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International 08 Art Exhibitions 2019 International 15.10.2019 > 09.01.2020 Art Exhibitions 2019 1 Installation view 2 Michelangelo Merisi da Caravaggio 1 Caravaggio & Bernini Madonna of the Rosary c1601-03, Canvas Kunsthistorisches Museum Kunsthistorisches Paintings by Caravaggio, sculptures by 364.5 x 249.5 cm Bernini and other works of central Kunsthistorisches Museum importance to the early Roman Baroque 3 are on view together for the first time Installation view ever at Kunsthistorisches Museum in 4 Vienna. Between 1600-1650, Rome was Artemisia Gentileschi a centre of the arts that attracted many Mary Magdalene in Ecstasy talented artists. It was where new ideas 1620-25, Canvas were developed – instigated by 81 x 105 cm Caravaggio (1571-1610) and continued Private European collection by Bernini (1598-1680) – that went on to 5 influence all of Europe. Caravaggio and Gian Lorenzo Bernini Bernini created images of persons that Cardinal Armand-Jean du were true to life. They depicted bodies Plessis Duc de Richelieu in motion to follow what moved them 1640-41, Carrara marble on the inside, the figures‘ feelings. 83 cm (height including This connection between reality pedestal) and emotion was new and it became Musée du Louvre, Paris, the characteristic of the Baroque era. © Photo RMN-Grand Palais Vienna 2 3 5 Michelangelo Merisi da Caravaggio This exhibition is a dialogue between works from the museum‘s collection. David with the Head of Goliath sculpture and painting. The depiction The paintings and sculptures in the c1600-01, Poplar of human emotions was innovative in show tell the tales of Wonderment & 90.5 x 116 cm Baroque art. ‘Caravaggio & Bernini’ Astonishment, Horror & the Terrifying, Kunsthistorisches Museum addresses these emotions with about Love, Vision, Suffering & Compassion, © KHM-Museumsverband 4 70 loans from across the globe as well as Liveliness, Motion & Action and Jest . www.khm.at International 18.10.2019 > 01.02.2020 Art Exhibitions 2019 Colour & Light The Scottish Colourists Abbot Hall ArtAbbot Gallery 1 4 This exhibition presents the art and Opposite page influence of the Scottish Colourists Francis Campbell Boileau centred on masterpieces from the Cadell renowned Fleming Collection, the The Feathered Hat finest collection of Scottish art outside c1914, Oil on millboard Kendal, Cumbria public museums and institutions. © The Fleming Collection Fifty works are on show, including the 1 disctinctive works by the Scottish George Leslie Hunter Colourists, S J Peploe, J D Fergusson, Sill-Life with Fruit George Leslie Hunter and F C.B Cadell, and Peonies in a Chinese which have been at the heart of the Vase Fleming Collection since its inception c1928, Oil on canvas in 1968.The display features Hunter’s The Fleming-Wyfold Collection masterpiece ‘Still-Life with Fruit and 2 Peonies in a Chinese Vase’, which is one John Duncan Fergusson of the Fleming Collection’s earliest Blue Nude acquisitions. 2 c1909-10, Gouache on paper © The Fleming Collection Other key paintings include Peploe’s Scottish sensibility with a Continental 3 ‘Luxembourg Gardens’, Fergusson’s ‘Blue palette.The quartet’s remarkable Samual John Peploe Nude’ and Cadell’s ‘The Feathered Hat’. trajectory as artists is revealed in the Luxembourg Gardens The exhibition charts the careers of the exhibition, which reinforces their status c1910, Oil on wood panel Scottish Colourists from their early as four of the most talented, innovative The Fleming-Wyfold Collection experiments inspired by Whistler and and distinctive artists in 20th century 4 Manet to the breakthrough impact of British art. In addition, the exhibition Samual John Peploe the Fauves – the ‘wild beasts’ of contem- will feature works from The Fleming Still-Life with Tulips and porary French art - to the mature works Collection which demonstrate the Oranges of the 1920s, which saw a remarkable lasting impact of the Colourists on 1926, Oil on canvas 3 stream of Colourist painting and fused future generations of Scottish artists. © The Fleming Collection www.abbothall.org.uk International 20.10.2019 > 26.01.2020 Art Exhibitions 2019 Opposite page Self-Portrait Andy Warhol 1964 The Art Institute of Chicago: 1 From A to B and Back Again gift of Edlis Neeson Collection The Art Institute of Chicago The This major retrospective – the first to 1 be organised by a US institution in 30 Skull years – builds on the wealth of new 1976 research, scholarship, and perspectives Collection of Larry Gagosian that has emerged since Andy Warhol’s 2 early death at age 58 in 1987. More than Gun 400 works offer a new view of the 1981-82 beloved and iconic American Pop artist, San Francisco Museum of not only illuminating the breadth, Modern Art: gift of Vicki & depth, and interconnectedness of Kent Logan Warhol’s production across the entirety 3 of his career but also highlighting the Debbie Harry ways that he anticipated the issues, 2 1980 effects, and pace of our current digital Collection of Deborah Harry age. Warhol gained fame in the 1960s 4 for his Pop masterpieces, widely known Liz #3 and reproduced works that often (Early Coloured Liz) eclipse his equally significant late work 1963 as well as his crucial beginnings in the The Stefan T Edlis Collection, commercial art world. 2 partial and promised gift to the Art Institute of Chicago 5 Shot Orange Marilyn 1964 Private collection Chicago 6 Self-Portrait 1986 Solomon R Guggenheim Museum, New York: gift of Anne & Anthony d’Offay, in honour of Thomas Krens 3 45 7 Self-Portrait Warhol, with obvious self-deprecation, 1966 described his philosophy as spanning Private collection from A to B. As this show proves, his thinking and artistic production ranged All works well beyond that, but his true genius lies © 2019 The Andy Warhol in his ability to identify cultural patterns Foundation for the Visual Arts, and to use repetition, distortion, and Inc / Artists Rights Society recycled images in a way that challenges (ARS), New York. our faith in images and questions the 67 meaning of our cultural icons. www.artic.edu International 22.10.2019 > 16.02.2020 Art Exhibitions 2019 Opposite page Soulmates Alexej von Jawlensky Portrait of the Dancer Alexej von Jawlensky & Alexander Sakharoff 1909, Oil on cardboard Marianne von Werefkin 69.5 x 66.5 cm Museum Wiesbaden Lenbachhaus Lenbachhaus Alexej von Jawlensky (1864-1941) and 1 Marianne von Werefkin (1860-1938) Alexej von Jawlensky occupy a prominent place in art history Self-Portrait as one of the avant-garde’s pioneering 1912, Oil on cardboard artist couples. They were among the 53.5 x 48.5 cm founders of the Neue Künstlervereinig- Museum Wiesbaden ung München, the artists’ association 2 established in 1909 from which the Blue Alexej von Jawlensky Rider seceded two years later. A leading Turandot I thinker (Werefkin) and source of 1912, Oil on canvas important creative impulses (Jawlensky) 60 x 54 cm in these circles, the two also made art Private collection, on Munich history, individually and as a couple. 12 permanent loan to Zentrum Paul Klee, Bern 3 Marianne von Werefkin Seated Couple in Interior c1907, gouache and coloured pencil on paper 37.3 x 27.7 cm Lenbachhaus, Munich 4 Alexej von Jawlensky Spanish Woman 1913, Oil on cardboard 67 x 48.5 cm Lenbachhaus, Munich 5 Alexej von Jawlensky 3 45 Lady with Fan 1909, Oil on cardboard Together, they made vital contributions The exhibition was jointly conceived 92 x 67 cm to the birth of modernism in the early by the Lenbachhaus, Munich and the Museum Wiesbaden 20th century. Museum Wiesbaden, and organized in 6 close cooperation between the two Marianne von Werefkin Exhibitions surveying the two artists’ museums, the exhibition ‘Soulmates: Self-Portrait groups have illuminated Werefkin’s and Alexej Jawlensky & Marianne Werefkin’ c1910, Tempera and bronze Jawlensky’s roles and their oeuvres have will retrace the two eminent artists’ lacquer on paper on been presented in extensive solo retro- individual creative evolution to pin- cardboard spectives. Yet remarkably, their partner- point the ways in which they inspired 51 x 34 cm ship in life as well as art, which lasted for and influenced each other and illumin- Lenbachhaus, Munich more than a quarter-century, from 1893 ate their careers in the context of the until 1921, has never been the subject of constantly shifting circumstances of Curated by Annegret Hoberg 6 a focused exhibition. their lives. and Roman Zieglgänsberger www.lenbachhaus.de International 25.10.2019 > 16.02.2020 Art Exhibitions 2019 Opposite page Masterpieces Theodor Rehbenitz Portrait of Vittoria Caldoni of the Kunsthalle Bremen 1821, Oil on canvas 47 x 37.5 cm 1 From Delacroix to Beckmann 1 Merry-Joseph Blondel Guggenheim Museum This exhibition reveals the close ties Family Portrait between German art and French art in 1813, Oil on canvas the 19th and the first half of the 20th 39 x 60 cm centuries, two parallel artistic streams 2 that changed the way modern art is Lovis Corinth viewed. Lying Nude 1899, Oil on canvas The Kunsthalle Bremen was founded in 75.5 x 120.5 cm 1849 as a continuation of its forerunner, 3 the Kunstverein, an association founded Max Beckmann in 1823 by art lovers and experts to Self-Portrait with Saxophone improve society’s ‘sense of beauty.’ 1930, Oil on canvas The Kunstverein’s ranks grew quickly 140 x 69.5 cm when it started to hold public exhibi- 4 tions and create its own collection, Eugène Delacroix which gave rise to its museum. 2 Ecce homo c1850, Oil on carboard The exhibition is divided into four Pierre Auguste Renoir, Eva Gonzalès,
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  • Klassisch. Modern. Papier

    Klassisch. Modern. Papier

    Klassisch. Modern. PaPier. danKe | ThanKs inhalT | conTenT Für ihre Unterstützung bei der Arbeit Agapi, Sue Cubitt, Harald Fiebig, Anna und Michael Haas, Silke Hartmann, Regelind Heimann, Karsten Renée Sintenis 1 an diesem Katalog danken wir herzlich Heußmann, Annegret Hoberg, James Hofmaier (†), Jeanine Isin, Heidrun Kaupen-Haas, Christian Lohfink, Franz Marc 2 Ulrich Luckhardt, Mathias von Marcard, Hubertus Melsheimer, Karen Michels, Achim Moeller, Sabine und Lovis Corinth 3 We would like to thank all those Frank C. Möller, Janna Oltmanns, Elke Ostländer, Michael Karl Pfefferle, Gerlinde Römer, Elvira und Josef Lyonel Feininger 4 | 13 | 14 | 16 | 19 | 21 who have made this catalogue possible Rotermund, Kyoko Shimono, Lucia Titgemeyer-Heck, Dorothee und Edwin Vömel, Wolfgang Wittrock, Heinrich Hoerle 5 Christiane Zeiller, den Mitarbeiterinnen und Mitarbeitern des Zentralinstituts für Kunstgeschichte, München. August Macke 6 | 11 Erich Heckel 7 | 8 Ernst Ludwig Kirchner 9 Alle Maße Höhe vor Breite, wobei in der Regel Karl Hofer 10 die Blattgröße angegeben wird. Wenn Papier- und Heinrich Campendonk 12 Darstellungsmaß nicht annähernd gleich sind, Emil Nolde 15 ist die Papiergröße in Klammern ( ) angegeben. Alexej von Jawlensky 17 Paul Klee 18 Measurements are given height by width, Christian Rohlfs 20 the size refers to the sheet. Where that differs Willy Robert Huth 22 | 23 from the image, the dimensions of the sheet Max Kaus 24 follow in parentheses ( ). Hans Uhlmann 25 Werner Gilles 26 Eduard Bargheer 27 Gretel Haas-Gerber 28 04 | 05 renée sinTenis Glatz (Schlesien) 1888 – 1965 Berlin 1 | „Liegendes Fohlen“, um 1935 Renée Sintenis ist eine bemerkenswerte Künstlerpersönlichkeit. Bereits mit 21 Jahren beginnt sie gegen den Willen Tuschfeder über Bleistift, laviert, ihres Vaters ein Studium an der Berliner Kunstgewerbeschule.