Chute, that 1945, Opaque watercolour Jones learnt the art of wood engraving, on paper and became one of the most remarkable 22 x 29 cm engravers of the 20th century. Private Collection

The exhibition traces recurring themes All works © Trustees of the in Jones’ work, emphasising his achieve- David Jones Estate ments as an engraver and watercolourist between 1926 & 1932, as well as the ﬁnest of his later mythologies. It will also show- 34 case his remarkable painted inscriptions.

www.pallant.org.uk International 27.10.2015 > 10.01.2016 Art Exhibitions 2015

Audubon to Warhol 1 The Art of American Still-Life

Philadelphia Museum of Art The first survey of American still life in Opposite page three decades, this exhibition offers 130 Roy Lichtenstein oil paintings, watercolours, and works in Still Life with Goldfish other media representing the finest 1974, Oil and Magna on canvas accomplishments in the genre. 203.2 × 152.4 cm Featuring masterpieces by John James Philadelphia Museum of Art, Audubon, the Peale family, William Purchased with the Edith H Bell Michael Harnett, Georgia O’Keeffe, Roy Fund, 1974 Lichtenstein, Andy Warhol, and others, 1 this exhibition explores American still Andy Warhol life from its beginnings in the late 1700s Brillo Boxes to the Pop Art era of the 1960s. Taking a 1964 fresh approach to the subject to reveal Philadelphia Museum of Art the genre’s variety, the exhibition 2 presents four distinct eras of American Raphaelle Peal still life, each defined by a unique Blackberries culture of seeing objects: describing, c1813, Oil on panel indulging, discerning, and animating. 2 18.4 x 26 cm Philadelphia Museum of Art Within these sections, visitors are Raphaelle Peale (1774-1825) to the The genre has a special connection 3 encouraged to explore still life as a trompe l’oeil illusions of William Michael to our region: Philadelphia artists first Georgia O'Keeffe reflection of American identity and Harnett (1848-92), still-lifes provoke the defined American still-life practice and Two Calla Lilies on Pink culture through time. Still life is senses and reward giving time and a remained at its forefront well into the 1928, Oil on canvas generally an art of intimacy, intended closer look. The exhibition employs twentieth century. ‘Audubon to Warhol: 101.6 x 76.2 cm for display in homes and other private theatrical displays and interactive The Art of American Still-Life’ is the first Philadelphia Museum of Art, settings. From the perfect serenity of technologies to encourage substantive, exhibition to explore this distinctive Bequest of Georgia O'Keeffe for tabletop compositions created by personal encounters with the works. aspect of American still-life painting. the Alfred Stieglitz Collection 1987 4 John James Audubon Carolina Parrot from ‘The Birds of America’ c1828 Virginia Museum of Fine Arts, Richmond, Gift of Alma & Harry Coon 5 Rembrandt Peale Rubens Peale with a Geranium 1801, Oil on canvas 71.4 x 61 cm National Gallery of Art, Washington, 345 Patrons' Permanent Fund