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 by Caravaggio, by 364.5 x 249.5 cm Bernini and other works of central Kunsthistorisches Museum importance to the early Roman 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

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Michelangelo Merisi da Caravaggio This exhibition is a dialogue between works from the museum‘s collection. David with the Head of Goliath and . 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 Abbot Hall Art Gallery Gallery Abbot Hall Art

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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 outside c1914, Oil on millboard

Kendal, Cumbria public museums and institutions. © Fifty works are on show, including the 1 disctinctive works by the Scottish George 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 Institute of Chicago Art 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, : 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 Portrait of the Dancer Alexej von Jawlensky & Alexander Sakharoff 1909, Oil on cardboard 69.5 x 66.5 cm Museum 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 , 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 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 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, 32 x 34 cm sections and sub-sections: Vincent van Gogh, Paul Cézanne) 5 Section 1 – France and Section 2 - German Paula Modersohn-Becker

Bilbao (including Merry-Joseph (including Lovis Corinth) Self-Portrait in front of a Blondel, Theodor Rehbenitz) Section 3 – Nabis (including Louis Green Background with Section 1 – Italy, Nature studies and Anquetin) Blue Iris Romanticism (including Johann Section 3 – Worpswede (including 1900-07, Oil on canvas Christoph Erhard, Caspar David Otto Modersohn) 40.7 x 34.5 cm Friedrich) Section 3 - Paula Modersohn-Becker 6 Section 1 – Delacroix and Andrieu Section 4 – (including Section 1 – Barbizon (including Karl Schmidt-Rottluff) Sylvette Camille Corot) Section 4 -Max Beckmann 1954, Oil on canvas Section 2 – Impressionism (incuding Section 4 – Picasso 81 x 65 cm

3 5 456 www.guggenheim-bilbao.eus International 27.10.2019 > 26.01.2020 Art Exhibitions 2019

Opposite page Man’s Head (Self-portrait III) All works by Lucian Freud Lucian Freud 1963, Oil on canvas © The Lucian Freud Archive 30.5 x 25.1 cm Bridgeman Images The Self-Portraits National Portrait Gallery, 1 Royal Academy of Arts More than 50 paintings, prints and Man with a Feather drawings are on display as Lucian Freud 1943, Oil on canvas turns his unflinching eye firmly on him- 76.2 x 50.8 cm self. Freud is one of very few portrait- Private collection ists who portrayed themselves with 2 such consistency. Spanning nearly Self-Portrait (Reflection) seven decades, his self-portraits give a 2002, Oil on canvas fascinating insight into both his psyche 66 x 50.8 cm and his development as a painter – Private collection from his earliest portrait, painted in 1939, 3 to his final one executed 64 years later. Reflection (Self-Portrait) They trace the fascinating evolution 1985, Oil on canvas from the linear graphic works of his 55.9 x 55.3 cm early career to the fleshier, painterly Private collection, on loan to style he became synonymous with. the Irish Museum of Modern Art 7 London

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When seen together, his portraits When asked if he was a good model for 4 represent an engrossing study into the himself Freud replied, ‘No, I don’t accept Hotel Bedroom process of ageing. Confronting his the information that I get when I look at 1954. Oil on canvas self-image anew with each work, he myself, that’s where the trouble starts’. 91.5 x 61 cm depicted himself in youth as the Greek It is precisely this ‘trouble’ that makes The Beaverbrook Foundation, hero Acteon, in sombre reflection later Lucian Freud’s self-portraits so intensely Collection of the Beaverbrook in life and fittingly, for the great painter compelling – and makes this an un- Art Gallery, Fredericton, of 20th century nudes, naked aged 71 missable opportunity to see a life’s work Gift of the Beaverbrook 3 but for a pair of unlaced boots. in one show. Foundation www.royalacademy.org.uk International 09.11.2019 > 23.02.2020 Art Exhibitions 2019

Opposite page Rob van Koningsbruggen Untitled 2017, Oil on canvas 1 Paintings 2003-2019 110 x 80 cm

Kunstmuseum Den Haag Rob van Koningsbruggen was born in the Hague in 1948. He has had a major museum exhibition every decade since the 1970s. The last one – a grand retro- spective – was in 2002, at Kunstmuseum Den Haag. This autumn, in collaboration with the artist, we will be presenting an exhibition covering the period 2003- 2019. Many of the paintings in the show will be on display for the first time. ‘Koningsbruggen occupies a lonely position in the world, as his paintings scale unique heights in terms of their colour and form’, says director Benno Tempel. 7 The Hague

2 3 1 Van Koningsbruggen deliberately Van Koningsbruggen uses colour like no Untitled avoids moral or social issues in his work, other Dutch artist, generally working on 1975-2016, Oil on canvas preferring to focus on the formal several paintings at the same time. 177 x 225 cm aspects: the action of paint in terms of 2 colour and composition. However, in ‘I make a painting, and then I see a shape Untitled 2012, he received a lifetime ban from the emerge’, he says. ‘I transfer the shape 2014-2017, Oil on canvas Stedelijk Museum having threateded to another canvas and continue there. 50 x 50 cm to urinate on major works due to not Then I leave the other painting for six 3 receiving a invitation to the re-opening. months. Sometimes I’m working on ten Untitled paintings at once. They’re patients, you 2017, Oil on canvas ‘Van Koningsbruggen never sets out to know, you have to make them better. 50 x 65 cm create a ‘nice painting’, says Tempel. And then I suddenly have a colour on 4 ‘He likes things that grate. His abstract my brush and I look at the other Untitled paintings have an unprecedented painting and think: yeah. So I play the 2017, Oil on canvas 4 intensity and turbulence about them. paintings off against each other’. 70 x 50 cm

www.kunstmuseum.nl International 13.11.2019 > 16.02.2020 Art Exhibitions 2019

Johannes Grützke 1 Self-Portrait Installation view 1979, Pastel chalks on brown Great 2 packing paper with six indentations made by burning on bottom edge & Great Abstraction Lake Lucerne 100 x 107 cm 1 DRAWINGS FROM MAX BECKMANN TO c1930, Watercolour on Japanese wove paper Städel Museum The Städel Museum’s holdings of 30 x 47 cm 20th-century German drawings, which 3 comprises roughly 1,800 individual works within the Department of Prints Large Head and Drawings, oscillates between 1979, Brush and acrylic paint Realism and Abstraction. A selection of and watercolour, splatters roughly one hundred drawings will be of paint on a cut stencil made presented in a concentrated exhibition, of wove cardboard impressively reflecting the quality of the 98 x 68 cm collection and its historically evolved 4 focal points. Max Beckmann Portrait of Marie Swarzenski The exhibition opens with masterful c1927, Pastel on paper, drawings by Max Beckmann (1884-1950) mounted on cardboard

Frankfurt and (1880-1938), 52 x 36 cm (picture) which also provide comprehensive 57.5 x 47.5 cm (cardboard) insight into the draughtsmanship of the 5 two artists. 2 Ernst Ludwig Kirchner Berlin Street Scene This is followed by works by members of as are watercolours by Paul Klee (1879- in neo- expressionist tendencies and 1914, Pastel chalks and the artist group ‘Die Brücke’, including 1940), whose works oscillate between a , as exemplified by the works of charcoal on laid paper (1883-1970), Karl Schmidt- closeness to the subject and abstraction. Karl Otto Götz (1914-2017), 67.7 x 50.3 cm Rottluff (1884-1976) and Emil Nolde Also in divided Germany during the (1921-1986), Gerhard Richter (born 1932), 6 (1867-1956). Following on from Expres- post-war period, this preoccupation (born 1938), A R Penck Ernst Wilhelm Nay sionism and its abstracting tendencies, with the representa- tional and the non- (1939-2017), Sigmar Polke (1941-2010) My 13 (Mykonos) drawings by Rolf Nesch (1893-1975), representational was characteristic for and Anselm Kiefer (born 1945). The 1964, Watercolour on rough Werner Gilles (1894-1961) and Ernst many artists. This can be seen in works exhibition brings together works wove paper Wilhelm Nay (1902-1968) are presented, of the Art Informel movement, as well as by a total of roughly forty artists. 60.2 x 42 cm

3 4 5 6 www.staedelmuseum.de International 14.11.2019 > 29.01.2020 Art Exhibitions 2019

Opposite page Craigie Aitchison Craigie Aitchison Nude II 1 and the Beaux Arts Generation 1993, Oil on canvas 61 x 50.5 cm Piano Nobile 1 Euan Uglow Study of a Cast 1953 Oil on Sundeala board 50.8 x 25.4 cm 2 Euan Uglow Girl Tripping 1991-92, Oil on board 1 33.7 x 29.8 cm London It was 1952 when a soft-spoken Scots- man entered the Slade School of Fine Art. Accompanied by his beagle named Somerset, he attended on a part-time basis at first. Few could have missed Craigie Aitchison in those days and he was certainly noticed by another Slade student, Michael Andrews, who later recommended him to Helen Lessore, proprietor of the Beaux Arts Gallery.

Aitchison was one of the most original British artists of his generation, his success underpinned by rigorous observation and a painter’s sensitivity to surface texture. 2 5

The use of saturated mineral colouring 3 in his work betrays a mixture of vision, Craigie Aitchison a view of life beyond appearances, and Anemone craftsman-like skill, forging an intoxi- 1968, Oil on canvas cating alchemy of yellow and cerulean, 40.5 x 30.5 cm umber and viridian. 4 Euan Uglow Aitchison belonged to the Beaux Arts Night Scene generation, a tight-knit milieu of 1995-97, Oil on board figurative artists that emerged after the 21.5 x 17.2 cm Second World War. Along with Michael 5 Andrews, Frank Auerbach, Leon Kossoff Michael Andrews and Euan Uglow, he held his first solo Regent’s Park exhibition at Helen Lessore’s Beaux Arts c1951-52, Oil on board 3 4 Gallery on Bruton Street. 50.8 x 38 cm www.piano-nobile.com International 15.11.2019 > 30.08.2020 Art Exhibitions 2019

Opposite page Emil Nolde Head of a Woman German Expressionism 1920-25 1 1 Braglia & Johenning Collections Paul Klee Oriental Festival Leopold Museum Around 130 significant exhibits from the 1927 Fondazione Gabriele & Anna Braglia, 2 Lugano, and the Foundation of Renate & Friedrich Johenning from North Man in Front of a Tall Cliff -Westphalia make for an 1913 impressive pas de deux of the two 3 collections At the beginning of the 20th century, emotion became a stylistic Bathers with Trees of Life device; to observe meant to feel. Driven 1910 by instinct and in opposition to 4 academic canons, young rebels from Emil Nolde the Dresden artist community ‘Die Portrait of a Family Brücke’ (The Bridge) brought 1947 landscapes of the soul onto the canvas. 23 5 In revolt against industrialized society Independently from these two import- The exhibition includes works by Emil Murnau (Two Houses) Vienna and its conventions, they also sought ant factions, the concept of beauty was Nolde, , Ernst Ludwig 1908 a nature-based reformation of life. being questioned and expanded upon. Kirchner, Erich Heckel, Wassily Meanwhile, the circle of editors Colours played a decisive role in this Kandinsky, Alexei Jawlensky, Marianne Images | Opposite page | 4 | 5 responsible for the Munich almanac process. Whether garishly glowing or von Werefkin, , August Macke, © Renate & Friedrich Johenning ‘’ (The Blue Rider) went dim and lackluster, colours acted in Paul Klee, Paula Modersohn-Becker and Stiftung in search of a new inwardness in art, place of the treatment of light and Lionel Feininger. The works of the Images | 1 | 2 | 3 which allowed for the purely intuitive as shade as the vehicle of an image’s German Expressionists have to this day © Fondazione Gabriele & Anna much as for cultivated reason. dramaturgy lost none of their suggestive effect. Braglia, Lugano

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4 5 www.leopoldmuseum.at International 16.11.2019 > 17.01.2021 Art Exhibitions 2019

Opposite page Norman Cornish The Three Beers

1 The Definitive Collection 1 Man at Bar with Pint The Bowes Museum The first major retrospective dedicated 2 to Norman Cornish (1919-2014), one of Self-Portrait the most loved artists from the North 3 East of England in the 20th Century. Berriman’s Chip Van The show includes more than 60 works 4 including, pastels, charcoals and oil Study of Sarah Knitting paintings from both public and private 5 collections. Cornish’s work has an Gantry at Night enduring popularity and leaves a 6 wonderful legacy – an immediate and Lady with Umbrella accessible social documentary of a bygone era. There can be few, if any, who have contributed more to the area’s artistic and cultural identity.

Aged 14, he was obliged to begin life as a miner – a career which was to span four decades. As his father and grandfather Barnard Castle had both been miners before him, there was an inevitability Norman Cornish 4 would follow in their footsteps. A small town in the Durham Coalfield may seem an unlikely source of inspiration. But for the artist, this was not a constraint, his work reflects the core features of mining communities: the pit, the pub and the sociability of street life; with its chip van horse-drawn carts, miners at leisure, women in wrap-around pinnies gossip- ing and chldren playing. 2 5

Norman Cornish painted many versions of the pit road. It was a road he walked for some 30 years or more, so naturally it became a significant part of his life. With telegraph poles looming like crucifixes, characters struggle along reminiscent of a kind of Calvary scene. To watch the man ahead plodding resignedly was a subject he felt demanded to be drawn again and again. He was a chronicler of everyday life, recording the social environment and industrial landscape in 3 which he lived and worked with integrity. 6 www.thebowesmuseum.org.uk International 19.11.2019 > 29.03.2020 Art Exhibitions 2019

Opposite page Andy Warhol Roy Lichtenstein Glass and Lemon in front to Cindy Sherman of Mirror 1 AMERICAN ART FROM THE ALBERTINA 1974

Schlossmuseum Schlossmuseum Our view of America is determined by Various artists commented on this 1 images of the entertainment industry: transformation of society using radically Sarah Morris from film and television to advertising new aesthetic strategies and artistic Rings and newspapers, from Hollywood icons techniques. 1972 | 2006 to the cover of Time Magazine with the Electric Chair. No other nation has Artists include Andy Warhol, Kenton placed so much reliance upon the Nelson, Roy Lichtenstein, Alex Katz, power and impact of pictures and Julian Schnabel, Tom Wesselmann, symbols as the USA. With over 200 Robert Indiana, Robert Rauschenberg, works of American art from 1960 to the Sarah Morris, James Rosenquist, Sherrie present day, this large-scale exhibition Levine, Chuck Close, Robert Longo, aims to illustrate how much our percep- Morris Louis, Eric Fischl, Kiki Smith, Nan tions of truth and reality, facts and fake Golding, Mel Ramos, David Salle and news owe to America’s visual culture. Cindy Sherman. 8

Linz 2 Kenton Nelson Observance 2007 3 Julian Schnabel Pandora (Jaqueline as an Etruscan) 1986 4 Sherrie Levine Human Skull 2001 5 2 3 4 Andy Warhol Mao Tse Tung 1972 6 Cindy Sherman Untitled No 412 2003 7 Chuck Close Self-Portrait 2009 8 Alex Katz Black Hat 2 5 6 7 2010 www.landesmuseum.at International 22.11.2019 > 26.01.2020 Art Exhibitions 2019

Opposite page Through My Travels Shadow on the Wall (Green Bench) I Found Myself 1927-28 Finnish National Gallery, 1 Helene Schjerfbeck Ateneum Art Museum, Sihtola Collection Ateneum Finnish National Gallery Helene Schjerfbeck was born in 1862 in Photo: Janne Mäkinen Helsinki in Finland. ‘Through My Travels 1 I Found Myself’ describes how Helene Two Profiles became Helene. (Marianne Preindlsberger in front) The exhibition focuses specifically on 1881 her trips to Pont-Aven in northern Finnish National Gallery, France, Fiesole in Italy, and St Ives in Ateneum Art Museum, England at the end of the 19th century. Wuorio Collection Photo: Hannu Aaltonen 2 Cypresses, Fiesole 1894 Finnish National Gallery, Ateneum Art Museum Photo: Hannu Aaltonen 3 The Convalescent 1888 Finnish National Gallery, 2 3 Ateneum Art Museum Photo: Yehia Eweis 4 Costume Picture II 1909 Finnish National Gallery, Ateneum Art Museum Photo: Hannu Aaltonen 5 Angel Fragment, after El Greco Helsinki 1928-29 Finnish National Gallery, Ateneum Art Museum, Sihtola Collection Photo: Janne Mäkinen 6 4 56 Profile of Madonna, after El Greco For example, Schjerfbeck painted ‘The she was inspired by what she saw. Her idols included El Greco (1541-1614), 1943 Convalescent’ (1888), one of her best- The exhibits also include works that Paul Cézanne (1839-1903) and Vincent Finnish National Gallery, known works, in St Ives. The exhibition have not been seen previously in van Gogh (1853-1890). Schjerfbeck’s Ateneum Art Museum, focusses on the significance of the Finland. Helene Schjerfbeck was work was also influenced by the world Kaunisto Collection artist’s travels to her work – and how inspired in particular by foreign art. of fashion magazines of the 1920s. Photo: Finnish National Gallery www.ateneum.fi