2014 International 05.04.2014 > 20.07.2014 Art Exhibitions 2014

International 04 Art Exhibitions 2014 International 05.04.2014 > 20.07.2014 Art Exhibitions 2014

Francis Bacon and Henry Moore

1 Terror & Beauty

Art Gallery of Ontario Gallery Art In Francis Bacon and Henry Moore: Opposite page Terror and Beauty, the Art Gallery of Francis Bacon Ontario brings two giants of 20th Portrait of Isabel Rawsthorne century British art together in a major 1966, Oil on canvas exhibition of sculpture and paintings, 81 x 69 cm featuring over 60 works by the two Tate Modern, London highly influential artists as well as a © Estate of Francis Bacon / number of photographs and drawings SODRAC (2013) dating from the Second World War. 1 Henry Moore Although they were neither friends nor Helmet Head and Shoulders collaborators, painter Francis Bacon 1952, Bronze (1909-1992) and sculptor Henry Moore 19 x 20.5 x 15 cm (1898-1986) were contemporaries who Tate Modern, London shared an obsession with expressing © The Henry Moore Foundation. themes of suffering, struggle and All Rights Reserved, DACS / survival in relation to the human body. 2 SODRAC (2013) 2 Guest curated for the AGO by Dan Adler, Henry Moore associate professor of art history at York Reclining Figure Toronto University, ‘Francis Bacon and Henry 1951, Plaster cast, 228.5 cm (L) Moore: Terror and Beauty’ is the first Art Gallery of Ontario, Toronto Canadian exhibition of Bacon's work. Courtesy Craig Boyko, AGO © The Henry Moore Foundation. The presentation also includes never- All Rights Reserved, DACS / before-seen Moore artworks, from both SODRAC (2013) the AGO collection and elsewhere. 3 Loans for the exhibition have been Francis Bacon secured from several institutions Second Version of Triptych including MoMA, Tate Britain and the 1944, 1988, Oil and alkyds on Museum of Contemporary Art, canvas 3 Chicago. 198 x 147.5 cm (each panel) Tate Modern, London Both artists were focused, in different © Estate of Francis Bacon / ways, on representing the body in SODRAC (2013) various states of contortion, which 4 reflected their experiences of conflict Henry Moore and violence. Drawing on the artists' Falling Warrior own personal experiences and 1956-57, Bronze references, including the London Blitz, 65 x 154 x 85 cm the exhibition examines how Tate Modern, London confinement and angst fostered their © The Henry Moore Foundation. extraordinary creativity and unique All Rights Reserved, DACS / visions. 4 SODRAC (2013)

www.ago.net International 05.04.2014 > 10.08.2014 Art Exhibitions 2014

Sam Fullbrook

1 Delicate Beauty

Queensland Art Gallery Brisbane Gallery Art Queensland One of Australia’s most influential post- Opposite page war painters, Sam Fullbrook (1922-2004) Ernestine Hill was a highly skilled colourist and 1970, Oil on canvas tonalist, often described as a painter’s Gift of the artist, 1972 painter. Admired by the public, critics 1 and artists alike, Fullbrook’s works are Nor’west Monsoon evocative and timeless. 1961 Oil on canvas Purchased 1961 2 Mermaid as Bride 1971, Oil on canvas on panel Gift of the Josephine Ulrick & Win Schubert Foundation for the Arts through the Queensland Art Gallery Foundation 2012 Donated through the Australian Government’s Cultural Gifts Program 3 Poincianas 23 1971, Oil on canvas Purchased 1972 with the assistance of an Australian Government Grant through the Visual Arts Board of the Australia Council 4 Northwest Landscape with Aborigines 1955, Oil on canvas Gift of Mrs Anthea Wieneke, 5 1984 5 The Queensland Art Gallery holds a Mt Cooroy with Bunya significant group of works by the artist Pines and has built on these by borrowing 1966-67, Oil on canvas from public and private collections, Gift of J P Birrell, Lorant Kulley especially local collections, to mount and P Conn, 1967 this exhibition – the first since 1995 to offer a considered perspective on Sam All works Fullbrook’s work. Collection of Queensland Art Gallery, Gallery of Modern Art 4

www.qagoma.qld.gov.au International 11.04.2014 > 08.06.2014 Art Exhibitions 2014

Opposite page Interior wall mural 1 Ella Kruglyanskaya Girls on Break 2014, Acrylic on plywood 1 How To Work Together 2 Zip It

Studio Voltaire Studio Voltaire presents a new 2014, Oil and oil stick on linen commission by Latvian-born, New 213.4 x 167.6 cm York-based Ella Kruglyanskaya, her ﬁrst 3 solo show in a public gallery outside of Fruit Envy (Gatherers) the United States. 2014, Oil and oil stick on linen 213.4 x 167.6 cm Kruglyanskaya’s paintings vigorously 4 play with the female form, female The Conductor sexuality and social interaction. 2014, Oil and oil stick on linen Kruglyanskaya’s cartoon-like characters 198.1 x 152.4 cm are friends and ‘frienemies’ down at the 5 beach, out-and-about, running from a Singing Maids menacing presence: enforced neigh- 2014, Oil and oil stick on linen bours butting against each other in the 213.4 x 167.6 cm London tight space of the stretched canvas. 23 6 Bricklayers 2014, Oil and oil stick on linen 213.4 x 167.6 cm 7 Untitled (Wall Painting I) 2014, Ink on paper 60.5 x 43 cm 8 Prep Drawing for Girls on Break (right) 2014, Ink on paper 313 x 282 cm

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These buxom women anticipate an like paintings running onto the gallery audience, exaggerating both voyeur- walls. The exhibition also includes ism and exhibitionism, confronting multiple preparatory works on paper. cultural tropes with bawdy humour. The façade of the gallery has been taken For her Studio Voltaire commission, over by two of Kruglyanskaya’s ample Ella Kruglyanskaya has worked on a females, leaning seductively on the production residency in the gallery, peaked roof of the building, taking a creating an interior wall-mural and cigarette break whilst their peers are at a series of large-scale oil paintings work inside the gallery. Ella’s use of deft, depicting women engaged in labour ﬂuid brush strokes and an exuberant and work (grooming, brooming and palette make her paintings, and indeed 7 bricklaying), her exuberant and cartoon- her subjects, irresistible forces. 8 www.studiovoltaire.org International 11.04.2014 > 21.06.2014 Art Exhibitions 2014

Opposite page Eileen Agar British Surrealism Angel of Mercy 1934, Plaster with collage Unlocked and watercolour 1 Works from the Sherwin Collection © The Estate of Eileen Agar

Abbot Hall Art Gallery Gallery Abbot Hall Art All works This exhibition comprises key British courtesy of surrealist works from the collection of The Sherwin Dr Jeffrey Sherwin, a GP by profession, Collection, who over more than 25 years built up Leeds, UK the largest collection of British surrealist and The art in the country. What is most remark- Bridgeman able about the collection is the diversity Art Library of styles and imagery. Surrealism has never had a single over-riding visual aesthetic, but has constantly reinven- ted its means of poetic expression. Although unified most strongly as an official movement in Britain in the 1930s and 40s, this show demonstrates that surrealism continues, to infect the work of modern and contemporary artists, from Desmond Morris and Conroy Maddox to Eduardo Paolozzi, John Davies and Damien Hirst.

Kendal, Cumbria The exhibition starts with the earliest British surrealist works from the 1920s and early 30s, showing how the movement’s ideals were already manifesting themselves well before the Interna- tional Surrealist Exhibition of 1936. What with the Spanish Civil War and the outbreak of the Second World War the movement flourished, its imagery becoming more powerful and political. 2 1 Throughout the rest of the twentieth Dr Jeffrey Sherwin century, and continuing into the Photographed at his home twenty-first, the all-pervading influence in Leeds, 2008 of surrealism can be found everywhere. 2 Roland Penrose The last section of the exhibition will be Unsleeping Beauty crammed full of paintings, drawings 1946-47, Oil on canvas and constructions, reflecting Jeffrey 3 Sherwin’s intuitive ‘joined-up writing’ Desmond Morris approach to collecting, and represented There's No Time Like by a whole range of artists, including The Future Desmond Morris, John Welson and 1957, Oil on canvas Anthony Earnshaw. 3 © Desmond Morris

www.abbothall.org.uk International 12.04.2014 > 03.05.2014 Art Exhibitions 2014

Sheila Fell RA FRSA 1 1931-1979 Castlegate House Gallery Castlegate House Gallery

Born in 1931, Sheila Fell grew up in Aspatria, a typical West Cumbrian mining village. Whilst gaining a place at the Carlisle College of Art at 17, within two years she had obtained a place at Saint Martin’s School of Art in London. Here, she befriended Frank Auerbach, amongst others, and went on to teach at the Chelsea School of Art. 3 4

Sheila Fell held her ﬁrst exhibition in the years that followed. This was to be Acclaimed by critics, collectors and her Opposite page 1955, courtesy of Beaux Arts in London. a friendship that lasted until Lowry’s peers, she began exhibiting at the Royal Village under Snow It was from this that she met L S Lowry, death in 1976. Indeed, he assisted her Academy in 1965, being elected an 1957, Oil on canvas

Cockermouth, Cumbria Cockermouth, who purchased a number of paintings ﬁnancially to the tune of £3 per week associate member in 1969, and a fully 91.4 x 71 cm from this exhibition, and many more in for two of her early London years. blown member of the Academy in 1974. 1 Men carrying Corn I Sheila Fell died in 1979, aged just 48. 1964, Oil on canvas It is likely that she only painted some six 50.8 x 61 cm to seven hundred paintings during her 2 life, but what arguably makes them so Women by a Stile powerful is her almost unique ability 1956, Charcoal on paper to convey the emotion inherent in a 55.9 x 76.2 cm landscape; not just the landscape itself, 3 but the impact it has on you. As Lowry Derelict Farm, Yorkshire suggested, Sheila Fell was arguably the 1974, Oil on canvas greatest landscape painter of her age. 76.2 x 101.6 cm 4 Castlegate House Gallery in England’s Farm, Cumberland Lake District has over twenty of Sheila 1979, Oil on canvas Fell’s paintings on show. Her works are 101.6 x 127 cm also to be found in major UK publicand 5 private collections including the Tate Maryport I Gallery, Walker Art Gallery and in the 1965, Oil on canvas 5 Government Art Collection. 101.6 x 127 cm

www.castlegatehouse.co.uk International 13.04.2014 > 31.12.2014 Art Exhibitions 2014

Irving Penn

1 Resonance

Palazzo Grassi Opposite page Black & White Vogue Cover (Jean Patchett) New York, 1950 1 Poppy: Showgirl London, 1968 2 Cuzco Children 2 Cuzco, 1948 3

Venice The exhibition brings together 130 Truman Capote photographs, taken between the end of New York, 1965 the 1940s and the mid-1980s. The show is a collection of 90 platinum prints, 30 gelatin silver prints, 4 colourful dye transfer prints and 17 internegatives, which will be shown to the public for the ﬁrst time. It tackles the themes dear to Irving Penn and which, beyond their apparent diversity, all capture every facet of ephemerality. This is true of the ‘small trades’ series taken in France, England and the USA in the 1950s. 3 5

It is also the case for the portraits of This broad overview of Irving Penn’s 4 celebrities from the world of art, cinema, work puts relatively unknown images Deep Sea Diver (C) and literature taken between 1950 and side-by-side with the most iconic ones, New York, 1951 1980. Exhibited alongside ethnographic thereby revealing the particular ability 5 photographs of the people of Dahomey to synthesize that characterizes this Lion (Front View) and of tribesmen from New Guinea and eminent photographer. Prague, 1986 Morocco, they strongly underline the brevity of human existence, whether In his work, modernity is not necessarily Photos 1, 2, 3, 4 & opposite page afﬂuent or resourceless, famous or in opposition with the past and the way © Condé Nast Publications Inc unknown. The layout of the exhibition he exerts control over every step of the encourages dialogue and connections process, from the studio to the printing Photo 5 between works that differ in subject (to which he dedicates a lot of attention © The Irving Penn Foundation matter and period of time. Still-lifes and unprecedented care), enables the from the late 1970s and the beginning viewer to come nearer to the truth of of the 1980s, composed of cigarette things and people, through a constant ends, fruit dishes, vanitas as well as questioning of the meaning of time, 4 animal skulls are also on show. of life and of its fragility.

www.palazzograssi.it International 17.04.2014 > 07.09.2014 Art Exhibitions 2014

Opposite page The Snail 1953, Gouache on paper, cut Henri Matisse and pasted on paper mounted to canvas Cut-outs Tate 1 Tate Modern London Henri Matisse (1869-1954) is a giant The Horse, the Rider, of modern art. This landmark show and the Clown explores the final chapter in his career 1943-44, Maquette for plate V in which he began ‘carving into colour’ of the illustrated book ‘Jazz’ and his series of spectacular cut-outs (1947) was born. © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / The exhibition represents a once-in-a- Jean-Claude Planchet lifetime chance to see so many of the artist’s works in one place and discover Matisse’s final artistic triumph. In his late sixties, when ill healthprevented him from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium. From snowflowers to dancers, circus scenes and a famous snail, the show presents a dazzling array of 120 works made between 1936 and 1954. Bold, exuberant and often large in scale, the cut-outs have an engaging simplicity coupled with incredible creative sophistication. 2 3 2 The show marks an historic moment, Memory of Oceania 2 when treasures from around the world 1952-53, Gouache on paper, can be seen together. Tate’s ‘The Snail’ is cut and pasted, and charcoal shown alongside its sister work‘Memory on paper mounted on canvas of Oceania’ and ‘Large Composition with 284.4 x 286.4 cm Masks’ 1953 at 10 metres long. A photo- The Museum of Modern Art, graph of Matisse’s studio reveals that New York. these works were initially conceived as a Mrs Simon Guggenheim Fund unified whole, and this is the first time © 2014 Succession H Matisse, they will have been together since they Paris / Artists Rights Society were made. Matisse’s famous series of (ARS), New York Blue Nudes represent the artist’s 3 renewed interest in the figure. Blue Nude (I) London is first to host, before the 1952, Gouache painted paper exhibition travels to New York at the cut-outs on paper on canvas Museum of Modern Art and after which 106.30 x 78.00 cm the works return to galleries and private Foundation Beyeler, Riehen, 1 owners around the world. Basel

www.tate.org.uk International 18.04.2014 > 11.01.2015 Art Exhibitions 2014

Opposite page Face Value Elaine de Kooning Harold Rosenberg Portraiture in the Age 1956, Oil on canvas 203.2 x 149.9 x 2.5 cm of Abstraction National Portrait Gallery, Smithsonian Institution National Portrait Gallery Courtesy Elaine de Kooning Trust 1 Joan Brown Self-Portrait with Fish & Cat 1970, Oil enamel on masonite Stretcher: 243.8 x 121.9 cm Courtesy of George Adams Gallery, New York © Estate of Joan Brown 1 2 Philip Pearlstein After World War II, as American Abstract Al Held & Sylvia Stone Expressionists attained international 1968, Oil on canvas prominence, portraiture, as one critic Image: 167.6 × 182.9 cm expressed it, came ‘to a dead halt.’ Private collection Another declaimed authoritatively that © Philip Pearlstein a progressive artist could no longer 3 paint the figure. In the late 1960s, when Andy Warhol Chuck Close started making his large Portrait of Jamie Wyeth heads, he recalled that ‘the dumbest, with Tan Background most moribund, out-of-date, and shop- 2 1976, Acrylic and screenprint | Smithsonian Washington worn of possible things you could do on canvas was to make a portrait.’ While figurative Against the background of a post-World Frame: 101.6 x 101.6 cm art declined between 1945 and 1975 in War II cultural resurgence in music, Cheekwood Botanical Garden response to this prejudice, a number of poetry, theatre and film – as well as Cold & Museum of Art, Nashville, artists, after fully immersing themselves War paranoia and the growing activism Tennessee in the lessons of abstraction, self- regarding civil rights, the Vietnam War, © 2013 The Andy Warhol consciously and often defiantly took up feminism, and other movements – mid- Foundation for the Visual Arts, the challenge of reinventing portraiture. century artists challenged the stereo- Inc/Artists Rights Society Women and minorities, excluded from type of homogenous American life by (ARS), New York the artistic mainstream but flexing new reassessing the individual. Keenly aware 4 muscles, also invigorated traditions of the disdain for tradition, these artists Willem de Kooning with powerful political or humanistic deliberately chose to explore figurative Marilyn Monroe themes. imagery. While never forming a single 1954, Oil on canvas style or school, their artworks exploited Stretcher: 127 x 76.2 cm the themes of their generation and Neuberger Museum of Art, reinvigorated portraiture as a progres- Purchase College, State sive art form. The enthusiasm for the University of New York; 1976 exhibition of portraits that Warhol Gift of Roy R Neuberger and Jamie Wyeth made of each other © The Willem de Kooning signaled a rebirth in the art world of the Foundation/Artists Rights 5 age-old impulse for human portrayal. 5 Society (ARS), New York

www.npg.si.edu International 18.04.2014 > 17.08.2014 Art Exhibitions 2014

George Grosz 1893-1959 The Big Pastime

Museum Kunstpalast Düsseldorf Opposite page Man is Good from Ecce Homo, sheet XII 1919, Colour offset printing on vellum 36 x 26.3 cm Stiftung Museum Kunst Palast, Graphic Arts Collection, © Estate of George Grosz, Princeton, NJ / VG Bild-Kunst, Bonn 2014 Photo: Horst Kolberg, Artothek 1 Twilight from Ecce Homo, Journal XVI 1922, Color offset printing on vellum 36 x 26.3 cm Stiftung Museum Kunst Palast, 1 2 Graphic Arts Collection, © Estate of George Grosz, Comprising 120 works by George Grosz, Princeton, NJ / VG Bild-Kunst, the collection of prints and drawings of Bonn 2014 Museum Kunstpalast includes a repre- Photo: Horst Kolberg, Artothek sentative cross section of the artist’s 2 oeuvre. On the occasion of the 55th South End anniversary of the artist’s death these 1918, Watercolour, reed pen, works, along with high-calibre loans pen and ink from private holdings, will be presented 46 x 53.5 cm in a solo exhibition. Grosz, who, along- Private collection, Dusseldorf side Otto Dix is one of the most © Estate of George Grosz, important representatives of the ‘New Princeton, NJ / VG Bild-Kunst, Objectivity’ movement, is well-known Bonn 2014 foremost for his socially- critical works Photo: Horst Kolberg, Neuss from the period of the Weimar Republic. 3 With his unmistakable, economical Street during the Day drawing style, he held a mirror up to 1914, pen, ink and crayon the spectator, by expressing strong 48 x 45 cm criticism and exposing truths. Having Private collection, Dusseldorf, received death threats, he ﬁnally © Estate of George Grosz, emigrated to the USA. The exhibition Princeton, NJ / VG Bild-Kunst, concentrates on early works, created Bonn 2014 3 prior to his emigration in 1933. Photo: Horst Kolberg, Neuss

www.smkp.de International 26.04.2014 > 26.08.2014 Art Exhibitions 2014

Oskar Kokoschka

1 Humanist & Rebel

Kunstmuseum Wolfsburg The Kunstmuseum Wolfsburg marks its Opposite page 20th anniversary with a show devoted Girl with Doll to the portraiture of the great modern 1921-22, Oil on canvas artist, Oskar Kokoschka (1886-1980). 91 x 81 cm The exhibition has been organised in Detroit Institute of Arts, USA / collaboration with the Museum The Bridgeman Art Library Boijmans Van Beuningen in Rotterdam. © Fondation Oskar Kokoschka, Vevey / VG Bild-Kunst, Around 55 paintings, 138 works on paper Bonn 2014 and numerous documents demonstrate 1 the evolution of Kokoschka’s artistic Exhibition view talents based on portrait painting. 2 The exhibition will focus in particular The Power of Music on Alma Mahler and Oskar Kokoschka’s 1920, Oil on canvas proximity to music, on his portraits of 100 x 151.5 cm (unframed) children, allegorical women’s portraits, Collection Van Abbemuseum, political allegories, animal pictures and Eindhoven, The Netherlands his self-portraiture in particular. 2 © Fondation Oskar Kokoschka, Vevey / VG Bild-Kunst, The show’s eleven chapters examine The golden thread running through The exhibition presents a unique Bonn 2014 his early Viennese period – works for this exhibition is Oskar Kokoschka’s personal perspective of the twentieth 3 & 4 the Wiener Werkstätten and the Kunst- own person: the people he knew and century and its signiﬁcant events. Double Portrait schau); the Berlin years (1910-16) – the his view of humanity and society. of Carl Georg Heise and collaboration with Herwarth Walden Kokoschka’s portraits of persons and Oskar Kokoschka evolved a style that Hans Mardersteig and his contributions for ‘Der Sturm’; animals embody the essence of his suddenly seen from today’s perspective, 1919, Oil on canvas and his time in Dresden (1916-23). outlook on the world. seems very contemporary. 100.8 x 73.3 cm (Heise) 100.7 x 71.8 cm (Mardersteig) Museum Boijmans Van Beuningen, Rotterdam, © Fondation Oskar Kokoschka, Vevey / VG Bild-Kunst, Bonn 2014 5 Self-Portrait 1917, Oil on canvas 79 x 62 cm Von der Heydt-Museum Collection, Wuppertal © Fondation Oskar Kokoschka, Vevey / 2013, ProLitteris

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www.kunstmuseum-wolfsburg.de International 30.04.2014 > 31.05.2014 Art Exhibitions 2014

Opposite page Footbridge 2012, Casein tempera on panel 61 x 45.7 cm 1 Alan Bray 1 Late in the Day Garvey Garvey | Simon is pleased to present 2014, Casein tempera on panel ‘Alan Bray’, an exhibition highlighting 45.7 x 61 cm the artist’s latest casein tempera land- 2 scape paintings. This will be Bray’s Winter’s False Start seventh solo show in New York and his 2014, Casein tempera on panel ﬁrst with Garvey | Simon Art Access. 50.8 x 61 cm 3 | From small-town, central Maine, Alan First Snow Simon Art AccessSimon Art New York Bray has earned a national reputation 2012, Casein tempera on panel as one of the most poetic and visionary 50.8 x 61 cm contemporary painters of New England. His mystical paintings quietly celebrate the phenomena and intricacy of nature in the ordinary. Particularities of place, such as the branching of trees, the drifting and melting of snow and the meandering ﬂow of water reveal their structures to him. He incorporates elements of memory and dream to achieve interconnectedness between what is seen and what is deeply known. 2 3

The spirit of discovery from Alan Bray’s Alan Bray – I have always found it I try to be there completely and let 4 childhood adventures in the Maine exciting and mysterious to just sit in that place swallow me up in its Cotton Grass woods and the meditative maturity some ordinary place and give my- rhythm, which goes on every hour 2014, Casein tempera on panel he learned from Italian Renaissance self to it for hours. of every day, with or without me. 45.7 x 61 cm masters meld together as fuel and fodder for his quietly peculiar The New Yorker described his work as compositions. After studying at the Art ‘meditations on landscape that are cool, Institute of Boston, and the University elegant, and blessedly devoid of of Southern Maine, Bray traveled to Italy prettiness… [They] evoke nature’s in the early 1970s to study painting at majesty but drain away its wildness, the Villa Schifanola Graduate School suggesting something of the poise and of Fine Arts in Florence. That experience repose of Giotto or Mantegna.’ As a continues to signiﬁcantly inform his naturalist and painter alike, Alan Bray is work to this day. It was in Italy that he interested in what ordinarily goes un- adopted a new medium: casein tempera, observed. ‘I paint what is right around a milk-based tempera paint that has me,’ he says. ‘Occasionally it’s a big virtually no drying time. Necessarily, his subject, but more often it’s a bird’s nest paintings consist of thousands of tiny or a farm pond.’ Bray’s choice of humble brush strokes, built up in layers, out of vistas (a cluster of pines rather than which his vision advances from the coastal Maine seascapes) belies the rich foundation of a mirror-smooth void of and engaging soul found in his paintings, white ground. making them anything but ordinary. 4

www.gsartaccess.com International 01.05.2014 > 31.05.2014 Art Exhibitions 2014

Opposite page François Bard Le Chien 2013, Oil on canvas 1 Contre-Nuit 160 x 160 cm

Bertrand Delacroix Gallery Delacroix Gallery Bertrand Bard’s dynamic canvases depict an While his aesthetic is decidedly modern, 1 impressive array of content, from Bard’s technique dates back to the Campers people, dogs and flowers to cars and classical tradition of layering of oil paint 2014, Oil on canvas urban landscapes. In each one, he puts with visible impasto marks and varnish. 150 x 220.3 cm an unusual and provocative spin on The resulting pieces are incredibly 2 ordinary subjects. He often presents textured, atmospheric and emotionally Homme Assis everyday objects, such as a worn shoe charged. He manages to translate all his 2014, Oil on canvas or tensed hand, as enlarged and unex- emotion into a two dimensional oil 195 x 150 cm pectedly cropped; this effect creates painting; each work an endless exercise 3 extremely realistic and powerful close- of composition, rhythm and struggle. Insider Information ups that resemble stills from a film. 2014, Oil on canvas Bard often begins his artistic process by The role of the contemporary artist 129.5 x 160 cm taking photographs of himself in poses should be to incite people to see inspired by images in the media. In fact, differently. All works 2 many of his paintings are self-portraits. François Bard © Francois Bard, 2014

Bertrand Delacroix Gallery hosts ‘Contre- Nuit’ (Against the Dark), a solo exhibition of new large-scale works by French artist François Bard. Surprising perspectives, bold brushstrokes and unique textures distinguish Bard’s cinematic oil paintings. ‘Contre-Nuit’, Bard’s third solo exhibition at BDG, follows two markedly successful 4

New York and memorable exhibitions: ‘Big Guns’ (2010) and ‘Not Guilty’ (2012).

Born in France in 1959, Bard attended the École Supérieure des Beaux-Arts de Paris and was awarded a two-year residency at the Casa Velázquez in 1988. He taught as a professor at the Ateliers des Beaux- Arts in Paris for 10 years. Bard’s work has been featured at major art fairs, in Miami, Paris, London, Gent and Karlsruhe.

His work hangs in public and private collections around the world, including those of Ralph Lauren, Kit Kemp, Jackye & Curtis Finch, Jr and Arkansas Arts Center.

Bard divides his time between his Paris studio and his home in Burgundy. 3

www.bdgny.com International 01.05.2014 > 14.06.2014 Art Exhibitions 2014

Opposite page (top) Patrick Hughes Here and There 2011, Oil on board construction 1 Studiolospective 52 x 157 x 20 cm

Flowers New York Gallery Flowers Gallery (New York) is pleased Opposite page (middle) to announce ‘Studiolospective’, an A Study of the Studiolo exhibition of new paintings by the 2013, Oil on board construction British surrealist Patrick Hughes. 80 x 260 x 22 cm

Hughes’ painted reliefs bafﬂe his Opposite page (bottom) audience, demonstrating how decep- Mirroroom tive appearances can be. As one walks 2013, Oil on board construction towards the seemingly ﬂat paintings 57.5 x 106 x 22 cm they instead loom out, creating a disorientating, ‘moving’ experience. 1 Love All The assumptions of eye and brain are 2014, Oil on board construction challenged, raising questions about our 30 x 38 x 10 cm perception and the subconscious, on 2 which Hughes has extensively written Just One Palazzo and lectured. Hughes’ witty illusions are 2014, Oil on board construction not meant to confuse us (although they 30 x 39.5 x 11 cm do), but aim to clarify our relation to 3 reality. Instead of describing paradox, Happy Endings we can now experience it interactively. 2 2013, Oil on board construction 29 x 78.5 x 12 cm ‘My pictures seem to move as you move. 4 They come to life when we bring them Pop-Up to life. This is because they are made in 2014, Oil on board construction perspective the wrong way round, in 39,5 x 103.15 x 14 cm reverspective. If you bob down in front of them, it is as if you have gone up, and Images as you walk past to the right it is as if you Courtesy of Flowers Gallery, have gone to the left. I am delighted to London and New York bring together paintings for this exhibition, which move between the centuries.’ 3 Patrick Hughes, London, 2014

The centrepiece of the exhibition is Urbino in 1480. The Urbino Studiolo in ‘A Study of the Studiolo’. A studiolo, was Italy still exists in-situ, while the Gubbio in 15th century Italy, a small, often extra- Studiolo was re-installed in its own vagantly decorated room reserved for room in the Metropolitan Museum of studying, writing, and reading – all of Art in 1996. Having visited both studioli which relate to Hughes himself, an avid several times, Hughes brings the academic. Hughes based his painting on studiolo to life again in his three-dimen- the studiolo of Federico, the Duke of sional reverse perspective context, Montefeltro, who commissioned his almost 600 years after Brunelleschi marquetry studioli in Gubbio and invented perspective in 1420. 4

www.flowersgallery.com International 10.05.2014 > 31.08.2014 Art Exhibitions 2014

Uncannily Real Opposite page Pyke Koch Magic Realism Bertha from Antwerp Gemeentemuseum, 1 and the New Objectivity Den Haag, © Sabam

Koningen Fabiolazaal Antwerp This is the sixth in a series of exhibitions 1 organised in collaboration with and Raoul Hynckes held at the Koningin Fabiolazaal, a Still-Life with Spring venue run by the Province of Antwerp. KMSKA, LukasArt in Flanders, Hugo Maertens, © Sabam 2 Albert Crommelynck Self-Portrait KMSKA, LukasArt in Flanders, Hugo Maertens, © Sabam 3 Carel Willink Landscape with fallen Statue KMSKA, LukasArt in Flanders, Hugo Maertens, © Sabam 4 Paul Delvaux The Pink Bows KMSKA, LukasArt in Flanders, 23 Hugo Maertens, © Sabam

As the 20th century progressed, there were artists who maintained that trueness to nature was the best approach to capturing the beauty of the world. However, a painting consists of shapes and colours on a flat surface. While some artists ventured cautiously along the road towards abstraction, others chose to explore whether the rules of modernism allowed for an element of realism.

This exhibition features over one 5 hundred works by such artists as Gustave Van de Woestyne, Henri van 5 Straten, Georg Grosz, Carel Willink and Gustave Van De Woestyne Pyke Koch. The selection of work from The Liqueur Drinkers the KMSKA collection will be supple- KMSKA, LukasArt in Flanders, mented with loans from Gemeente- Hugo Maertens, © Sabam museum Den Haag, including pieces by Charley Toorop, Gino Severini and 4 Wim Schuhmacher.

www.kmska.be | www.provant.be International 14.05.2014 > 22.09.2014 Art Exhibitions 2014

Opposite page Tue-moi, Yasmina 2008, Oil on canvas Martial Raysse 63 x 48.5 cm Pinault Collection Retrospective 1960-2014 1 Made in Japan – Centre Pompidou Paris La Grande Odalisque 1964, Acrylic paint, glass, fly, synthetic fiber braid, on strengthened photography on canvas 130 x 97 cm Centre Pompidou, musée national d’art moderne donated by la Scaler Foundation 2 Made in Japan in martialcolour, 1964, Collage, photography and painting work in 3-D 123 116 x 89 x 5 cm Private collection The Centre Pompidou is devoting a In the Eighties, he dramatically changed 3 completely new retrospective to Martial his artistic approach and began to Toi, je t’ai à l’oeil Raysse, one of France’s most important rethink painting and sculpture in depth, 2008, Tempera on canvas living artists. The exhibition illustrates tirelessly experimenting right through 81 x 65 cm the rich and varied work of this vision- to his most recent works, some of which Private collection, Milan ary artist’s fascinating and singular have never been exhibited before. 4 career, from his first creations of the Poissons d’avril Sixties to those of the present day. The exhibition, containing more than 2007, Acrylic on canvas 200 works in the form of paintings, 259 x 300 cm Celebrated for the iconic works of his sculptures, films, photographs and Pinault Collection Pop period, Martial Raysse introduced drawings, provides audiences with the 5 numerous innovations during his first-ever overview of fifty years of Ici Plage, comme ici-bas significant artistic career, particularly creation, with iconic works from every 2012, Oil and acrylic on canvas the unprecedented use of neon lighting period in Raysse’s career from the Sixties 300 x 900 cm 4 and film within his paintings. to the present day. Pinault Collection

5 www.centrepompidou.fr International 16.05.2014 > 31.08.2014 Art Exhibitions 2014

Italian Masterpieces from Spain’s Royal Court

1 Museo del Prado

National Gallery of National Gallery Victoria The ﬁnest collection of Italian master- Opposite page pieces produced during the 16th to 18th Raphael centuries ever to come to Australia will Holy Family with Saint feature major works from over 70 Italian John or Madonna of the masters including Raphael, Correggio, Rose Titian, Tintoretto, the Carracci and c.1517, Oil on canvas Tiepolo. The exhibition represents an 103.0 x 84.0 cm unprecedented opportunity in Australia 1 to see extraordinary Italian works of art. Jacopo Ligozzi Works been drawn from one of the (attributed to) world’s most celebrated collections, A Chimera the Museo del Prado, Madrid, and show- c1590-1610, Pen and brown cases over 100 works comprising 70 ink and brush and brown paintings, some measuring over three ink over black chalk, gold metres, alongside more than 30 superb paint and white body drawings – the largest number of Italian colour works the Museo del Prado has ever 32.3 x 42.4 cm loaned to one exhibition. 2 2 Francesco Albani The Judgement of Paris c1650-60, Oil on canvas 113.0 x 171.0 cm 3 Giambattista Tiepolo The Immaculate Melbourne Conception 1767-69, Oil on canvas 281.0 x 155.0 cm 4 Antonio Correggio Touch Me Not c1525, Oil on wood panel transferred to canvas 45 130.0 x 103.0 cm 5 Through this astounding selection of Successive rulers also commissioned Titian masterpieces the public will be able works directly from the artists in Italy Salome with the Head to appreciate the genius of the great or enticed them to Spain to work in the of John the Baptist artists of the Renaissance and Baroque Royal Household. Such is the scale of c1550, Oil on canvas periods and the Spanish crown’s excep- this exhibition that visitors can trace the 87.0 x 80.0 cm tional patronage tradition of Italian art. stylistic develop- ment of Italian art In the 16th century, the Spanish ruler across three centuries drawn from Italy’s Emperor Charles V began a tradition of key cultural centres including Rome, 3 acquiring Italian paintings. Venice and Naples.

www.ngv.vic.gov.au International 18.05.2014 > 07.09.2014 Art Exhibitions 2014

Opposite page Ella 2007, Oil on canvas 40 cm x 31 cm Private collection 1 Gerhard Richter 1 Candle Fondation Beyeler Basel Gerhard Richter was born in Dresden in 1982, Oil on canvas 1932. He now lives and works in Cologne 90 cm x 95 cm and is considered to be the most Collection Institut d’art important artist of our times. In the sixty contemporain, Rhône-Alpes years of his career, he has produced an 2 oeuvre distinguished by the variety of Annunciation after Titian its themes and styles. The show at the 1973, Oil on canvas Fondation Beyeler is the largest ever 125 cm x 200 cm devoted to the artist in Switzerland, Hirshhorn Museum & Sculpture and brings together – for the ﬁrst time – Garden, Smithsonian Institution, works created as series, cycles and Washington DC, Joseph H rooms from every period of Richter’s Hirshhorn Purchase Fund, 1994 career. It includes ﬁgurative portraits, 3 still lifes and landscapes, and abstract Annunciation after Titian paintings in which the artist has drawn 1973, Oil on canvas upon a changing repertoire of shapes 150 cm x 250 cm and colours. 2 Private collection, Switzerland 4 Skull 1983, Oil on canvas 55 cm x 50 cm Loan from a private collection at the Gerhard Richter Archiv, Staatliche Kunstsammlungen Dresden 5 S and Child 1995, Oil on canvas 61 cm x 51 cm Hamburger Kunsthalle, on permanent loan from the Stiftung für die Hamburger 3 4 Kunstsammlungen 6 The exhibition conveys an overview Bach (1) of the spectrum of Gerhard Richter’s 1992, Oil on canvas painting, in all its dimensions and 300 cm x 300 cm techniques. Moderna Museet, Stockholm, Acquisition 1994 with a contribution from Moderna Museets Vänner (The Friends of Moderna Museet)