tag:blogger.com,1999:blog-320246452024-03-12T17:10:25.392-06:00Remarkable Art Sites, Shows & Snippets, PlusArt gives me great pleasure. Especially when I have the context that leads to fuller appreciation. My travels are geared to what art is where.
In this blog I share art-related items that intrigue me. Perhaps they will intrigue you, too!Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.comBlogger141125tag:blogger.com,1999:blog-32024645.post-23190122956408431682016-02-13T10:27:00.000-07:002016-02-13T10:27:00.726-07:001,700-year-old Roman Mosaic in Miami<!--[if gte mso 9]><xml>
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<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">At the <a href="https://frost.fiu.edu/exhibitions/index.html" target="_blank">FrostArt Museum </a>at FIU in Miami, Florida, through May 15, 2016, is an opportunity to see an
extraordinarily well-preserved 3rd century floor mosaic: <i>Predators and Prey: </i></span><i><span style="color: windowtext; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin; mso-no-proof: no;">A Roman Mosaic from Lod, Israel</span></i><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">. Adding to its interest value is
that it </span><strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">holds an unresolved mystery:
<span style="mso-spacerun: yes;"> </span>Why are there no deities or human beings
portrayed, among the</span></strong><strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;"> </span></strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">menagerie of exotic animals</span><strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;">? </span></strong><strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">This is extremely rare for such a
large floor mosaic from the time period.</span></strong></div>
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<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Lod
Mosaic dates to when the town of Lod was a part of the Roman Empire. The amazingly
detailed mosaic is thought to have been the floor of a large audience room, in
a sumptuous villa owned by a Roman merchant whose trade route crossed between
Jerusalem and the Mediterranean. The town of Lod stands on the site of the
ancient city of Lydda, which developed in a fertile plain on an important trade
route, the Via Maris, from Egypt to Syria and Mesopotamia. As this mosaic
attests, it was a center of culture and craft production.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXf9KXlXuX3RlFiSoLAfutFFvHdsSMsVcJ-6H-JudY1znzMDjV0iGV3bNSioL_Mt1QBqaQ8LcxnkW4Oe6skmStKY2_SBDLEahQZVSfYoLPr5-N3U98NzQCWQhrXpMSZkgiB34J/s1600/Lod+Mosaic+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXf9KXlXuX3RlFiSoLAfutFFvHdsSMsVcJ-6H-JudY1znzMDjV0iGV3bNSioL_Mt1QBqaQ8LcxnkW4Oe6skmStKY2_SBDLEahQZVSfYoLPr5-N3U98NzQCWQhrXpMSZkgiB34J/s400/Lod+Mosaic+1.jpg" width="400" /></a><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Archaeologists
have calculated that more than two million tesserae (mosaic tiles) were used to
create the 1,700-year-old masterwork. Three panels from the excavation are
included in the exhibition, two rectangular end-panels surrounding a large square
central medallion. Featured are indigenous animals coexisting with ferocious
wild creatures such as lions and tigers (oh my!), an elephant and a giraffe, and Asian
water buffalo, plus marine life, a sea monster and merchant ships.</span></div>
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<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Learn more
about the Lod Mosaic at<a href="https://www.blogger.com/goog_903616933"> </a></span><strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><a href="http://lodmosaic.org/home.html"><span style="mso-bidi-font-weight: normal;">http://lodmosaic.org/home.html</span></a> </span></strong><strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;"></span></strong></div>
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<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Images © <a href="http://www.antiquities.org.il/default_en.aspx" target="_blank">IsraelAntiquities Authority </a></span></div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-37852496275490808172016-01-19T11:43:00.000-07:002016-01-19T11:43:20.354-07:00Picasso thinks I'm barking up the wrong tree.<span data-offset-key="cee12-0-0"><span data-text="true"><br /></span></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW9p4-ilW6jsrgLM5NFLJDrxojSRwlhtnBjGPaHP2NlxOVxQpL8E2UNdt_l8vRAJEY5y7g_psyFah9AZKZFlP0r8uPfzU4Ig21g5vrPDEvnvFp69YWsxuvRzgtUlFbEZQgfMhE/s1600/Marsden+Hartley+El+Santo+1919.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW9p4-ilW6jsrgLM5NFLJDrxojSRwlhtnBjGPaHP2NlxOVxQpL8E2UNdt_l8vRAJEY5y7g_psyFah9AZKZFlP0r8uPfzU4Ig21g5vrPDEvnvFp69YWsxuvRzgtUlFbEZQgfMhE/s320/Marsden+Hartley+El+Santo+1919.jpg" width="286" /></a><span data-offset-key="cee12-0-0"><span data-text="true">El Santo, painted in 1919 by Marsden Hartley (1877 – 1943), drew me in the first time I saw it at the New Mexico Museum of Art ... I kept returning to it, and had to sneak one last look before leaving the gallery. </span></span><br />
<br />
<span data-offset-key="cee12-0-0"><span data-text="true">Back to the exhibition twice more, and El Santo each time had the same effect. Stede Barber and I have discussed it at length ... and frankly, I STILL don't know exactly what it is about it that makes it so vivid for me. </span></span><br />
<br />
<span data-offset-key="cee12-0-0"></span><br />
<span data-offset-key="cee12-0-0"><span data-text="true"></span></span><span data-offset-key="cee12-0-0"><span data-text="true">Picasso would have said I should stop trying to explain it and just enjoy the experience of it. "Everyone wants to understand art," he said. "Why not try to understand the song of a bird? Why does one love the night, flowers, everything around one, without trying to understand them? ... People who try to explain pictures are usually barking up the wrong tree." </span></span><br />
<br />
<span data-offset-key="cee12-0-0"><span data-text="true">But there's a difference between the natural song of a bird and the human hand and mind involved in creating art. Why did Hartley arrange this still life as he did, choose that textile and that color palette ? Why is the painting-within-the-painting tilted? Did it happen to be on the wall that way, and he simply liked the effect? Or did the artist cause it to tilt, thinking to strengthen the composition? I accept Picasso's statement that "an artists works of necessity", but I know too many intelligent, skilled, highly-trained artists to accept that their creative process flows without thought. Subconscious, yes. Thoughtless, no. And it is the artist's thought process that intrigues me. I like the "wonder" of it.</span></span><br />
<span data-offset-key="cee12-0-0"><span data-text="true"><br /></span></span>Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com1tag:blogger.com,1999:blog-32024645.post-53757548004189237022015-07-19T11:44:00.000-06:002015-07-19T11:45:08.527-06:00Reviving The Greatest Forgotten Artist of the Renaissance<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<i>Andrea del Sarto: The Renaissance Workshop in Action</i></div>
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<br /></div>
<div class="MsoNormal">
At the <a href="http://www.getty.edu/museum/exhibitions/" target="_blank">Getty in Los Angeles</a> until Sept. 13, 2015<span style="mso-spacerun: yes;"> </span></div>
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At the <a href="http://www.frick.org/exhibitions" target="_blank">Frick in N.Y.</a> from Oct 7, 2015, to Jan. 10, 2016 </div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyduDciuJj7028c4FO8O2n_0-V16Ok-z1BiasswSgv4aCHxZAmTp1iK_ZTEbSCkztKPZ584Xbc5n1PkhbpCXZ7EVG2X5crtN2pNVRqtpEWMOt3BRe6FJT1ra0FbMczUwN9uj1i/s1600/Del+Sarto+drawing+woman+portrait.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyduDciuJj7028c4FO8O2n_0-V16Ok-z1BiasswSgv4aCHxZAmTp1iK_ZTEbSCkztKPZ584Xbc5n1PkhbpCXZ7EVG2X5crtN2pNVRqtpEWMOt3BRe6FJT1ra0FbMczUwN9uj1i/s200/Del+Sarto+drawing+woman+portrait.jpg" width="155" /></a>“The greatest forgotten artist of the Renaissance,”
according to J. Paul Getty Museum curator Julian Brooks, Andrea del Sarto was
once well-known like Michelangelo and Raphael, and collected by the Medici
family and European royalty. Over the years, the Florence-based artist lost
favor and fame, but a new exhibit at the Getty aims to resuscitate Del Sarto’s
renown and reputation.</div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVRdZS7VZZLlHECNwAkQY8wfMQGnA_K1TAAsoU6t0tI-hxV-WkfRwxYzXiEAyuS_HUWwOAr9zqWgi0_n7Ae6Td1u88uZgg4OzuMZbFgfzcNLKEsdIsxEH9cWhjf8a2i4-P15-T/s1600/Del+Sarto+portrait.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVRdZS7VZZLlHECNwAkQY8wfMQGnA_K1TAAsoU6t0tI-hxV-WkfRwxYzXiEAyuS_HUWwOAr9zqWgi0_n7Ae6Td1u88uZgg4OzuMZbFgfzcNLKEsdIsxEH9cWhjf8a2i4-P15-T/s320/Del+Sarto+portrait.jpg" width="252" /></a>The exhibit features 48 drawings and paintings from provate art
collections and museums worldwide. It includes 18 on loan from the Uffizi Gallery
Museum in Florence, Italy,
which owns half of the 180 surviving works by the artist.</div>
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<br /></div>
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The exhibit includes the “deconstruction” of two of <span style="mso-spacerun: yes;"> </span>most admired paintings, <i>The
Sacrifice of Isaac </i>and <i>The Medici Holy Family,</i> to
show the process by which they were made. Using infrared reflectograms, viewers can
see beneath the layers of paint to the under-drawings that outlined the
artist’s plan for figures ahd their positions, and the changes that he made as
the paintings evolved.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Xm-yu8rqa-SDGGhHf06ljbYr9CqlZgnakLOaghNH3jHRZsNdhun119MiG09OPq283vuN-tTHapk4e-tJxstxdKgB5R8O2-qNYPXhz3air5bXBHEz4Pqa6pmZyGUyrbnj9_NK/s1600/Del+SArto+Sacrifice+of+Isaac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Xm-yu8rqa-SDGGhHf06ljbYr9CqlZgnakLOaghNH3jHRZsNdhun119MiG09OPq283vuN-tTHapk4e-tJxstxdKgB5R8O2-qNYPXhz3air5bXBHEz4Pqa6pmZyGUyrbnj9_NK/s400/Del+SArto+Sacrifice+of+Isaac.jpg" width="310" /></a></div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-41760186832994246732015-07-18T10:12:00.000-06:002015-07-18T10:12:44.955-06:00Alexander the Great Meets Hebrew Priest<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXZBDxEV8pmEPFlG9z4RQZ3oY6XLxQB0sc2ySkoXfFKLR0-I1JaslM0cgTibEQXscncpdd98EW_TAaf5w2_W3Ddre8NsV2T4zP4OkME4T61kmC-dut9gjGC4B3RtSwLfCr8WY/s1600/Alexander+Mosaic+Hoqoq+Israel.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXZBDxEV8pmEPFlG9z4RQZ3oY6XLxQB0sc2ySkoXfFKLR0-I1JaslM0cgTibEQXscncpdd98EW_TAaf5w2_W3Ddre8NsV2T4zP4OkME4T61kmC-dut9gjGC4B3RtSwLfCr8WY/s320/Alexander+Mosaic+Hoqoq+Israel.jpg" width="305" /></a></div>
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<span style="font-family: Arial;">An ancient <span style="mso-spacerun: yes;"> </span>mosaic believed to depict Alexander the Great meeting
a Hebrew high priest has been discovered in a 5th century synagog in Hoqoq, <span style="mso-spacerun: yes;"> </span>Israel, unearthed by a team of archaeologists
led by Professor Jodi Magness, of the University of North Carolina. </span></div>
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<br /></div>
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<span style="font-family: Arial;">The scene shows a bearded
soldier wearing battle dress and a purple cloak leading a bull by the horns,
followed by other soldiers, and elephants with shields tied to their sides. He
is meeting with a bearded elder who wears a ceremonial white tunic
and mantle, accompanied by young men with sheathed swords, also in ceremonial
clothes.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYsykzctduRzKlhei1xlg5ldKYnQAgm3CwDlJBnGElFjPbRetmsRn9GkKYqVV3r8SLuStOw26QVoqPsfXt9-S54zylNeKyQ9eyWo50phBbk4JdnLnQ2Ipdv8Or6tcl7HkdX5vX/s1600/Alexander+thGreat+Elephant+Hoqoq.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYsykzctduRzKlhei1xlg5ldKYnQAgm3CwDlJBnGElFjPbRetmsRn9GkKYqVV3r8SLuStOw26QVoqPsfXt9-S54zylNeKyQ9eyWo50phBbk4JdnLnQ2Ipdv8Or6tcl7HkdX5vX/s200/Alexander+thGreat+Elephant+Hoqoq.jpg" width="200" /></a></div>
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<br /></div>
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<span style="font-family: Arial;">According to Professor
Magness “Battle elephants were associated with Greek armies beginning with
Alexander the Great, so this might be a depiction of a Jewish legend about the
meeting between Alexander and the Jewish high priest.”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">An article in the <a href="http://www.dailymail.co.uk/sciencetech/article-3161093/Mosaic-Alexander-Great-meeting-Jewish-priest-non-biblical-scene-discovered-inside-synagogue.html#ixzz3gG6fr100" target="_blank">Daily Mail</a>
describes other fabulous mosaics discovered previously during this excavation
project, which began in 2012 in cooperation with a team from the Israel
Antiquities Authority.</span></div>
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<br /></div>
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<span style="font-family: Arial;">This is a unique and
important discovery because of the high level of artistic skill it evidences, as
well as the fact that the depiction of Alexander the Great is the first
non-Biblical figure ever to be discovered in a mosaic in an ancient synagogue.</span></div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-60663785334118738352015-07-15T09:48:00.000-06:002015-07-15T09:49:16.926-06:00Seven Museums Celebrate Sin<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuoedOQjh-4SwZqi_jXOIk5hRXdKqbRLYCUEZueMtI_qF66yZugmHUtXL00O53AkwmxKHYqrtlIahAygt4lRPyTmTnhVaZVj5xJOAurA2J8kr79mk6rPq1573KDRBvdETomfoH/s1600/cochineal+sewingbox.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuoedOQjh-4SwZqi_jXOIk5hRXdKqbRLYCUEZueMtI_qF66yZugmHUtXL00O53AkwmxKHYqrtlIahAygt4lRPyTmTnhVaZVj5xJOAurA2J8kr79mk6rPq1573KDRBvdETomfoH/s200/cochineal+sewingbox.jpg" width="133" /></a><span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext; font-family: Arial; mso-no-proof: no;">Collaboration is in the cultural air this summer.<span style="mso-spacerun: yes;"> </span> </span></span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="color: #444444;"><span style="color: windowtext; font-family: Arial; mso-no-proof: no;"><span style="font-family: Arial,Helvetica,sans-serif;">Here in Santa
Fe, we have the <a href="http://www.summerofcolorsantafe.org/calendar.html" target="_blank">Summer of Color,</a></span></span><span style="font-family: Arial,Helvetica,sans-serif;"> </span><span style="font-family: Arial,Helvetica,sans-serif;">with museums
each featuring an exhibit celebrating a different color. For example, </span><span style="font-family: Arial;"><span style="font-family: Arial,Helvetica,sans-serif;">a</span>t the Museum of Internatinal Folk Art,</span><b><i><span style="font-family: Arial;"> </span></i></b><i><span style="font-family: Arial;"><a href="http://www.internationalfolkart.org/exhibitions/red.html" target="_blank">T</a></span></i><i><span style="font-family: Arial;"><a href="http://www.internationalfolkart.org/exhibitions/red.html" target="_blank">he
Red that Colored the World</a><span style="mso-spacerun: yes;"> </span></span></i><b><i><span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span></span></i></b><i><span style="font-family: Arial;">(</span></i><span style="font-family: Arial;">through September 13, 2015) </span><span style="font-family: Arial;">is a beautifully curated exhibition that tells the story of
the</span><b><span style="font-family: Arial;"> </span></b><span style="font-family: Arial,Helvetica,sans-serif;">extraordinary global spread of
cochineal after its first encounter by Spain
in 16th century Mexico.
Most people know red, but few know of its most prolific and enduring source:
American Cochineal, a tiny scaled insect that produces carminic acid.</span></span></div>
<span style="color: #444444;"><br /></span>
<span style="color: #444444;"><span style="font-family: Arial;">
</span></span>
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<span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;">On the other side of the country, <span style="color: windowtext; font-family: Arial; mso-no-proof: no;">seven cultural
institutions of the <a href="http://hrm.org/fwma.html" target="_blank">Fairfield/ Westchester Museum Alliance</a> (FWMA) are doing a
similar thing, concurrently presenting exhibitions that explore the
Seven Deadly Sins. Interpretations range from Old Master paintings to
cutting-edge contemporary art.</span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-HohycRZrB4vKAZ3IGtcd9c-Mj3WDeIcLiwg2ajsq42UunljPNPydSV371NG8fzdpbfw4nW4V2ie6gFCERDS6gJKdHu6FXBAKJ_a0CNAQ5R7ABg75naxQBLjt4T69ya0_hQD/s1600/Pride_Schachinger_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-HohycRZrB4vKAZ3IGtcd9c-Mj3WDeIcLiwg2ajsq42UunljPNPydSV371NG8fzdpbfw4nW4V2ie6gFCERDS6gJKdHu6FXBAKJ_a0CNAQ5R7ABg75naxQBLjt4T69ya0_hQD/s320/Pride_Schachinger_.jpg" width="204" /></a><span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext; font-family: Arial; mso-no-proof: no;">For example, at the <a href="https://brucemuseum.org/site/exhibitions_detail/the-seven-deadly-sins-pride" target="_blank">Bruce Museum</a> in Greenwich CT, <i><span style="mso-font-kerning: 18.0pt;">T</span><span style="mso-font-kerning: 18.0pt;">he Seven Deadly Sins: Pride</span></i> (through
October 18)<b> </b>explores the heights of human hubris and
vanity -- as well as the sometimes cataclysmic falls that have resulted --
through objects of art and material culture from the Renaissance into the
contemporary period. In an exhibition of exquisite master prints, drawings,
paintings, rare books, and a video installation the breadth and endurance of
the imagery of this deadly sin of arrogance is explored, including the peacocks
and lions that have long symbolized the sin.</span></span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="color: #444444;"><br /></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="color: #444444;"><br /></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext; font-family: Arial; mso-no-proof: no;">The other museums
participating in this collaboration are </span></span></span></div>
<ul type="disc"><span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<li class="MsoNormal" style="color: windowtext; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-no-proof: no;"><a href="http://www.aldrichart.org/exhibitions/future.php" target="_blank"><i>Sloth:</i>
Aldrich Contemporary Art Museum</a> - through September 19</span></span></li>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<li class="MsoNormal" style="color: windowtext; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-no-proof: no;"><span style="color: #45818e;"><a href="http://www.hrm.org/exhibits/upcoming.html" target="_blank"><i>Envy:</i> Hudson
River Museum</a></span> - through September 26</span></span></li>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<li class="MsoNormal" style="color: windowtext; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-no-proof: no;"><a href="http://www.hvcca.org/current-exhibitions/" target="_blank"><i>Lust:</i>
Hudson Valley Center for Contemporary Art </a> - through July
26</span></span></li>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<li class="MsoNormal" style="color: windowtext; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-no-proof: no;"><a href="http://www.katonahmuseum.org/exhibitions/upcoming/" target="_blank"><i>Gluttony</i>:
Katonah Museum of Art</a> - through October 10</span></span></li>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<li class="MsoNormal" style="color: windowtext; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-no-proof: no;"><a href="https://www.neuberger.org/exhibitions/view/311.html?width=660&height=500" target="_blank"><i>Greed:</i> Neuberger Museum of Art </a> - through
October 11</span></span></li>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<li class="MsoNormal" style="color: windowtext; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial; mso-no-proof: no;"><a href="https://www.wavehill.org/arts/exhibits/wrath-force-nature/" target="_blank"><i>Wrath:</i> Wave Hill</a> - through September
07, 2015</span></span></li>
</ul>
<div class="MsoNormal">
<span style="color: #444444;"><span style="font-family: Arial;">The FWMA museums are offering a
two-for-the-price-of-one same-day pass. <a href="https://brucemuseum.org/files/FWMA_fall2010.pdf" target="_blank"><i><b>Print it</b></i> </a>and have it validated when you pay for admission at the
admissions desk at any one of the participating museums. The pass will entitle
you to free admission at any other one of the eight museums that same day.
Simply present the validated pass to receive free admission.</span></span></div>
<div class="MsoNormal">
<span style="color: #444444;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #444444;"><span style="font-family: Arial;">Hot summer day? Head for a museum!</span></span></div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-48673200439175242502015-07-12T09:41:00.000-06:002015-07-12T09:41:37.707-06:00Two Michelangelo Bronzes Discovered?<!--[if gte mso 9]><xml>
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<br />
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Michelangelo was a stone cutter … we know this from <i>David</i> and his other
extraordinary sculptures in marble. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpdTZ-jBilyrQjWXK4xV3B1x-_OddeAXKr0xVDqwAdlhulCChPLnRhSpZ_NFOkLmnZZ9K2u-EwqJF3w8S7xm5Q7csbun4NKMlcKyWnsQb0c5aZK7kk9EdSg3U2fnNxDlrAGCJS/s1600/Michelangelo+bronzes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpdTZ-jBilyrQjWXK4xV3B1x-_OddeAXKr0xVDqwAdlhulCChPLnRhSpZ_NFOkLmnZZ9K2u-EwqJF3w8S7xm5Q7csbun4NKMlcKyWnsQb0c5aZK7kk9EdSg3U2fnNxDlrAGCJS/s320/Michelangelo+bronzes.jpg" width="320" /></a></div>
<div class="MsoNormal">
So<span style="mso-spacerun: yes;"> </span>how could a pair
of<span style="mso-spacerun: yes;"> </span>three-foot tall bronze sculptures be
attributed to him recently? On what basis, when there is no other Michelangelo bronze to
compare to, stylistically?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The figures are a non-matching pair of men riding in triumph
on two sinuous panthers, one man older and lithe, the other young and athletic.
They have long been admired for the beauty of their anatomy and expression,
their first recorded attribution was to Michelangelo when they catalogued in
the collection of Adolphe de Rothschild in the 19th century. But, since they there
was no other documentation and they are unsigned, this attribution was
dismissed and, for the past 120 years, the bronzes have been attributed to
various other sculptors.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That changed last autumn when Prof Paul Joannides, Emeritus
Professor of Art History at the University
of Cambridge, connected
the bronzes to a drawing by one of Michelangelo’s apprentices. The drawing is in
the <a href="https://en.wikipedia.org/wiki/Mus%C3%A9e_Fabre" target="_blank">Musée Fabre</a>, Montpellier,
France. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNOh9pe4ZI_QgWXuEQv63u7qOhcRmTfg2Sw0MMNO0S9YAXuQg_nkZL1C3FyuWzeM6uGPeLZq22r0Tb6SYwWJ0d25AOBLLpPT6eUvMh3Qvweo_MA4QPzWdTP4Kk9QQrGSPTAbyI/s1600/Michelangelo+bronze+detail.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNOh9pe4ZI_QgWXuEQv63u7qOhcRmTfg2Sw0MMNO0S9YAXuQg_nkZL1C3FyuWzeM6uGPeLZq22r0Tb6SYwWJ0d25AOBLLpPT6eUvMh3Qvweo_MA4QPzWdTP4Kk9QQrGSPTAbyI/s200/Michelangelo+bronze+detail.jpg" width="130" /></a></div>
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According to the press release issued by <a href="http://www.fitzmuseum.cam.ac.uk/news/archive/article.html?5006" target="_blank">The FitzwilliamMuseum</a> in Cambridge, England, “A sheet of studies with
Virgin Embracing Infant Jesus, c.1508, is a student’s faithful copy of various
slightly earlier lost sketches by Michelangelo. In one corner is a composition
of a muscular youth riding a panther, which is very similar in pose to the
bronzes, and drawn in the abrupt, forceful manner that Michelangelo employed in
designs for sculpture. This suggests that Michelangelo was working up this very
unusual theme for a work in three dimensions.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So, the drawing provides a clue.<span style="mso-spacerun: yes;"> </span>And – although none remain to us – there is
the documented knowledge that Michelangelo did produce works in bronze. I’d say
it that production of works in bronze was expected of a Renaissance sculptor of
any standing. It’s known that one of two documented Michelangelo sculptures was
destroyed during the French Revolution; the other, a twice life-size statue of
Pope Julius II, <span style="mso-spacerun: yes;"> </span>was melted down for
artillery just three years after it was completed. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The recent<span style="mso-spacerun: yes;"> </span>insight
provided by the drawing triggered a program of concentrated art-historical
research. When compared with other works by Michelangelo the bronzes were found
to be very similar in style and anatomy to his works of 1500-1510. That dating was
confirmed by preliminary interpretation of initial scientific analysis.
Interdisciplinary research continues.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr Victoria Avery, Keeper of the Applied Arts Department of
the Fitzwilliam Museum
says, "It has been fantastically exciting to have been able to participate
in this ground-breaking project, which has involved input from many
art-historians in the UK, Europe and the States, and to draw on evidence from
conservation scientists and anatomists. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The bronzes and a selection of the evidence are now on
display in the Italian galleries at the Fitzwilliam
Museum, Cambridge, from February 3 until 9 August
2015.</div>
<div class="MsoNormal">
<br /></div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-23726301764540686682015-04-20T11:14:00.002-06:002015-04-20T11:15:54.801-06:00A Surprise! The Meadows Museum at Southern Methodist University<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ZjXK4Yfiu1WoY2mxe4Lw4TPyRI27fN4US9aCpAVGMt7qE10B5yLnFSZK7W8YRRkNylrClTCRrBE6e0jtahWE-aOzb2supsC8y63R5guZmT1aWoGln45Ch5e3MwAgHCAaogZg/s1600/Gris+Cubist+Landscape.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ZjXK4Yfiu1WoY2mxe4Lw4TPyRI27fN4US9aCpAVGMt7qE10B5yLnFSZK7W8YRRkNylrClTCRrBE6e0jtahWE-aOzb2supsC8y63R5guZmT1aWoGln45Ch5e3MwAgHCAaogZg/s1600/Gris+Cubist+Landscape.jpg" height="200" width="125" /></a></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;">A “WHO KNEW?” surprise at
another of America’s
lesser-known, university-based museums … </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><br />
</span></div>
The <a href="http://www.meadowsmuseumdallas.org/" target="_blank">Meadows Museum</a>
at Southern Methodist University in Dallas, TX, houses one of the largest and most comprehensive
collections of Spanish art outside of Spain. With works dating from the
10th to the 21st century, the internationally renowned collection presents a
broad spectrum of art covering a thousand years of Spanish heritage.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPuc31Lp8V-lfYjOISOSmovAVM5qpHfuxEV-7XM4YKfIcOINojU06s-LmUr24dFNjbgsNU3TYq1o4sTLNvv271MQ_aVnuzK-H3i9ApB3vAVBU7AWZ9MzVMw7Lirbnga1yPmfr/s1600/Murillo_Justa.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPuc31Lp8V-lfYjOISOSmovAVM5qpHfuxEV-7XM4YKfIcOINojU06s-LmUr24dFNjbgsNU3TYq1o4sTLNvv271MQ_aVnuzK-H3i9ApB3vAVBU7AWZ9MzVMw7Lirbnga1yPmfr/s1600/Murillo_Justa.jpg" height="320" width="220" /></a>During business trips to Spain
in the 1950s, Texas philanthropist and oil
financier Algur H. Meadows spent many hours at the Prado
Museum in Madrid. The Prado’s spectacular collection
of Spanish masterpieces inspired him to begin his own collection of Spanish
art. In 1962, through The Meadows Foundation, he gave SMU funds for the
construction and endowment of a museum to house his Spanish collection. The Meadows Museum opened in 1965 as part of a new
arts center at SMU. Until his death in 1978, Algur Meadows provided the impetus
and funds for an aggressive but highly selective acquisitions program through
which an extraordinary collection was developed in a remarkably short period of
time. The Foundation continues to provide ongoing support for collection-development, education, and more.<br />
<br />
The Meadows Museum collection includes masterpieces
by some of the world’s greatest painters: El Greco, Velázquez, Ribera, Murillo (St. Justa),
Goya, Miró, Gris (Cubist Landscape) and Picasso. Highlights of the collection include Renaissance
altarpieces, monumental Baroque canvases, exquisite Rococo oil sketches,
polychrome wood sculptures, Impressionist landscapes, modernist abstractions, a
comprehensive collection of the graphic works of Goya, and a select group of
sculptures by major 20th-century masters, including Auguste Rodin, Jacques
Lipchitz, Henry Moore, Claes Oldenburg, David Smith and Fritz Wotruba. At the
base of the plaza is a 40-by-90 foot moving sculpture, Wave, designed by
Santiago Calatrava.<br />
<br />
<span style="font-size: large;">And, now through August 2<sup>nd</sup>, <i> </i></span><br />
<span style="font-size: large;"><a href="http://www.meadowsmuseumdallas.org/about_Abello_2014.htm" target="_blank"><i>The Abelló Collection: A ModernTaste for European Masters </i></a>makes its international debut </span><br />
<span style="font-size: large;">at the Meadows Museum.</span> <span style="mso-spacerun: yes;"> </span><br />
<span style="mso-spacerun: yes;"> </span>
<i><span style="font-style: normal;"></span></i><br />
Ranked among the top of private art holdings of Spain, the Juan Abelló Collection
comprises works by some of the greatest artists from the sixteenth to the
twenty-first centuries. For more than thirty years, impresario Juan Abelló
and his wife, Anna Gamazo, have collected the finest and rarest of masterpieces
by Spanish artists such as El Greco, Francisco de Goya, Pablo Picasso, and Juan
Gris. In several instances, Mr. Abelló and Mrs. Gamazo spent several years in
search of particular works, to bring back to Spain national masterpieces dispersed
over the course of history.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf2twwVcf3dAM3Cbq3eh9eYyiD9SpX-46I3rGmH40NVLQWh4D2TSciG2f6yp9KyKmWexp50izAWcIyon6ekwZijv7Vh657lGDND8WOgAn8uCXf3ardmXy4Fp2qgmfAyj2lbf3q/s1600/Ribers+Sense+of+Smell.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf2twwVcf3dAM3Cbq3eh9eYyiD9SpX-46I3rGmH40NVLQWh4D2TSciG2f6yp9KyKmWexp50izAWcIyon6ekwZijv7Vh657lGDND8WOgAn8uCXf3ardmXy4Fp2qgmfAyj2lbf3q/s1600/Ribers+Sense+of+Smell.jpg" height="320" width="243" /></a>Among the works in this special exhibit are works by Juan de Flandes (c.
1465-1519) as well as <i>The Virgin with the Christ Child</i>, or <i>The
Virgin of the Milk</i> (c. 1485-90) by the Palencian master Pedro de
Berruguete (c. 1450-1504), masterpieces by Fernando Yañez de la Almedina (c.
1475-1540) and El Greco (1541-1614) including <i>The Stigmatization of Saint
Francis</i> (c. 1580).<span style="mso-spacerun: yes;"> </span>The baroque
period is represented by Spain’s
great expatriate artist Jusepe de Ribera (1591-1652), <i>The Sense of
Smell</i> (c. 1615) from his <i>Five Senses</i>, and from his later period, <i>Saint Peter</i> (c. 1644), which relates to the artist’s series of
apostles and philosophers. Also included are magnificent examples of
still life, a genre that flourished during seventeenth-century. From
farther afield, <i><span lang="IT" style="mso-ansi-language: IT;">vedute</span></i>
by Francesco Guardi (1712-1793) and Canaletto (1697-1768) capture
dazzling, sun-drenched visions of Venice.
Goya’s nineteenth-century portraiture is represented in two works.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhccHcd7P7Brs4i3M0rIjOxw2WEQHNYZD5Gv0j9mhm0UJL4NjXpu2L_nMP62oSvRZ6UZplfj9_jXm1OatqCcP3ilTGNntWHibqopeqQ3jdVo6crPdAY_r78SvSyhfPzPBj8rc2N/s1600/Modigliani+portrait+of+Brancusi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhccHcd7P7Brs4i3M0rIjOxw2WEQHNYZD5Gv0j9mhm0UJL4NjXpu2L_nMP62oSvRZ6UZplfj9_jXm1OatqCcP3ilTGNntWHibqopeqQ3jdVo6crPdAY_r78SvSyhfPzPBj8rc2N/s1600/Modigliani+portrait+of+Brancusi.jpg" height="320" width="249" /></a>The Abelló collection also holds an impressive array of twentieth-century works. The
display from this period is about as varied as the number of art theories and
movements spanning that era. Several of Spain’s most important artistic
representatives of the past century play a prominent role. Included are
masterpieces by Juan Gris, Salvador Dalí, Miquel Barceló, and a
suite of rare drawings by Picasso. Non-Spanish artists of the twentieth
century are also included, such as Braque, Léger, Matisse, Modigliani (Portrait of Brancusi), and
Francis Bacon.<br />
<br />
<br />
<br />
<br />
<br />Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com1tag:blogger.com,1999:blog-32024645.post-42715680033291816032015-02-11T14:18:00.001-07:002015-02-11T14:19:45.786-07:00The Tortured Soul of Borromini's Architecture<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjku0sCx81bmyHvqWf_on7-tqCAV-9FHdnVHUNXYIN8xQE4Q_u9ivkFvv123-y5njacFiKffbpOLlf2PDmUPYe-pwV2cnuOx4v1q3XRyiw9IcNn82U9sXHtKJn5IDHuTE7y-tcU/s1600/Borromini+St+Ivo+corkscrew.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjku0sCx81bmyHvqWf_on7-tqCAV-9FHdnVHUNXYIN8xQE4Q_u9ivkFvv123-y5njacFiKffbpOLlf2PDmUPYe-pwV2cnuOx4v1q3XRyiw9IcNn82U9sXHtKJn5IDHuTE7y-tcU/s1600/Borromini+St+Ivo+corkscrew.jpg" height="200" width="128" /></a>One of my favorite “secret” spots in Rome – right in the congested center – is Francesco
Borromini’s Sant’Ivo alla Sapienza, which he designed in the
1640s. Hidden away at the end of a long courtyard (designed by Giacomo della
Porta), it is a unique little gem of curves and unusual geometry, topped by a
corkscrew bell tower. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiznfM2izKtU-KxBUe2ETEdwd1mDBWef8XhpEzrPJntOtQx6uTeHX9GGC58AVFVos2smctnSMnBEU3VD-2_RvOckRLOuA4Th5wdQi-7a8Coaw8ST-4XdKZKYSdO_hR4N-wDAwu0/s1600/Borromini+St+Ivo+interior.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiznfM2izKtU-KxBUe2ETEdwd1mDBWef8XhpEzrPJntOtQx6uTeHX9GGC58AVFVos2smctnSMnBEU3VD-2_RvOckRLOuA4Th5wdQi-7a8Coaw8ST-4XdKZKYSdO_hR4N-wDAwu0/s1600/Borromini+St+Ivo+interior.jpg" height="169" width="200" /></a> </div>
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The interior of little church is equally charming. The vault of the cupola supporting the bell tower is a kaleidoscopic froth of pleats and bulges and light and shadow.</div>
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<br /></div>
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Borromini’s style of Roman Baroque architecture could be
said to reflect his tortured soul. His work was pure genius, but too
unconventional to have long-lasting impact on later architects. He was a
melancholy man with a quick temper which limited his career, and he died
by his own hand in 1667<span style="mso-bidi-font-weight: bold;">.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: bold;">I’m amused by the reproachful
statement of the Neoclassic art historian Francesco Milizia (in his 1781 <i style="mso-bidi-font-style: normal;">Memorie degli architetti antichi e moderni</i>)
who criticized Borromini thusly: “<span style="mso-bidi-font-style: italic;">Questo
artista non poteva soffrire il retto”</span> (“This artist could not stand
straight lines”). <span style="mso-spacerun: yes;"> </span>Like that was a bad
thing! </span>
</div>
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<br /></div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-27539504008876658102015-01-26T09:38:00.004-07:002015-01-26T09:38:44.557-07:00Rubens and Temporal Chauvinism<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmNhc7d1G_poz3DZntpCHokiiIS1PBl_Ea-WCP-jY3_8f1LosSH0tjq_DL302s61ND3QpwN2j7SRt31xMbOvSlJs7zOrezbunj8ALtWKmnVovxFHAVuljVW2ThC81kJ2Wg-cD/s1600/Rubens+Garden+of+love.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmNhc7d1G_poz3DZntpCHokiiIS1PBl_Ea-WCP-jY3_8f1LosSH0tjq_DL302s61ND3QpwN2j7SRt31xMbOvSlJs7zOrezbunj8ALtWKmnVovxFHAVuljVW2ThC81kJ2Wg-cD/s1600/Rubens+Garden+of+love.jpg" height="275" width="400" /></a></div>
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<span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"> The current show, <i>Rubens and his Legacy</i>, at the <a href="http://royalacademy.org.uk/" target="_blank">Royal Academy</a>, </span><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">London (until April 10<sup>th</sup>) is
intended to illuminate the</span><span style="font-size: 10.0pt; font-weight: normal; mso-bidi-font-weight: bold;"> </span><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Old Master’s influence on later
artists … but in <a href="http://www.ft.com/intl/cms/s/2/75f924d2-a0a4-11e4-8ad8-00144feab7de.html?ftcamp=crm/email/2015124/nbe/ArtsLeisure/product#slide0" target="_blank">her review</a>,</span><span style="font-size: 12.0pt;"> </span><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><span style="mso-spacerun: yes;"></span>Jackie Wullschlager says “the
Royal Academy set itself a challenge which could have been magnificently met,
but has resulted in the most misjudged Old Master show I have ever encountered."</span> </div>
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I haven’t seen the show, so I can’t agree or not. I mention
the review primarily because I think both the analysis and writing are exemplary.
Too many reviews of exhibits seem intended more to display the erudition of the
reviewer and less to inform the reader.<br />
<br />
Wullschlager goes on to say, “… no Old Master is in greater
need of reviving for contemporary taste and rescuing from clichéd response than
Peter Paul Rubens, the eloquent, erudite and now remote pioneer of the Flemish
baroque. He has been out of fashion for generations. Van Gogh called him
“superficial, hollow, bombastic”, and, to audiences reared on modernism’s
introspection and angst, Rubens’ easy self-confidence was anathema.”<br />
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Being “out of fashion” is one thing … tastes change. But to
criticize Rubens as “superficial, hollow, bombastic” displays temporal
chauvinism … my term for judging a thing in today’s terms rather than in the
context of its own times. </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI_0jw6khkqLYGW_czAuf0uimBPJ8hW_zmBA3rJ7a88D5LH3x_5wVKjGQ4Xrn9J7wsSk9XTgzOSQ4rtuVvtfcUT2v7eNmW_lRkgcIkw9vrWyQqUOi3ryeMS87pgmxxGiQAjuPm/s1600/Watteau+the-pleasures-of-the-ball-1714.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI_0jw6khkqLYGW_czAuf0uimBPJ8hW_zmBA3rJ7a88D5LH3x_5wVKjGQ4Xrn9J7wsSk9XTgzOSQ4rtuVvtfcUT2v7eNmW_lRkgcIkw9vrWyQqUOi3ryeMS87pgmxxGiQAjuPm/s1600/Watteau+the-pleasures-of-the-ball-1714.jpg" height="160" width="200" /></a></div>
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The reviewer compares two works in the exhibit: Rubens’ “The
Garden of Love” (1633, Prado) and Watteau’s “The Pleasures of the Ball” (1714, Dulwich
Picture Gallery) </div>
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Speaking of the Rubens painting: “It is a voyeur’s paradise
— buoyant, celebratory, but touched with moral seriousness: an allegory of joys
— bourgeois order, affluent display — that seem alien today. Lacking is a
frisson of qualities we value more: the mystery, fragility, melancholy
underlying a similar scene exhibited nearby, Watteau’s The Pleasures of the
Ball.” </div>
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Apparently, Constable’s comment when he saw Watteau’s ephemeral
figures and light brushstrokes: “So mellow, so tender, so soft and so
delicious . . . this inscrutable and exquisite thing would vulgarise even
Rubens.” </div>
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If you have a few minutes, I recommend reading <a href="http://www.ft.com/intl/cms/s/2/75f924d2-a0a4-11e4-8ad8-00144feab7de.html?ftcamp=crm/email/2015124/nbe/ArtsLeisure/product#slide0" target="_blank">the review</a>.</div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-34946863106540568882014-11-23T12:17:00.000-07:002014-11-23T17:53:52.108-07:00Georgia O'Keefe's Jimson Weed/White Flower No. 1<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5pNDHTsAjZ0VO3yTq5sFJeI69gxAjBdlZhj9uzLqF6kR6yMKQLIaTGBpXvIURA7mSsBnfg8Fhi1HoDcZIwlhTyX0Oh-36_lBgkXhzJWHWBop32mYPZRsYtmWthyEPZx74qOf7/s1600/GOK+Jimson+Weed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5pNDHTsAjZ0VO3yTq5sFJeI69gxAjBdlZhj9uzLqF6kR6yMKQLIaTGBpXvIURA7mSsBnfg8Fhi1HoDcZIwlhTyX0Oh-36_lBgkXhzJWHWBop32mYPZRsYtmWthyEPZx74qOf7/s1600/GOK+Jimson+Weed.jpg" height="320" width="264" /></a>They’ve been celebrating at the Georgia O’Keefe Museum here
in Santa Fe for
the past couple of days! <span style="mso-spacerun: yes;"> </span></div>
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The 17-year-old museum decided to sell three paintings from
its collection of 1,149 works by G.O’K. The museum holds half the artist’s lifetime output. But, because “there are gaps that need to be filled,” in September the decision was
made to sell three pieces to benefit the Acquisitions Fund. </div>
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One of the three, J<i>imson Weed/White Flower No. 1</i>, is one of the
most well-known examples of O’Keeffe’s celebrated flower paintings, which are
among the most recognizable images in art history and popular culture. </div>
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Here’s a video clip produced by Sotheby's that expresses G.O’K.s <span style="mso-spacerun: yes;"> </span>feelings about <i>Jimson Weed</i>. </div>
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<a href="http://www.sothebys.com/content/sothebys/en/news-video/videos/2014/11/american-icon-georgia-okeeffee-jimson-weed.html">http://www.sothebys.com/content/sothebys/en/news-video/videos/2014/11/american-icon-georgia-okeeffee-jimson-weed.html</a></div>
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Here's why they're celebrating: the work was expected to sell for an estimated $10/15MM. In the end, it sold on Thursday for $44.4 million! The buyer’s identity is unknown, but the
auction opened with seven bidders vying for the work before settling into a lengthy
two-way battle, with the winning bid made on the phone. </div>
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<i>Jimson Weed/White Flower No. 1</i> was owned originally by the
artist’s sister, Anita O’Keeffe Young, whose estate was sold at Sotheby’s in 1987. At that time the painting sold for $990,000. In 1994 it was sold
again into a private collection for $1MM. It was donated to the Georgia
O’Keeffe Museum by The Burnett Foundation in 1996. It spent 6 years on the dining
room wall in the Bush White House and has been featured in nearly every major O’Keefe
retrospective, including those at MOMA in New York and the Whitney Museum of American
Art.<br />
<br />
I wonder how long it will be before the buyer's identity is revealed. <br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">“When Georgia O’Keeffe paints flowers, she does not paint
fifty flowers stuffed into a dish. On most of her canvases there appeared one
gigantic bloom, its huge feathery petals furled into some astonishing pattern
of color and shade and line…It is enough to say that Miss O’Keeffe’s paintings
are as full of passion as the verses of Solomon’s Song.” </span></span><span style="font-size: x-small;">Time, 1928</span></div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com1tag:blogger.com,1999:blog-32024645.post-59019799731646581862014-11-17T15:34:00.000-07:002014-11-17T15:34:26.802-07:00Trevi Fountain "In Restauro" <!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjneWYD9YkSnsxb-wNi_jxozWfEnlfZ8squ7HnFXGDjjpzJRBvWxHAH2kLb-t2aCwzK-4ui7tsn_mKYUcBJoaPmHu17wB_SUQgLuZNvGzeOLz7Y-BTzCwhjI_poFLRQm2EIT3u2/s1600/Trevi-Fountain_4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjneWYD9YkSnsxb-wNi_jxozWfEnlfZ8squ7HnFXGDjjpzJRBvWxHAH2kLb-t2aCwzK-4ui7tsn_mKYUcBJoaPmHu17wB_SUQgLuZNvGzeOLz7Y-BTzCwhjI_poFLRQm2EIT3u2/s1600/Trevi-Fountain_4.jpg" height="212" width="320" /></a><span style="font-size: small;">It’s inevitable that <span> </span>something
you really want to see when visiting Italy will be “in restauro”,
rendered inaccessible or blocked from view by scaffolding and protective fencing.
I’ve been thwarted many times when trying to research or photograph monuments
and artworks for <b><i><span style="color: #45818e;">Jane's Smart Art Guides</span></i></b>, being barred entrance to chapels and once
even an entire building (the Borghese Gallery), unable to take photographs of
fountains, and finding frescoes behind great sheets of canvas. </span></div>
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<div class="MsoNormal">
<span style="font-size: small;">So -- other than the coincidence of timing – it came as no
surprise to learn, the day after launching the <b><i><span style="color: #45818e;">Jane's Smart Art Guides</span></i></b> audio
guide to the <span style="color: #45818e;"><b>Fountains of Rome, Part 1: Acqua Vergine</b></span>, that the principal
fountain -<span> </span>the Trevi Fountain – is “in
restauro”! <span> </span>If I actually lived in Rome, instead of just
dreaming of living there, I would have known! </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLvwN4HRmsvc8coFrTINSaf5HimbaxckHTV6LOVqmqKtgxKW_mKENGaeuNZ7Oc9Av3zC-TGtf8MxIWyK67NyubYPSmqpWPOfbqlK4bCxhoUWApxnUFQYIgzig48ekpj5q46efm/s1600/trevi-damage.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLvwN4HRmsvc8coFrTINSaf5HimbaxckHTV6LOVqmqKtgxKW_mKENGaeuNZ7Oc9Av3zC-TGtf8MxIWyK67NyubYPSmqpWPOfbqlK4bCxhoUWApxnUFQYIgzig48ekpj5q46efm/s1600/trevi-damage.jpg" height="124" width="200" /></a></div>
<span style="font-size: small;">One night in June of 2012, chunks of stone and stucco fell
from a cornice on the left hand side of the Trevi Fountain. <span> </span>It is thought that the monument was weakened
by the snow and the unusually cold spell that Rome experienced the preceding winter, and by
the particularly rainy spring that followed. Of course, ice would have worsened any cracks
and fractures that were already present in the structure.</span><br />
<br />
<div class="MsoNormal">
<span style="font-size: small;">"We intervened on Saturday evening, as soon as we knew
about the damage," said Rome's
superintendent of heritage, Umberto Broccoli. Immediately part of the fountain
was fenced off and workers used a mobile crane to assess the damage. During
this assessment, additional pieces of the cornice were removed because they appeared
to be on the verge of collapse. The city undertook emergency work at a cost of €320,000.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-IzOci6wbChhgOBNh2ZaeqZJSXoBUdLb8ZiIKK8HIL6tkxH_2Isyj-uPLe8ezWpESpukKlRk3UlmvYVZDwgz-7G2SjOnXvhiGjcHAOJLjx3O6GzmLhXU_Btkl1ICcUJncbWo/s1600/restauro_trevi+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-IzOci6wbChhgOBNh2ZaeqZJSXoBUdLb8ZiIKK8HIL6tkxH_2Isyj-uPLe8ezWpESpukKlRk3UlmvYVZDwgz-7G2SjOnXvhiGjcHAOJLjx3O6GzmLhXU_Btkl1ICcUJncbWo/s1600/restauro_trevi+1.jpg" height="133" width="200" /></a><span style="font-size: small;"> Fast forward two years (and in Italy, a mere two years really is
fast forward!) … contractors have been hired, the water’s been turned off and
the fountain drained. Happily, the protective barrier that’s been set up around
the perimeter is transparent, and a footbridge over the basin has been
installed to allows visitors to see the work and get closer to the structure. Apparently
the entire restoration will be conducted in public view.</span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-size: small;">Actually, I wish I could be there to see it this way … a unique opportunity
to get really close to the fountain, to see it from a totally different
perspective. What a great way to fully understand the scale of this monument! I remember being quite thrilled by how close we were able to get
to Michelangelo’s <i>Moses</i> in San Pietro in Vincoli while it was being restored. The
elevated walkway took us right past <i>Moses</i> at eye level … closer than I will
ever be again.</span></div>
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<span style="font-size: small;">In addition to restoring the façade that forms the backdrop against
the south wall of the Palazzo Poli, the sculptural elements will be cleaned and
new pumps, artistic lighting, and barriers to deter pigeons will be installed. The
last major restoration was in 1990, but new techniques will make this the most
thorough in the fountain's history.</span></div>
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<span style="font-size: small;">They say that the work will be completed in about a year and
a half. "We hope to restore this treasured landmark to the city in the
autumn of 2015,” Ignazio Marino, the Mayor of Rome said.<span>
</span>But I think that may have been back in April when the work was <i>supposed</i>
to start!<span> </span>Oh, me of little faith … but I
don’t think we should get our hearts set on seeing the work completed before some
time in 2016! <span> </span>Perhaps they’ll prove me wrong. </span></div>
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<span style="font-size: small;"> </span></div>
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<span style="font-size: small;">If you know how cash-strapped Italy’s cultural heritage authorities
are, you might well ask, “Where’d they find the funds?” <span> </span>In the past few years, Italy has more
and more been looking to private sponsors to help repair long-neglected
monuments and archaeological sites. Dependence on private industry to pay for needed
restoration has become the norm.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9C_H4pYb7r2vSpX68Rcdymow1kWUVQWa4oI5EZ4QzWGO9QT2fDzLnQS7zZSMmMQbJ530DRU-Yh27xtNZxX8C_8H6FshyphenhyphenQ5IudVsNxFx7IJK6_SchsjFYLmYURZUb6x8qOkGwF/s1600/640px-River_Tiber-Quattro_Fontane-Rome.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9C_H4pYb7r2vSpX68Rcdymow1kWUVQWa4oI5EZ4QzWGO9QT2fDzLnQS7zZSMmMQbJ530DRU-Yh27xtNZxX8C_8H6FshyphenhyphenQ5IudVsNxFx7IJK6_SchsjFYLmYURZUb6x8qOkGwF/s1600/640px-River_Tiber-Quattro_Fontane-Rome.jpg" height="200" width="150" /></a><span style="font-size: small;"> </span></div>
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<span style="font-size: small;">Entitled <i>Fendi for Fountains</i>, in addition to sponsoring the
restoration of the Trevi Fountain, this initiative also includes the
restoration of the Quattro Fontane -- four fountains that face each other on
the corners of Via delle Quattro Fontane and Via del Quirinale. (These fountains,
dating to 1590, will be included in my <span style="color: #45818e;"><b>Fountains of Rome, Part 2: Acqua Felice</b></span> audio
guide.) This is a busy intersection, and the fountains have been dirtied over
the years by the emissions of the thousands of cars that pass by every day. Conservation work
on the Four Fountains has also begun. New hydraulics and lighting will be installed. The project is expected to be completed in Spring 2015.</span></div>
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<span style="font-size: small;">The work on the Trevi and Quattro Fontane is the latest in a
series of privately-funded restorations of Italy's prized landmarks. <span> </span>The Colosseum (Tod's), the Spanish Steps (Bulgari),
the Rialto Bridge
in Venice (Diesel Jeans), are some of the important historic monuments currently being worked on.
In addition, Finmeccanica, a Defense group, has pledged staff and technology
worth up to €2 million to a project to prop up the crumbling town of P</span>ompeii.</div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-25806125816559150472014-11-09T13:12:00.000-07:002014-11-09T13:12:34.717-07:00Adam After The Fall, Nov 11<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjO1vPDHz-J6qC87WCRwpTzV_v-vYqYQLEZceWS7-uPZNiM0o5uAalF8jWXhbxdEKN70_n8jQfIMJjjK7jzOJFVDpdCjEwBS-k-2GgmZjnMXhOWMv1So3I3TdakAFS0_GjTPFk/s1600/Adam__Tullio+Lombardo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjO1vPDHz-J6qC87WCRwpTzV_v-vYqYQLEZceWS7-uPZNiM0o5uAalF8jWXhbxdEKN70_n8jQfIMJjjK7jzOJFVDpdCjEwBS-k-2GgmZjnMXhOWMv1So3I3TdakAFS0_GjTPFk/s1600/Adam__Tullio+Lombardo.jpg" height="320" width="225" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>If the pedestal supporting a
priceless 15<sup>th</sup> century marble sculpture collapses, and nobody hears
the statue smash on the hard marble floor, did it actually break into 28 large
pieces and hundreds of small fragments?<span> </span><a href="http://www.metmuseum.org/about-the-museum/press-room/news/2002/statement-by-metropolitan-museum-of-art-on-damage-to-tullio-lombardos-adam" target="_blank">Unfortunately, yes</a>. </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>A security guard doing his normal
rounds at New York’s
Metropolitan Museum of Art on Sunday, October 6th, 2002 was first to come upon the
shockingly unexpected scene at around 9:00 PM.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Sometime that evening the
plywood pedestal supporting Tullio Lombardo’s 15th century marble <a href="http://www.metmuseum.org/exhibitions/listings/2014/tullio-lombardo-adam" target="_blank">statue of Adam</a> collapsed, dropping all 770 pounds of the 6’3” figure to the ground. <span></span><i>Adam</i> was decapitated, the
torso flung across the floor, the left arm broken into seven pieces, the
right leg into six. </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Until that moment, the smooth
unblemished surface of the carving had been one of <em>Adam</em>‘s most
illustrious features.<span> </span> </span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Originally commissioned for
the tomb of the Doge Andrea Vendramin (d. 1478) in the church
of Santa Maria dei Servi in Venice, Lombardo’s <i>Adam</i>
was placed in a niche next to the sarcophagus of the Doge in the center of the
monument. A statue of <i>Eve</i>, attributed Francesco Segala, stood in the balancing
niche on the other side.</span> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">When the church of the Servi was demolished by Napoleon in
1812, the Vendramin tomb was moved to the choir of the church of Saints Giovanni
e Paolo, but without <em>Adam</em> and <em>Eve</em>. In keeping with the times,
the classical nudes were deemed indiscreet, and they were replaced by two
warrior figures.<i> </i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>Adam</i> and <i>Eve</i> were moved to the Palazzo Vendramin Calergi where <i>Eve</i> remains
to this day.<span> </span>But in 1865 <i>Adam</i> was sold at auction in Paris,
and eventually made it’s way into the collection of the Metropolitan Museum,
in 1936. <span> </span>The acquisition was a triumph:
<i>Adam</i> is widely considered to be the most important Italian Renaissance
sculpture in North America.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Not just “another Renaissance sculpture”, Tullio’s Adam was recognized not
only as the first classically-inspired monumental nude carved since antiquity,
but as a masterpiece in its own right.</span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">But according to the fascinating
entry on <a href="http://www.thehistoryblog.com/archives/33285" target="_blank">The History Blog</a>, the conservators subsequently decided “to take a far more
meticulous approach, studying every aspect of the reconstruction in detail
before drilling holes in it and piecing it together with adhesives and pins. Instead
of two years it took 12, but they were 12 years well spent”.<span> </span></span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>On November 11th, </span><em><span>Adam</span></em><span> is going back on display at the Met, and the story of the restoration
is part of the exhibition. The statue, originally intended for a niche and
therefore less worked in the back than in the front, will now be viewed in the
round so people can see it the same way the conservators did. The Met has made
some videos explaining the epic 12-year conservation project …. and you can
<a href="http://www.metmuseum.org/exhibitions/listings/2014/tullio-lombardo-adam" target="_blank">preview them now</a> . They are fascinating. </span></span></span>
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<br />
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com2tag:blogger.com,1999:blog-32024645.post-58829709945260219812014-10-04T17:30:00.001-06:002014-10-04T17:36:50.147-06:00Sanford Robinson Gifford's Luminous Landscapes<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5F8Ibfx5EhZ369uRo6FckKKW2KPZAOjWMHRynUYC-DgkyZnNH3jHfXjTkfdDIIs8psuE8rUARaCQ-I84X8v2b4XEZv7HuxNSEwkk8Wwf9kS44Zyd7YhLKOfvXdOshs4VbMumP/s1600/GIfford+at+Seattle+Art+Museum.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5F8Ibfx5EhZ369uRo6FckKKW2KPZAOjWMHRynUYC-DgkyZnNH3jHfXjTkfdDIIs8psuE8rUARaCQ-I84X8v2b4XEZv7HuxNSEwkk8Wwf9kS44Zyd7YhLKOfvXdOshs4VbMumP/s1600/GIfford+at+Seattle+Art+Museum.JPG" height="207" width="400" /></a><br />
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<span style="font-weight: normal;"><span style="font-size: x-small;"><i><span style="font-family: "Trebuchet MS";">Mount Rainier, Bay
of Tacoma – Puget
Sound</span></i><span style="font-family: "Trebuchet MS";">, 1875</span></span></span></div>
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</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS";"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS";">Oil on Canvas</span></span></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS";">Sanford Robinson Gifford, American, 1823-1880</span></span></div>
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<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: 12.0pt;">Our recent
trip to the Pacific Northwest of course included a visit to the <a href="http://www.seattleartmuseum.org/" target="_blank">Seattle Art </a><a href="http://www.seattleartmuseum.org/" target="_blank">Museum</a> where I was happy to see this landscape by one of my favorite 19th-century American
landscape artists, Sanford Robinson Gifford.
</span></span></span></span></div>
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<span style="color: #444444;"><span style="font-size: small;">The label adjacent to the
picture says this: </span></span></div>
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<div class="MsoNormal" style="margin: 0in 27pt 0.0001pt 0.25in;">
<span style="color: #444444;"><span style="font-size: x-small;">In
the summer of 1874 … Gifford travelled the length of Puget
Sound and was able to see the great domes of the Cascades. The appearance of the ethereal-seeming,
majestic Mt Rainier on an August afternoon clearly enchanted him. He thrilled to the particular spirit of this
place of grand volcanic peaks and ancient peoples, where, at times, when the skies
clear and Rainier emerges out of the mist, we
are granted the privelege of glimpsing what seems the heavenly home of the
gods.</span></span></div>
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<span style="color: #444444;"><br /></span></div>
<span style="color: #444444;"><span style="font-size: small;">Sanford Robinson Gifford (1823 – 1880) was an American
landscape painter and one of the leading members of the Hudson River School.
Gifford's landscapes are known for their emphasis on light and soft atmospheric
effects, and he is regarded as a practitioner of Luminism, an offshoot style of
the Hudson River School. It’s his luminist paintings that
I really love. </span></span><br />
<span style="color: #444444;"><span style="font-size: small;"><br /></span></span>
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<span style="color: #444444;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcuUVwG8rIUu8nCXw7_u6c_qQRF3CiJqLiFB8Le0zMSifFaWMAywRsnCI85zsFHIjkxeT4wFs3D1YledDMfdS0ZlUjURzBo51I1N8C6DGXiHbUb3a9h74BEBIpJSVMKvki8pI/s1600/Gifford+Clay+Bluffs.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcuUVwG8rIUu8nCXw7_u6c_qQRF3CiJqLiFB8Le0zMSifFaWMAywRsnCI85zsFHIjkxeT4wFs3D1YledDMfdS0ZlUjURzBo51I1N8C6DGXiHbUb3a9h74BEBIpJSVMKvki8pI/s1600/Gifford+Clay+Bluffs.jpg" height="105" width="200" /></a></span></span></div>
<span style="color: #444444;"><span style="font-family: inherit; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijVR5WouJWDGmoEVEIAXpZB7zpnSxhArAv355OWBI2HRD6CjMzQtKFXIAvEgAlL9qpSMsPamVCnOfPjarVA4uBWgONUw3teBEfbob7JlrkiBEOqD6aF86FliWCdC29G4pesd7x/s1600/Gifford+sails.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijVR5WouJWDGmoEVEIAXpZB7zpnSxhArAv355OWBI2HRD6CjMzQtKFXIAvEgAlL9qpSMsPamVCnOfPjarVA4uBWgONUw3teBEfbob7JlrkiBEOqD6aF86FliWCdC29G4pesd7x/s1600/Gifford+sails.jpg" height="136" width="200" /></a> <span style="font-family: inherit;">Just look at the light on his <span class="ircsu"><i>Clay Bluffs On No Man's Land</i> (1877) </span>and
the gleam on the water in<span class="ircsu"><i> Sunset, Bay of New York
</i>(1878)<i>.</i></span></span> </span></span><br />
<br />
<span style="color: #444444;"><span style="font-family: inherit; font-size: small;">Gifford grew up in Hudson,
New York, the son of an iron
foundry owner. He attended Brown University briefly but dropped out to study art in New York City in the mid-1840s.
He exhibited his first landscape at the National Academy of Design in New York in 1847, was
elected an associate in 1851, and an academician in 1854. </span><span style="font-family: inherit; font-size: small;">When the Civil War broke out in 1861, he joined the Union Army and served as
a corporal in the Seventh Regiment.</span></span><br />
<span style="color: #444444;"><span style="font-size: small;"><br /></span></span>
<span style="color: #444444;"><span style="font-family: inherit; font-size: small;">
</span><span style="font-family: inherit; font-size: small;">Like most Hudson River
School artists, Gifford
traveled extensively to find scenic landscapes to sketch and paint. In addition
to exploring New England and upstate New
York, Gifford travelled abroad. His first trip to Europe (1855-57) to study European art and sketch
subjects for future paintings lasted more than two years. Another venture abroad took him across Europe in 1868 and then to the Middle
East, including Egypt,
in 1869. </span></span><br />
<span style="color: #444444;"><span style="font-size: small;"><br /></span></span>
<span style="color: #444444;"><span style="font-family: inherit; font-size: small;">In the summer of the following year, Gifford journeyed to the Rocky
Mountains in the western United States,
at which time he produced the sketch of Mt.
Rainier that resulted in the painting
that now hangs in the Seattle
Art Gallery. Like most of the Hudson River
School artists, Gifford
would first sketch rough, small works in oil paint from his sketchbook pencil
drawings. Those scenes he most favored he then developed into small finished
paintings, then into larger finished paintings.</span></span><br />
<span style="color: #444444;"><span style="font-size: small;"><br /></span></span>
<span style="color: #444444;"><span style="font-family: inherit; font-size: small;">
</span><span style="font-family: inherit; font-size: small;">Gifford referred to the best of his landscapes as his "chief
pictures". Many of his chief pictures are characterized by a hazy
atmosphere with soft, suffused sunlight. <i>Mount
Rainier, Bay of Tacoma – Puget Sound</i> demonstrates this luminosity, as well
as one of Gifford’s favorite compositional arrangements, wherein in the
foreground he painted a body of water, in which the distant landscape is gently
reflected.</span></span><br />
<span style="color: #444444;"><span style="font-size: small;"><br /></span></span>
<span style="color: #444444;"><span style="font-family: inherit; font-size: small;">
</span><span style="font-family: inherit; font-size: small;">On August 29, 1880, Gifford died </span><span style="font-family: inherit; font-size: small;">in New York City</span><span style="font-family: inherit; font-size: small;"> of what is thought to have been malaria . In a testament to his stature,
that autumn the Metropolitan Museum of Art in New York City celebrated his life with a
memorial exhibition of 160 paintings. A catalog of his work published shortly
after his death recorded in excess of 700 paintings produced during his career.
At his death. His paintings were selling for about $300, give or take. Recently, on Antiques Road Show, a small Gifford oil on canvas was valued at $300,000. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com1tag:blogger.com,1999:blog-32024645.post-41417455410937686382014-09-15T11:42:00.000-06:002014-09-15T11:42:41.876-06:00Can Tradition Survive the 21st Century?<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxh2FEGCrhCZEKUFjBZHzIHCLoGvmGfj8pviOhXqgLK_mXDhWs1T1YzhOJYnsgy_zlGWYNTHZSdLO17NTD3ymHjT7IkPjqXU04yEXg8n-gj4IGosGkK9nxG0_bFuPvN0TrQIrt/s1600/Andrea_Mantegna_-_The_Lamentation_over_the_Dead_Christ_-_WGA13981.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxh2FEGCrhCZEKUFjBZHzIHCLoGvmGfj8pviOhXqgLK_mXDhWs1T1YzhOJYnsgy_zlGWYNTHZSdLO17NTD3ymHjT7IkPjqXU04yEXg8n-gj4IGosGkK9nxG0_bFuPvN0TrQIrt/s1600/Andrea_Mantegna_-_The_Lamentation_over_the_Dead_Christ_-_WGA13981.jpg" height="267" width="320" /></a></div>
<div class="MsoNormal">
Every time I’ve seen Andrea Mantegna’s <i>Lamentation Over the
Dead Christ</i>, I – like many viewers -- have been struck by the seemingly excessive
foreshortening of the body and the over-large size of Christ’s head. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Initially I managed “forgive” these “flaws” on the basis
that it was painted in early days of perspective, and that there is so much
else to admire about the picture. Then I read that Mantegna’s intent was to
cast me, the viewer, in the role of a fourth mourner, kneeling beside the catafalque.
That’s when I realized it was my understanding that was flawed, not Mantegna’s perspective!
</div>
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<br /></div>
<div class="MsoNormal">
This idea would suggest that the painting – which has long
hung at the traditional level in the Brera Art Gallery, in Milan, – might be raised to a higher-than-normal
position, to bring the viewer’s eye to just above the edge of the bier.</div>
<div class="MsoNormal">
<br /></div>
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And indeed, last December, the Brera <i>did</i>
rehang the piece. But their attempt to explain the unusual composition placed
this iconic painting <i>below </i>standing eye level. This viewpoint was based on the assumption that Mantegna himself kept the canvas hung low so as to kneel before it in prayer.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynhKLNC43p99lryaxHzfbK7tSt-Jw588t5SMedNQp3fuctRdrfyh1awkKT5BHUjhedlby1OALcUKRIgZVzlRmgrRvbT9-Zu2A6_LDuiq2IAu6bfTiimvYe3kUTNaBqruk3Vd_/s1600/Brera+Mantegna+no+6+bis+(2).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgynhKLNC43p99lryaxHzfbK7tSt-Jw588t5SMedNQp3fuctRdrfyh1awkKT5BHUjhedlby1OALcUKRIgZVzlRmgrRvbT9-Zu2A6_LDuiq2IAu6bfTiimvYe3kUTNaBqruk3Vd_/s1600/Brera+Mantegna+no+6+bis+(2).jpg" height="133" width="200" /></a>And they didn’t stop there. They
commissioned movie-maker Ermanno Olmi to design the new installation. </div>
<div class="MsoNormal">
Oh my!<span style="mso-spacerun: yes;"> </span>What a furor
this has created! <span style="mso-spacerun: yes;"></span> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://artwatchuk.wordpress.com/tag/mantegnas-lamentation-over-the-dead-christ/" target="_blank">ArtWatch UK</a> writes: “The<i>
Dead Christ</i> is now housed in a special crypt-like dark room, stripped of its
historic frame and visually isolated by spot-lighting, as if now embedded into
a monolithic black wall – and at a height of only 67 cm from the ground”.<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<strong><span style="font-weight: normal; mso-bidi-font-weight: bold;">Quoted by ArtWatch UK,
Michel Favre-Felix</span> </strong>president of <a href="http://www.aripa-revue-nuances.org/auteurs.html" target="_blank">ARIPA</a> (Association
Internationale pour le Respect de l’Intégrité du Patrimoine Artistique)<i><strong><span style="font-weight: normal;"><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"> </span></span></strong></i><strong><span style="font-weight: normal; mso-bidi-font-weight: bold;">said this, “...</span></strong>the painting is now dematerialized and degraded to a
projected image. This new projected-slide effect of the <i>Dead Christ</i>
offends art historian Philippe Daverio who complains of a present resemblance
to the reddish glow of a Pizza furnace. Personally, I am even more struck by
the similarity with a movie screen. Could it be that M. Olmi does not realize
that he is here replicating the very situation, so familiar to him, of a cinema
showing in the dark? Should a row of cinema chairs be put in the present
gallery, the seated spectators would be at the perfect height for looking at
his <i>Dead Christ</i> film.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I haven’t personally seen the installation, so I won’t
express an opinion about it. But it does occur to me that, 500+ years later, it's difficult for most of us to understand the true spiritual and emotional meaning this image held for
Mantegna and his contemporaries. In fact, it’s commonly believed that the work
was created just after the death of the artist’s sons in the mid-1480s, which would have added a
personal layer of <span style="mso-spacerun: yes;"> </span>pathos to the
image.<span style="mso-spacerun: yes;"> </span>Perhaps, then, an “overly-dramatic”
presentation is in order -- to stop us in our tracks and focus our attention on the <i>Lamentation Over the
Dead Christ</i>. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Is this dramatic installation the most effective?
Certainly there are many who don’t think so. And apparently others who do!</div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com1tag:blogger.com,1999:blog-32024645.post-34021876670936377462014-05-17T12:40:00.000-06:002014-05-17T13:10:28.084-06:00Context is the Lifeblood of Art Appreciation<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ywx4ou10DlZd1XiMMWwwjXhvMH9MmTXfwrdy2MkXwtIraLdttj8RQPOH9mE6OqddS9152JJNZ8G1vq8xAOsHtS3qZl05vIHtu_dAW_AR1T0ADhf8sRF5JrWX-H6C7SE2Da7Y/s1600/Jabach+Le+brun.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ywx4ou10DlZd1XiMMWwwjXhvMH9MmTXfwrdy2MkXwtIraLdttj8RQPOH9mE6OqddS9152JJNZ8G1vq8xAOsHtS3qZl05vIHtu_dAW_AR1T0ADhf8sRF5JrWX-H6C7SE2Da7Y/s1600/Jabach+Le+brun.jpg" height="273" width="320" /></a></div>
<div class="MsoNormal">
The Metropolitan Museum of Art has just announced their
purchase of <a href="http://www.metmuseum.org/collection/the-collection-online/search/626692?=&imgNo=0&tabName=object-information" target="_blank">Charles Le Brun’s monumental portrait of Everhard Jabach and hisfamily.</a> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Thomas P. Campbell, Director and CEO of the Met said: “This
magnificent canvas by the leading painter of King Louis XIV is a landmark in
the history of French portraiture. It depicts the family of a major figure in the
world of finance and one of the most important collectors in 17th-century Europe.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anyone who knows me knows that I think context is the lifeblood
of art appreciation. <span style="mso-spacerun: yes;"> </span>And happily, development
of context is a big part of the art historian’s métier, so we have terrific
resources like the <a href="http://www.metmuseum.org/collection" target="_blank">Metropolitan Museum website</a> that allow us to delve into the
history that engendered the art we see on their walls. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I look at this picture and wonder "Who was Everhard Jabach?" <span style="mso-spacerun: yes;"></span>He’s such an obscure figure
today that he doesn’t even warrant a Wikipedia entry! But clearly he was somebody
important … to have been the subject of this magnificent canvas (92” × 128”), painted
by Charles LeBrun, court painter to King Louis XIV. <span style="mso-spacerun: yes;"> </span>Actually, he was a tremendously wealthy 17thC German banker (1618–1695) whose
collection of paintings and drawings was sold to the French crown to form the
core of the collection of the Louvre. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS_UVuXiuAJMCXky43GcHjM0EJbsaz1woJDI9diwOyY-4kNFDk8O7prZFqmF7XesziI7E900L327HpcuFSMjtkju_tfZm6uwiec0BvjztTZpNLJFEbXFkJvRCAoxi1y6zbuVbD/s1600/Jabach+in+situ+w+caption.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS_UVuXiuAJMCXky43GcHjM0EJbsaz1woJDI9diwOyY-4kNFDk8O7prZFqmF7XesziI7E900L327HpcuFSMjtkju_tfZm6uwiec0BvjztTZpNLJFEbXFkJvRCAoxi1y6zbuVbD/s1600/Jabach+in+situ+w+caption.jpg" height="200" width="161" /></a></div>
<div class="MsoNormal">
Wait. …<span style="mso-spacerun: yes;"> </span>I thought I’d
heard that this painting was destroyed in Berlin in WWII?<span style="mso-spacerun: yes;"> </span>Ahh … it turns out there were two versions. This one entered a British country house in 1832 where it quietly remained under
the radar until it was put up for sale last year. Notice near the top of the
canvas the line of damage that runs across its full width. Apparently, the top
portion if the canvas was folded over to reduce the height of the huge picture and
it was reframed to fit on a particular wall in its new Kentish home. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Close examination of the picture shows some pentimenti
indicating that it was, in fact, the original of the two versions ... which makes it the more important of the two. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And, speaking of importance, who is the personnage whose
portrait is so prominently placed behind, to Jabach’s right ?<span style="mso-spacerun: yes;"> </span>Wait … that’s not a painting within the
painting, that’s a mirror, reflecting the painter, Charles Le Brun (French, 1619–1690), sized only slightly smaller than his subjects. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Of course, a big part of the joy for the viewer is in
piecing together the narrative. I love interpreting what the eyes and gestures
tell us, and here Le Brun has, in this one static moment, captured the family
dynamic amidst the sumptuous setting: Jabach senior expounds upon the artifacts
that illustrate his intellectual and cultural interests. His eldest son hangs adoringly
on his every word, while his wife stoically – yet again -- bears the pedantic
monolog. I sense Everhard does go on a bit! The always-helpful younger daughter
tries to gain the attention of her baby brother whose curiosity is engaged outside
with something beyond the frame. And the manipulative adolescent daughter makes
provocative eye contact with the viewer, while the greyhound at her feet seems
to be intensely willing her attention to return into the family portrait.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My appreciation of this painting started with what I saw when
I took the time to look at the details -- or thought I saw, to my own personal
satisfaction. Then my appreciation grew as I looked further, away from the
canvas and into the writings of the art researchers who’ve studied this piece
and the artist and the subject and the history that engendered it. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>That is
how Charles Le Brun’s monumental portrait of Everhard Jabach and his family
moved from being just another 17<sup>th</sup> century portrait of <span style="mso-spacerun: yes;"> </span>a wealthy man and his possessions to a picture
with meaning. I begin to understand why Thomas P. Campbell believes that the
acquisition of this painting “transforms the Museum’s European paintings
collection by adding a defining work both in the history of art and in cultural
and political history.” </div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-35359613549588094232014-04-28T14:28:00.000-06:002014-04-28T14:31:36.973-06:00Confusion About Contemporary Art<!--[if gte mso 9]><xml>
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<![endif]--><span style="font-size: 12.0pt;">It’s not always easy to recognize
a work of contemporary art. </span>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;">A few years ago I visited the
Lowe Art
Museum at the University
of Miami. There was a
very cool minimalist art installation set behind “Caution” tape, to one side of
a large hall: a step ladder, bucket and mop, a neatly folded tarp and paint can
and brushes. Of course, it turned out to be an actual work project! <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bxhD5n3olVRPbTdWIKbuweB_0pnbAY-8HTzkbhqyV4n2L3Tkb-0InHapmMfVV1iPFRPRFAPSbCWngLd4qxAZgw-TxYWym7LzvAs9wmjKWOsUpcOIuvlqX4RIyBaSFZtz6n-z/s1600/Snowy+Mountain+by+Cui+Ruzhuo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bxhD5n3olVRPbTdWIKbuweB_0pnbAY-8HTzkbhqyV4n2L3Tkb-0InHapmMfVV1iPFRPRFAPSbCWngLd4qxAZgw-TxYWym7LzvAs9wmjKWOsUpcOIuvlqX4RIyBaSFZtz6n-z/s1600/Snowy+Mountain+by+Cui+Ruzhuo.jpg" height="160" width="320" /></a>A couple of weeks ago this pen and ink drawing, "Snowy Mountain"
by contemporary Chinese artist Cui Ruzhuo, was tossed in the trash. It had just sold for
almost US $ 4MM. Security footage showed a guard kicking the work into a pile
of garbage which janitors then hauled away. Last I heard, the landfill
was being searched.<br />
<br />
Earlier this year, a cleaning woman at an exhibition in Bari, Italy,
mistook parts of an art installation for garbage and threw them away.<br />
<br />
In 2001, a Damien Hirst installation in a London gallery was cleaned up by a janitor; it featured ashtrays, empty coffee cups and other detritus. Hirst had set
it out earlier that evening during the launch party of his latest exhibition. The befuddled cleaner said: "As soon as I clapped eyes on it I sighed
because there was so much mess. I didn't think for a second that it was a work
of art - it didn't look much like art to me. So I cleared it all into bin-bags
and dumped it."<br />
<br />
If it needs a sign explaining that it’s art … is it art?<span style="mso-spacerun: yes;"> </span>Just because a famous artist had a hand in
its creation … is it art?<span style="mso-spacerun: yes;"> </span>If one person says it’s art … does that make it art? Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com1tag:blogger.com,1999:blog-32024645.post-83213205705361049722014-03-31T12:48:00.001-06:002014-03-31T12:48:39.343-06:00Monet to Rousseau Landscapes<span style="font-family: inherit;">In Philadelphia, </span><br />
<span style="font-family: inherit;">Tuesday April 8th, 4-5:30pm</span><br />
<span style="font-family: inherit;"><span class="lblTextHeaderSmall"></span>at The Barnes Foundation </span><br />
<br />
<div class="lowercase">
<span style="font-family: inherit;"><a href="http://www.barnesfoundation.org/programs/april2014/premier-tour2?type=Tours%2Band%2BTalks&month=139632480" target="_blank">Premier Tour: Monet to Rousseau Landscapes in the Barnes Collection </a></span></div>
<div class="lowercase">
<span style="font-family: inherit;"><br /></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXNMqSefJ-x4EgJIPPHEpZMZ5hfwX0Z1lOJXX-p7EshhGfuJq78BVi8D09FnHACkhBOsDhX5di0nQN3vUo5MUA5hac3LYRD2DZhpb0b6cU6ZkT_qSUAxe7P_lwsG6w4_vpaH9/s1600/Cezanne+Belevue+Plain.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXNMqSefJ-x4EgJIPPHEpZMZ5hfwX0Z1lOJXX-p7EshhGfuJq78BVi8D09FnHACkhBOsDhX5di0nQN3vUo5MUA5hac3LYRD2DZhpb0b6cU6ZkT_qSUAxe7P_lwsG6w4_vpaH9/s1600/Cezanne+Belevue+Plain.jpg" height="160" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cezanne, <h1 class="obj-title">
<span style="font-size: x-small;"><span style="font-weight: normal;">La Plaine de Bellevue</span></span></h1>
<h1 class="obj-title">
<span style="font-size: x-small;"><span style="font-weight: normal;"><br /></span></span></h1>
</td></tr>
</tbody></table>
<div class="p1">
<span style="font-family: inherit;"><span style="font-family: inherit;"></span></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;">For centuries, the landscape has been a muse for
artists. </span>From real locations to imagined scenes, learn how legendary artists like
Cézanne, Monet, Renoir, and Rousseau have captured the beauty, mystery, and
experience of nature. Voted Best of Philly by <em>Philadelphia Magazine</em>,
this 90-minute tour offers an intimate Barnes experience on a day they’re closed
to the public. </span><br />
<br />
<span style="font-family: inherit;"><a href="http://www.barnesfoundation.org/programs/april2014/premier-tour2?type=Tours%2Band%2BTalks&month=139632480" target="_blank">check webite for price of tour</a></span><br />
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-90356151310239100952014-03-19T14:28:00.002-06:002014-03-19T14:28:53.041-06:00Recognizing St. Christopher<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisxgRhbjtRoRjgvR9gQ8JPtaARGlmMvr1dvipTcZ2F6uJRPeUMW-MEIYF7EF-GkXWW7oIYo3L0EcD7GyskKp0sbuix79GPA5PFIC3EHhf-RuMUCu5JIQK0Jml7JuBFjx2oA2KP/s1600/Christopher+icon2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisxgRhbjtRoRjgvR9gQ8JPtaARGlmMvr1dvipTcZ2F6uJRPeUMW-MEIYF7EF-GkXWW7oIYo3L0EcD7GyskKp0sbuix79GPA5PFIC3EHhf-RuMUCu5JIQK0Jml7JuBFjx2oA2KP/s1600/Christopher+icon2.jpg" height="320" width="124" /></a>The point of iconography is to identify biblical and
legendary characters in art. But for those of us who didn't a have a parochial education,
raised with exposure to the stories of the saints, the age-old attributes of many
biblical figures that we see in painting aren’t always all that helpful. </div>
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<br /></div>
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There are some telltale attributes that are always easy for
me to recognize, like St. Peter with his key, St Paul
with the sword of his martyrdom, St Catherine of Alexandria with a spiked wheel … but since I didn't grow up learning about the saints and their martyrdoms, there are very
many that aren’t lodged in my long-term memory. I depend on my <a href="http://www.amazon.com/Bible-Saints-Flammarion-Iconographic-Guides/dp/2080135643/ref=sr_1_7?s=books&ie=UTF8&qid=1395258804&sr=1-7&keywords=Flammarion+Guide" target="_blank">FlammarionIcnographic Guide to the Bible and the Saints</a>.<span style="mso-spacerun: yes;"> </span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVjk3odlXRxXwKxGDV4HpEKOvyFILyepsGKguKmoJA4nk0FlwYeKDLXxm_XaPwzR0H1JQEEJylRL9UBsPyd1M7pUw1Vy8Gi-eMK7vJ89i7g-SJaCtKFleILBIDn3jttxEicy2O/s1600/St.+Christopher+Descent+detail+Rubens+OLCA.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVjk3odlXRxXwKxGDV4HpEKOvyFILyepsGKguKmoJA4nk0FlwYeKDLXxm_XaPwzR0H1JQEEJylRL9UBsPyd1M7pUw1Vy8Gi-eMK7vJ89i7g-SJaCtKFleILBIDn3jttxEicy2O/s1600/St.+Christopher+Descent+detail+Rubens+OLCA.jpg" height="320" width="113" /></a>As the patron saint of travellers, St Christopher is perhaps
one of the most widely-recognized: <span style="mso-spacerun: yes;"> </span>identified
in art as an outsized man carrying an small child on his shoulder. The iconography
stems from the legend, popularized in the 13<sup>th</sup> century, in which a
Canaanite named Reprobus, who was 5 cubits (7.5 feet) tall, decided to seek out
and serve "the greatest king there was". <span style="mso-spacerun: yes;"> </span>After attaching to two or three kings who
proved themselves to not be the greatest, Reprobus met a hermit who instructed
him in the Christian faith and suggested that because of his size and strength he
could serve Christ by assisting people to cross a dangerous river. </div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;">
</span><span style="font-size: small;"><span>Soon after Reprobus began providing this
service, a small child asked him to carry him across the river. During the
crossing, the river became swollen and the child became increasingly heavy, so
much that Christopher could scarcely carry him. When he finally reached the
other side, he said to the child: "You have put me in the greatest danger.
I do not think the whole world could have been as heavy on my shoulders as you
were." The child replied: "You had on your shoulders not only the
whole world but Him who made it. I am Christ your king, whom you are serving by
this work." The child then vanished. <span> </span></span></span><br />
<br />
<span style="font-size: small;">
</span><span style="font-size: small;"><span>The legend tells us that henceforth Reprobus
was known as Christopher, meaning "Christ-bearer". <span></span><span></span><a href="http://en.wikipedia.org/wiki/Saint_Christopher" target="_blank">Wikipedia</a> has an interesting entry about the historical figure – a soldier in a Roman military
cohort in Northern Africa </span></span><span style="font-size: small;"><span>–</span></span><span style="font-size: small;"><span><span> </span>who may have been merged into this legend.</span></span><br />
<br />
<span style="font-size: small;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1CogW-r-5wFuC5dZ6yoYU0W43CTEhiFDJYYsH7xLIpsSDe3vGi4tSV2Hfgy0CI6TEo1JO5TmWTyuW5ABytZZPhuftRV-6dILk9JhD8BrStscORhUF6fStqx3xul56xq67renA/s1600/St+Christopher_dog+headed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1CogW-r-5wFuC5dZ6yoYU0W43CTEhiFDJYYsH7xLIpsSDe3vGi4tSV2Hfgy0CI6TEo1JO5TmWTyuW5ABytZZPhuftRV-6dILk9JhD8BrStscORhUF6fStqx3xul56xq67renA/s1600/St+Christopher_dog+headed.jpg" height="320" width="248" /></a></div>
<div class="MsoNormal">
<span style="font-size: small;">Today I came across a figure identified as St. Christopher …
dressed as a Roman soldier with the head of a dog atop his neck … with no sign
of a river and no child perched on his shoulder. Misattribution was unlikely: painted
on the panel adjacent to the figure’s halo, clear as day (?!), it says <span lang="EL">Ἅγιος Χριστόφορος</span>, Greek
for St. Christopher. <span> </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;">
</span><span style="font-size: small;"><span>Uh oh.<span>
</span>My RC-centric Flammarion Guide says nothing about a dog-headed (cynocephalic)
Christopher. </span></span><br />
<br />
<span style="font-size: small;"><span>But a little delving led me to the website of the <a href="http://museumofrussianicons.org/research/index.php?cID=310" target="_blank">Museum of Russian Iconography</a> in Clinton
MA. The museum has recently acquired this miniature
icon depicting St. Christopher with a dog's head, wearing gilded armor and a
red cape. Scholars believe that the Latin words for Canaanite (Cananeus) and
"dog-like" (canineus) may have been confused in early translations,
making St Christopher a fearsome warrior for the Christian faith. While the dog-headed
legionnaire iconography became standard in the art of the Eastern Orthodox
church, it never took hold in the Roman Catholic west, replaced by the
Christ-bearer image. </span></span><br />
<br />
<span style="font-size: small;">
</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgah_NlJwn1Zv-E6arqTUaKgj0vVBf9Nnkd_oVyxfC0fansscHNfiv4kXCNE5_FC3LI9G5irdCTAlvBV5lmynXh5QEf6leSrBhFIdw3Cy8qKIntZZq8dKtdCGef_8dbZP_zBQXW/s1600/St+Christopher+East+meets+West.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgah_NlJwn1Zv-E6arqTUaKgj0vVBf9Nnkd_oVyxfC0fansscHNfiv4kXCNE5_FC3LI9G5irdCTAlvBV5lmynXh5QEf6leSrBhFIdw3Cy8qKIntZZq8dKtdCGef_8dbZP_zBQXW/s1600/St+Christopher+East+meets+West.jpg" height="140" width="200" /></a><span style="font-size: small;"><span>To the right is an extremely rare icon in which East meets West, showing a dog-headed St. Christopher bearing Christ on his shoulder. </span></span><br />
<br />
<span style="font-size: small;"><span>Incidentally, in the museum's miniature icon (shown above), the figure with the cynocephalic Christopher is identified as St. Stephen. Stephen was a deacon who was expelled from town and stoned to death. Here is wears his usual dalmatic and stole, but the expected stones of his martyrdom are missing. In their stead he holds a censer and a model of a fortified town ... unusual attributes in my experience. More delving required ...! </span></span><br />
<span style="font-size: small;"><span><br /></span></span>
<span style="font-size: small;"><span><br /></span></span>
<span style="font-size: small;"><span><br /></span></span>
<span style="font-size: small;"><span><br /></span></span>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-75737674112342367572014-03-14T10:51:00.001-06:002014-03-14T10:52:21.357-06:00Alert: Winged Victory Under Restoration<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTlbOLz484uv5i2TIOp9WLu1sXaCho3gkVvc1uIQZG3Xc2-VAj_jovYkgeDtm7nTiql6w82YHLLoO1N6s14AN_EDsJaaBfmycuA0LInERqIhYwDwc_jbns8iQB7luYmjoM5GZa/s1600/Winged+Victory.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTlbOLz484uv5i2TIOp9WLu1sXaCho3gkVvc1uIQZG3Xc2-VAj_jovYkgeDtm7nTiql6w82YHLLoO1N6s14AN_EDsJaaBfmycuA0LInERqIhYwDwc_jbns8iQB7luYmjoM5GZa/s1600/Winged+Victory.jpg" height="320" width="241" /></a>The Winged Victory of Samothrace is undergoing restoration at the <a href="http://www.louvre.fr/en/homepage" target="_blank">Louvre Museum</a> in Paris. The current word is that it will be unveiled sometime this summer.<br />
<br />
The Winged Victory is a phenomenon of Hellenistic sculpture. The statue of a winged female figure—the messenger goddess <i>Victory</i> (<i>Nike</i> in Greek)—stands atop a base shaped like the prow of a ship. The monument measures just over 18 feet 3 in in height.<br />
<br />
The monument was sculpted in the 2nd century BC in white Paros marble. It was created as an offering in the <i>Sanctuary of the Great Gods</i> on the island of Samothrace following a naval battle. Spreading her tremendous wings, the goddess announces the victory. The figure wears a sheer chiton and a cloak that swirls and falls in deep folds. The massive base and pedestal are sculpted from grey white-veined marble from the quarries of the island of Rhodes, a darker color that contrasts with the white marble of the statue. The incredible ingenuity in the construction of this masterpiece shows the artist to be of extraordinary talent.<br />
<br />
The <i>Victory</i> was discovered in April 1863 by the French consul and amateur archaeologist Charles Champoiseau, who sent it to Paris in the same year. The monumental yet airy Daru staircase was built to link the Denon and Sully wings of the Louvre, and in 1884 the Winged Victory was positioned at the top landing and unveiled to the public. <br />
<br />
For anyone interested in the process of restoring such an important antiquity, there is an interesting <a href="http://www.louvresamothrace.fr/en/#/actualite/?news=01-10-2013" target="_blank">explanatory slideshow</a> on the museum website. The staircase will be under renovation until Spring of 2015.Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-6732232191373859342014-03-13T13:49:00.003-06:002014-03-13T13:57:01.681-06:00Three Historic House Art Museums<span style="color: #76a5af;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">In Chicago</span></span></b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"></span><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The Driehaus Museum</span></span></b><span style="font-family: Arial,Helvetica,sans-serif;"></span><i><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span></i><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Housed in a grand residential building of 19th-century Chicago which was </span><span style="font-family: Arial,Helvetica,sans-serif;">the Gilded Age
home of banker Samuel Mayo Nickerson</span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-size: x-small;">. The galleries feature surviving furnishings paired with
elegant, historically-appropriate pieces from the Driehaus Collection of Fine
and Decorative Arts, including important works by such celebrated designers as
Herter Brothers and Louis Comfort Tiffany.</span> </span></span><br />
<br />
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<br />
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<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: windowtext;">Through June 29, 2014 </span></span></span></b></div>
<div class="MsoNormal">
<b><i><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: windowtext;"><a href="http://www.driehausmuseum.org/exhibitions" target="_blank">Louis Comfort Tiffany: Treasures from the Driehaus Collection</a> </span></span></span></i></b></div>
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<b><br /></b></div>
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<div class="separator" style="clear: both; text-align: center;">
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<![endif]-->Louis
Comfort Tiffany worked in nearly all media available to artists and designers
in the late 19th and early 20th centuries — glass, ceramic, metalwork, jewelry,
and painting. More than
60 objects are on view.</span></span><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: windowtext;"> </span></span></span></b></div>
<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span></b><br />
<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: #76a5af;"><b>In Glens Falls,
NY</b></span> </span></span></div>
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<![endif]--><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;">Historic Hyde
House </span></span></span></b></div>
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<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;"><span style="font-size: x-small;">Housed in an American Renaissance mansion built in 1912. The collection includes Rembrandt, Rubens, Picasso, Renoir, and Hassam.</span> </span></span></span></b></div>
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<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;"> </span></span></span><span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></span></span></b></div>
<div class="MsoNormal">
<b><span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Through May 11, 2014<i> </i></span></span></span></b></div>
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<span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i><a href="http://www.hydecollection.org/exhibitions/" target="_blank"><b>Winter Light: Selections from theCollection of Thomas Clark</b></a> </i></span></span></span></div>
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<span style="font-family: Arial;">A selection of approximately
twenty winter landscape paintings, including the work of Aldro Thompson
Hibbard, Hobart Nichols, Ernest Lawson, Arthur James Emery Powell, Arthur
Clifton Goodwin, and Walter Koeniger. In the early twentieth century, winter
scenes emerged as a major genre for American landscape painters as artists sought
to express the special quality of a local place through the luminescent effects
of bright, winter light and its reflective colors.</span><span style="font-family: Arial;"> </span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_LeLt8W18fcxC0612xcK94shE5oBgVMkVDMSntMNp77S9GcoQTkrTTcu4VOBuXRvQs4CeWBCKUmySfwp7ZlC9f_mKAVWL3V6WjjfjuctznLvBAxQH-USczD5VXfwyR65t_2q/s1600/Arthur+James+Emery+Powell.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_LeLt8W18fcxC0612xcK94shE5oBgVMkVDMSntMNp77S9GcoQTkrTTcu4VOBuXRvQs4CeWBCKUmySfwp7ZlC9f_mKAVWL3V6WjjfjuctznLvBAxQH-USczD5VXfwyR65t_2q/s1600/Arthur+James+Emery+Powell.jpg" height="115" width="200" /></a><br />
<br />
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<span style="font-size: x-small;"><span style="font-family: Arial;">Arthur James Emery
Powell </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">(American, 1864-1956)</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;"><i>Winter Landscape</i>, ca. 1930, </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">oil on canvas, 20 1/4
x 24 1/4 in</span></span></div>
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<span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Through April 20, 2014</span></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;"><span style="font-size: small;"><b> </b></span></span></span><span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<span style="font-weight: normal;"></span><div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;"><span style="font-size: small;"><a href="http://www.hydecollection.org/exhibitions/" target="_blank"><i><b>Ansel Adams: Early Works</b></i></a> <span style="font-weight: normal;">and </span></span><a href="http://www.hydecollection.org/exhibitions/" target="_blank"><i><b><span style="font-size: small;">Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography</span></b></i></a></span></span></div>
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<span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
Forty early works by legendary master of American landscape photography, Ansel
Adams, will offer a fresh look at key images by the artist from the 1920s
through the 1950s. </span></span></span></div>
<span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span></span><div class="MsoNormal">
<span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><span style="font-weight: normal;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Also, original masterworks from an
international circle of painterly photographers know as the Photo-Secession. In
the first years of the 1900s, the artists broke away from the
mainstream use of the camera as a tool for mechanical reproduction and embraced
a new style that emphasized the role of craftsmanship.</span></span></span></div>
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<span style="font-size: small;"><b><span style="color: #76a5af;"><span style="font-family: Arial;">In Rockland</span></span><span style="font-family: Arial;"><span style="color: #76a5af;">, ME</span> </span></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: Arial;">Farnsworth Art Museum </span></b></span></div>
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<![endif]--><span style="font-size: small;"><span style="font-family: Arial;"><span style="font-size: x-small;"><span style="font-family: Arial;">The museum has </span>20,000
square feet of gallery space and more than 10,000 works in the collection. One of the
nation's largest collections of works by sculptor Louise Nevelson. Its Wyeth Center
features works of Andrew, N.C. and Jamie Wyeth</span>.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial;">Through April 27, 2014 </span></span></div>
<span style="font-size: small;">
</span><br />
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<span style="font-size: small;"><span style="font-family: Arial;"><a href="http://farnsworthmuseum.org/current-exhibitions" target="_blank"><i><b>19th-Century Perspectives:People & the Land</b></i></a></span></span> </div>
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<span style="font-size: small;">
</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoLNFqRvcSaIk8W1XQGg6g8lKZ8CNftMhuK4PziTeD_6HQJuzWglGopHKvkUpq1vdWIRY8lULiG6T-HUy9U0X5jaglG0fIhFBojWCCUek-PGo6cAn-5uxNBhxzWFuMty1oNftc/s1600/Josselyn+Winter-Scene.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoLNFqRvcSaIk8W1XQGg6g8lKZ8CNftMhuK4PziTeD_6HQJuzWglGopHKvkUpq1vdWIRY8lULiG6T-HUy9U0X5jaglG0fIhFBojWCCUek-PGo6cAn-5uxNBhxzWFuMty1oNftc/s1600/Josselyn+Winter-Scene.jpg" height="158" width="200" /></a><span style="font-size: small;"><span style="font-family: Arial;">As 19th century artists drew creative
inspiration from the environment, </span></span><span style="font-size: small;"><span style="font-family: Arial;">melding of the real with the ideal</span></span><span style="font-size: small;"><span style="font-family: Arial;">, these works offer us a view of the compositional and conceptual ideas of the time. . </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;"> E Josselyn </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;"><i>Untitled Winter
Scene</i>, 1885 </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">Oil on canvas 25 3/8" x 33 1/2"</span></span></div>
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<span style="font-family: Arial;">Through December 31, 2014 </span></div>
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<a href="http://farnsworthmuseum.org/current-exhibitions" target="_blank"><b><i><span style="font-family: Arial;">Ideals of Beauty: The Nude</span></i></b></a></div>
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<span style="font-family: Arial;">From the holdings of the Farnsworth Art Museum, the exhibit presents the nude, as it explores the ideal of beauty. From the fluid, classical
sensuality of John Adams Jackson’s Eve to the soft intimacy of George Bellows Girl
on a Flowered Cushion, to the austere aggressiveness of Leonard Baskin’s Apollo,
to the overt sensuality of Emil Ganso’s Lingerie, to Neil Welliver’s whimsical Floating
Women.</span></div>
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<span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0tj3AbeONF0ZSoNX2lC_o1XcSAdo99b3v8vF5MpaA6cMvOuJswCIruETKXm8HT1x6kRUbO7mNguaBVBObd_gtA34I8bCeatoiT-mamItlzocQSpWfxx6wOo_N7WMV1R14LBB/s1600/Ganso+Lingerie+Ideals-of-Beauty.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0tj3AbeONF0ZSoNX2lC_o1XcSAdo99b3v8vF5MpaA6cMvOuJswCIruETKXm8HT1x6kRUbO7mNguaBVBObd_gtA34I8bCeatoiT-mamItlzocQSpWfxx6wOo_N7WMV1R14LBB/s1600/Ganso+Lingerie+Ideals-of-Beauty.jpg" height="158" width="200" /></a><span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">Emil Ganso </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">American, b.1895, d.1941) </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;"><i>Lingerie</i>, 1932 Color </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">lithograph 16 x 21 1-2" </span></span></div>
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<br />Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-76356397493440787112014-03-12T17:49:00.005-06:002014-03-12T17:49:44.520-06:00Temporary Art Exhibits In Cincinnati<!--[if gte mso 9]><xml>
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<b><span style="font-family: Arial;">At the Cincinnati Art Museum</span></b></div>
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<a href="http://www.cincinnatiartmuseum.org/explore/exhibitions/current-exhibitions" target="_blank"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Genius and Grace: François Boucher and the Generation of 1700 </span></i></b></a></div>
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<span style="font-family: Arial;">through May 11, 2014</span></div>
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<span style="font-family: Arial;">More than seventy
master drawings by a group of artists known as “The Generation of 1700.” This group
of artists born in or around the year 1700, includes François Boucher,
Charles-Joseph Natoire, and Jean-Baptiste-Siméon Chardin. Their work epitomizes
the French grand manner: from Boucher’s sumptuous reclining female nude, to a
rare, early pastel by Chardin, to a mature self portrait by theDirector of the French Academy,
Charles Coypel. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFrsscwzzLtrAJ38mdsRphGmiUwPzCAZVsQCdiwQskAjELCZynCMBI8EmrayqusYgC2bOhPu_i7rwqAjx8_KIu3U4Kp8IeK__eBYRsZ4pqwme8RNJzmiuWGIA2xh8DUgKNkNVP/s1600/Boucher+genius_and_grace.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFrsscwzzLtrAJ38mdsRphGmiUwPzCAZVsQCdiwQskAjELCZynCMBI8EmrayqusYgC2bOhPu_i7rwqAjx8_KIu3U4Kp8IeK__eBYRsZ4pqwme8RNJzmiuWGIA2xh8DUgKNkNVP/s1600/Boucher+genius_and_grace.jpg" height="136" width="200" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">François Boucher
(1703–1770), Recumbent Female Nude, circa 1742–43, red chalk, heightened with
white chalk, The Horvitz Collection, Boston
</span></span></div>
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<b><span style="font-family: Arial;">At the Taft Museum
of Art </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"><a href="http://www.taftmuseum.org/?page_id=196" target="_blank">Threads of Heaven: Silken Legacy of China’s LastDynasty</a><br />
</span></b><span style="font-family: Arial;">through May 18, 2014</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcA7PZriUAjBd5BOIcU8DJKlkAHwprHkC1OF9j80rPP_QhP2QZIydX6vhSEabfgMQlvpch02cv5AzWVdFosyIXr5pVZHoKNYQ69sxM0ciYyq1SPcH9MXkQcYUBafG1wF54d_0/s1600/Imperial+Manchu+Robe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcA7PZriUAjBd5BOIcU8DJKlkAHwprHkC1OF9j80rPP_QhP2QZIydX6vhSEabfgMQlvpch02cv5AzWVdFosyIXr5pVZHoKNYQ69sxM0ciYyq1SPcH9MXkQcYUBafG1wF54d_0/s1600/Imperial+Manchu+Robe.jpg" height="175" width="200" /></a><span style="font-family: Arial;">A selection of exquisitely
embellished robes, accessories, and textiles from the Qing dynasty. These
rarely seen items include imperial silk robes, hats, fans, sleeve bands, rank
badges, jewelry, shoes, and wall hangings. The exhibition will provide an
enriched context for the Taft’s porcelains, which share a number of decorative
motifs and symbols with the visiting objects. </span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">I</span><span style="font-family: Arial;">mperial Manchu Man’s
Semiformal Court Robe with Twelve Symbols of Sovereignty, China,
1850–1875, woven silk and metal thread tapestry. Denver Art Museum
Neusteter Textile Collection</span></span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><b>Also at the Taft Museum
of Art </b> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"><a href="http://www.taftmuseum.org/" target="_blank">Small Paintings from the Taft Collection</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtA-vhhovxgX5TixgLd3Rn7hyphenhyphenF41aLEP6IDoMeP40pXwHMCv37l-Uts8EHs3p5la3UEZQ7vZJqk2vcRK1W4fMrS8lYNI1mEM6-Y0hSyvDKWRc92V9d7pHwWJC74rJ7r2oj-Fjq/s1600/Duveneck_Italian-Girl_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtA-vhhovxgX5TixgLd3Rn7hyphenhyphenF41aLEP6IDoMeP40pXwHMCv37l-Uts8EHs3p5la3UEZQ7vZJqk2vcRK1W4fMrS8lYNI1mEM6-Y0hSyvDKWRc92V9d7pHwWJC74rJ7r2oj-Fjq/s1600/Duveneck_Italian-Girl_.jpg" height="200" width="150" /></a><span style="font-family: Arial;">through June 22, 2014</span></div>
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<span style="font-family: Arial;">A group of diminutive oils
featuring landscape, portrait, and figure paintings by 18th- and 19th-century
artists from the United States,
France, and Holland. </span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">Frank Duveneck, An Italian
Woman, about 1880, oil on panel.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial;">Taft Museum of Art, </span></span></div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-47008768132037758162014-03-12T11:27:00.002-06:002014-03-12T11:27:51.845-06:00New Look, New Directions<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kfxlXft_9emV8kdxigyhyphenhyphen1PXc8MFKwXM7y9hpFnUGdZmLj7_6pK2Oee9Ygd1j_shuvekLDuQBcQEUcU-InsL6xWo36VYjIjJoyslYOdeB3qwbJzZigcBAFfsYBRWOyLXDBoX/s1600/eyeball+in+Chicago.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1kfxlXft_9emV8kdxigyhyphenhyphen1PXc8MFKwXM7y9hpFnUGdZmLj7_6pK2Oee9Ygd1j_shuvekLDuQBcQEUcU-InsL6xWo36VYjIjJoyslYOdeB3qwbJzZigcBAFfsYBRWOyLXDBoX/s1600/eyeball+in+Chicago.jpg" /></a>I've been blogging about art-related things that interest me for seven and a half years! Haven't always posted regularly, by any means ... this is only my 120th entry. The will to post seems to come over me in random spurts. I'm in a spurt right now.<br />
<br />
Browsing around blogspot I've found that there are a lot of features they didn't offer when I got started in 2006. And I've learned that my old template is no longer supported ... which may explain why I have been having so much trouble getting spacing and font-size selections to stick!<br />
<br />
So ... a new look and an new feature: Now you can follow my blog by entering your email so new posts will automatically appear in your inbox.<br />
<br />
I've also recently started posting information about special temporary exhibits that are on display in museums around the US and abroad. If you're looking for a weekend get-away, this could give you ideas!<br />
<br />
I'd love it if you would sign up to follow my blog! <br />
<br />
<br />
<br />Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-54153410169808428212014-03-11T16:25:00.003-06:002014-03-11T16:27:46.767-06:00Notable Contemporary Art Exhibits: East,West and Mid U.S.<!--[if gte mso 9]><xml>
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<span style="font-size: large;">New York City</span></div>
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At MOMA</div>
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through June 8th</div>
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<a href="http://www.moma.org/visit/calendar/exhibitions/1418" target="_blank"><b>Gauguin: Metamorphoses </b></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkj3bKZEvg1mwgCS1oJvkd4t32J0nedfCEtA-eX8PMbLqgCCCQCovPJ8RyxZcC-aTEcwtLMxDdvdL37hqKxxHd762H2enPUsv1UW6JLAsOZ9xpBQ1z9L5vxf3-OkxlR99bdmUC/s1600/Gaugin+Metamorphoses+MOMA_Catalogue.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkj3bKZEvg1mwgCS1oJvkd4t32J0nedfCEtA-eX8PMbLqgCCCQCovPJ8RyxZcC-aTEcwtLMxDdvdL37hqKxxHd762H2enPUsv1UW6JLAsOZ9xpBQ1z9L5vxf3-OkxlR99bdmUC/s1600/Gaugin+Metamorphoses+MOMA_Catalogue.jpg" height="200" width="200" /></a>Focuses on Paul Gauguin’s rare prints and transfer
drawings, and their relationship to his better-known paintings and sculptures
in wood and ceramic. Approximately 150 works, including some 120 works on paper
and a selection of some 30 related paintings and sculptures, it is the first
exhibition to take an in-depth look at this overall body of work.</div>
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Created in several discreet bursts of activity from 1889
until his death in 1903, these remarkable works on paper reflect Gauguin’s
experiments with a range of media, from radically “primitive” woodcuts to
jewel-like watercolor monotypes and large, mysterious transfer
drawings. Gauguin’s creative process often involved repeating and
recombining key motifs from one image to another, allowing them to evolve and
metamorphose over time and across media. </div>
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Also at MOMA </div>
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through June 1, 2014</div>
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<b><a href="http://www.moma.org/visit/calendar/exhibitions/1448" target="_blank">Frank Lloyd Wright and the City: Density vs. Dispersal</a> </b><span style="mso-spacerun: yes;"> </span></div>
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Celebrates the recent joint acquisition of Frank Lloyd
Wright’s extensive archive by MoMA and Columbia University’s
Avery Architectural and Fine Arts Library. Through an initial selection of
drawings, films, and large-scale architectural models, the exhibition examines
the tension in Wright’s thinking about the growing American city in the 1920s
and 1930s, when he worked simultaneously on radical new forms for the
skyscraper and on a comprehensive plan for the urbanization of the American
landscape titled “Broadacre
City.” <span style="mso-spacerun: yes;"> </span></div>
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Highlighting Wright’s complex relationship to the city, the
material reveals him to have been a compelling theorist of both its horizontal
and vertical aspects. His work, in this way, is not only of historic importance
but of remarkable relevance to current debates on urban concentration. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkNLU7brGtQo0NTPjBIq1zvQQ6Om-UGB7Y_7Bz2KbszUjZTYYELp3uNG_oqQ4_JH45aaOvD42YY5i5-NbAIsODeS9XEdlmZHu4hlgB24cVTHxNTSwe_fZFg4uoWRijaHuXNHl7/s1600/Georges+de+Feure+lithograph.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkNLU7brGtQo0NTPjBIq1zvQQ6Om-UGB7Y_7Bz2KbszUjZTYYELp3uNG_oqQ4_JH45aaOvD42YY5i5-NbAIsODeS9XEdlmZHu4hlgB24cVTHxNTSwe_fZFg4uoWRijaHuXNHl7/s1600/Georges+de+Feure+lithograph.JPG" height="200" width="143" /></a><span style="font-size: large;">Los Angeles</span></div>
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At The Hammer Museum <span style="mso-spacerun: yes;"></span> </div>
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through May 18, 2014</div>
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<a href="http://hammer.ucla.edu/exhibitions/detail/exhibition_id/245" target="_blank"><b>Tea and Morphine: Women in Paris, 1880 to 1914 </b></a><br />
<b></b></div>
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Approximately 100 works, including prints as well as rare
books and ephemera (such as menus, theater programs, and music scores). This
array of objects gives the exhibition an intimate quality, revealing much about
how women – and men – lived their lives during a time of great social upheaval
and artistic innovation.<span style="mso-spacerun: yes;"> </span></div>
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Whether as angelic creatures or exotic lures, women filled
the imaginations of artists and were a frequent subject of fin-de-siècle art.
Those who had leisure time were depicted relaxing with an afternoon cup of tea,
as seen in a Mary Cassatt etching, whereas other artists portrayed the drug
addiction common to women facing harsh economic realities. <br />
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Also at The Hammer Museum <span style="mso-spacerun: yes;"></span> </div>
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through May 18, 2014 </div>
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<b><a href="http://hammer.ucla.edu/exhibitions/detail/exhibition_id/244" target="_blank">Take It or Leave It: Institution, Image, Ideology </a></b> </div>
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Focuses on the intersection of two important genres of
contemporary art: appropriation (taking and recasting existing images, forms,
and styles from mass-media and fine art sources) and institutional critique
(scrutinizing and confronting the structures and practices of our social,
cultural, and political institutions). The exhibition brings together works by
thirty-six American artists who came to prominence between the late 1970s and
the early 1990s.<span style="mso-spacerun: yes;"> </span><br />
The majority of the works on view are from the 1980s and 1990s, a
groundbreaking period that was shaped by the feminist and civil rights
movements of the previous decades. Conscious of the profound impact on society
of mass media such as television, newspapers, and film, artists examined
critical questions of identity and representation via politically and socially
engaged practices. </div>
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<span style="font-size: large;">San Francisco</span></div>
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NEWS:<span style="mso-spacerun: yes;"> </span>the <a href="http://www.sfmoma.org/our_expansion" target="_blank">SFMOMA</a> building is closed for <span style="color: black;">expansion</span> through early 2016. But
in the interim, you can experience SFMOMA's exhibitions and events at locations
around the Bay Area. Check the <a href="http://www.sfmoma.org/exhib_events" target="_blank">website</a> for info.
</div>
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<span style="font-size: large;">Chicago</span></div>
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At the Museum of Contemporary Art through Jun 15, 2014</div>
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<a href="http://www.mcachicago.org/exhibitions/now/2013/333" target="_blank"><b>MCA DNA: Warhol and Marisol </b></a><b> </b></div>
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<b> </b>The 1960s were important years for artists and friends Andy
Warhol (American, 1928–1987) and Marisol (Marisol Escobar, American, b. France,
1930), and marked a formative period in the development of their individual
careers. Warhol began using his celebrated silk screen techniques to produce
serial paintings, often based on mass media images. Marisol made the first of
many portraits and developed her signature style, wooden sculptures with flat
painted surfaces and additional elements such as everyday objects or plaster
castings. Both were prominent figures in New
York City’s lively art scene during this time. </div>
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Inspired by the multifaceted relationship of these two
artists, the show presents a focused selection of their works, side-by-side. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_0MCEyizHaX83YYAlWz6zil8EYi6Fo57N7DtgqVhncUIeLq-m1NNjOF6Mn8XQjYWHCBf7MjfumDSs6FNuyhaoA0iiuQ9ffraRSQmde9wVDZa-oUKAAJL03MIgxooGHgk-h8-r/s1600/Calder.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_0MCEyizHaX83YYAlWz6zil8EYi6Fo57N7DtgqVhncUIeLq-m1NNjOF6Mn8XQjYWHCBf7MjfumDSs6FNuyhaoA0iiuQ9ffraRSQmde9wVDZa-oUKAAJL03MIgxooGHgk-h8-r/s1600/Calder.jpg" height="161" width="200" /></a></div>
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Also at the Museum of Contemporary Art </div>
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through Aug 17, 2014 </div>
<span style="mso-spacerun: yes;"> </span><b><a href="http://www.mcachicago.org/exhibitions/now/2013/334" target="_blank">MCA DNA: AlexanderCalder </a></b><br />
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Traces the development of the artist’s ideas over a
fifty-year career, in particular, his exploration of how art can move in
response to its physical environment. The exhibition presents examples of
Alexander Calder’s (American, 1898–1976), mobiles, stabiles, and works on paper
dating from the 1920s to the 1970s—a selection of the museum’s in-depth
holdings of the seminal artist’s work. </div>
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Trained as an engineer, Calder applied his knowledge of
mechanics to colorful abstract shapes. Activated by air currents, his dynamic
mobiles are ever-changing compositions. Marcel Duchamp invented the word mobile
to describe Calder’s revolutionary work. </div>
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<span style="font-size: large;">Minneapolis</span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFvw0ytLRFl6biFkMxTkvBWdGdzmKBT9BvvMqpchUmd0A136102T_6AX_PYefjl9P_bwLxEcz4YHS-nJMGBGRwYsN7lAqc5tktHVXdOVrV7Knat_NSt5rffG_mpNPEo5XazzPw/s1600/hopper-drawing-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFvw0ytLRFl6biFkMxTkvBWdGdzmKBT9BvvMqpchUmd0A136102T_6AX_PYefjl9P_bwLxEcz4YHS-nJMGBGRwYsN7lAqc5tktHVXdOVrV7Knat_NSt5rffG_mpNPEo5XazzPw/s1600/hopper-drawing-2.jpg" height="200" width="152" /></a></span></div>
<br />
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At the Walker Art
Center </div>
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through June 20, 2014</div>
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<a href="http://www.walkerart.org/calendar/2014/hopper-drawing" target="_blank">Hopper Drawing: A Painter’s Process</a> </div>
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The first major museum exhibition to focus on the drawings
and creative process of Edward Hopper (1882–1967), surveys his significant and
underappreciated achievements as a draftsman. More than anything else, Hopper’s
drawings reveal the continually evolving relationship between observation and
invention in the artist’s work. Includes pairings of many of his greatest oil
paintings with their preparatory drawings and related works. </div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-80132419436673534772014-03-08T13:42:00.004-07:002014-03-08T13:54:51.461-07:00What's On At Boston's Museum of Fine Arts?<!--[if gte mso 9]><xml>
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<![endif]--><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><a href="http://www.mfa.org/news/advanced-exhibition-schedule#An%20Enduring%20Vision:%20Photographs%20from%20the%20Lane%20Collection">An</a></span></u></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><a href="http://www.mfa.org/news/advanced-exhibition-schedule#An%20Enduring%20Vision:%20Photographs%20from%20the%20Lane%20Collection"> Enduring Vision: Photographs from the Lane Collection</a></span></u><span style="color: windowtext;"> </span></span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through March 30, 2014</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">approximately 50 early 20th-century American photographs</span><u><span style="color: blue;"> </span></u></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><a href="http://www.mfa.org/news/advanced-exhibition-schedule#Elegant%20Contortions:%20Renaissance%20Prints">Elegant
Contortions: Renaissance Prints</a> </span></u> </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">through
<span style="color: windowtext;">March 30, 2014</span> </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Some 50 works from the MFA’s collection and select loans, focuses
on Italian printmakers of the 16th century</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEity49-LRpY_YrlTvfPsTSvkefLuyNifXDqoaBH2NCFqXPyLuIrKvgr9mkwJxOXvj61RmAYVH4oTehtmjXtnjKdALoFocwM6CUJd6vXte-2UeHPHORtG4Y1sboP6nbOqySWxWDj/s1600/Audobon+platypus.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEity49-LRpY_YrlTvfPsTSvkefLuyNifXDqoaBH2NCFqXPyLuIrKvgr9mkwJxOXvj61RmAYVH4oTehtmjXtnjKdALoFocwM6CUJd6vXte-2UeHPHORtG4Y1sboP6nbOqySWxWDj/s1600/Audobon+platypus.jpg" height="132" width="200" /></a><a href="http://www.mfa.org/news/advanced-exhibition-schedule#Audubon%E2%80%99s%20Birds,%20Audubon%E2%80%99s%20Words" target="_blank"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;">Audubon’s
Birds, </span></u></span></span></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.mfa.org/news/advanced-exhibition-schedule#Audubon%E2%80%99s%20Birds,%20Audubon%E2%80%99s%20Words" target="_blank"><u><span style="color: blue;">Audubon’s Words </span></u></a><span style="color: windowtext;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through May 11, 2014 </span></span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">some 30 works, including prints from the MFA’s copy of <i>The
Birds of America</i> and some smaller books by Audubon, to show the range of
his birds.</span></span></div>
<div class="MsoNormal">
<br />
<br /></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;"> </span></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJhF6bL1Dt1vIRguVyZORz1EaIv8ea09NEgYICpUWZ6LDmoHuy2qT3VAJF3qAIYO1KvKxs8RIl2QogrkHvp2lOELDNhcCSHIPCMJhdxsnT3AfH9IWFcl4Hctky1Onio8xhJPu8/s1600/Caillebotte+fruit.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJhF6bL1Dt1vIRguVyZORz1EaIv8ea09NEgYICpUWZ6LDmoHuy2qT3VAJF3qAIYO1KvKxs8RIl2QogrkHvp2lOELDNhcCSHIPCMJhdxsnT3AfH9IWFcl4Hctky1Onio8xhJPu8/s1600/Caillebotte+fruit.jpg" height="152" width="200" /></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><span style="color: blue;"><a href="http://www.mfa.org/exhibitions/boston-loves-impressionism">Boston
Loves Impressionism</a></span> </span></u><span style="color: windowtext;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through 26-May-14</span><u><span style="color: blue;"></span></u></span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">MFA's first “crowdsourced” exhibition - Boston’s 30 favorite Impressionist works of
art from the MFA collection</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><a href="http://www.mfa.org/exhibitions/think-pink">Think Pink </a></span></u><span style="color: windowtext;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through 26-May-14</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">Juxtaposes clothing, accessories, graphic illustrations, jewelry, and
paintings to shed light on changes in style</span></span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"></span></u></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;"></span></span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><a href="http://www.mfa.org/news/advanced-exhibition-schedule#American%20Gestures:%20Abstract%20Expressionism">American
Gestures: Abstract Expressionism</a></span></u><b> </b><b><span style="font-weight: normal;"> </span></b></span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-weight: normal;">through June 1, 2014</span></b> </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">30 drawings, prints, paintings, and sculpture from the late
1940s to the 1970s by Willem de Kooning, Robert Motherwell, David Smith, Mark
Tobey, Alfred Leslie, Jackson Pollock, Lee Krasner, and a number of others.</span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6K4v3zg4Fj6DzzXMajB9CfhXcNz9CFuoW3YCDPEBCvl-gSbcn_6yMQ7BE4BoHAEa6ujzbOdzz2a43OeIfsl7HCGUno60dQCZzeKmT7i_ZtqvIpMB2Ze1uMsCKtVPLO9SOM83w/s1600/japanese_printmaking.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6K4v3zg4Fj6DzzXMajB9CfhXcNz9CFuoW3YCDPEBCvl-gSbcn_6yMQ7BE4BoHAEa6ujzbOdzz2a43OeIfsl7HCGUno60dQCZzeKmT7i_ZtqvIpMB2Ze1uMsCKtVPLO9SOM83w/s1600/japanese_printmaking.jpg" height="150" width="200" /></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: blue;"><u><a href="http://www.mfa.org/news/advanced-exhibition-schedule#Japanese%20Printmaking">The
Creative Process in Modern Japanese Printmaking</a> </u></span><span style="color: windowtext;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through August 17, 2014</span> </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">20<sup>th</sup> century prints are shown together with
preliminary drawings, woodblocks, artists’ proofs, and variant versions printed
from the same blocks, highlighting the interplay of creativity and technique in
printmaking.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;"><a href="https://www.mfa.org/exhibitions/drawn-daily-life">Drawn to Daily
Life</a><a href="https://www.mfa.org/exhibitions/drawn-daily-life">: <i>Dutch
Drawings from the Maida and George Abrams Collection</i></a> </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">March 8, 2014 - July
6, 2014</span><span class="field-content"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="field-content">50 lively drawings and watercolors
by leading 17th-century Dutch artists</span></span> </span><br />
<span style="font-size: small;"> </span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="color: blue;"><a href="http://www.mfa.org/exhibitions/fired-earth-woven-bamboo">Fired
Earth, Woven Bamboo: Contemporary Japanese Ceramics & Bamboo Art</a> </span></u><span style="color: windowtext;"> </span></span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through 8-Sep-14</span></span></span></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: blue;"><u><a href="http://www.mfa.org/exhibitions/samba-spirit">Samba Spirit: Modern
Afro Brazilian Art</a></u></span><span style="color: windowtext;"><span style="color: blue;"><u> </u></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">through 19-Oct-14</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;">works by 20th-century Brazilian artists of mostly African descent</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: windowtext;"> </span></span></span></div>
Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0tag:blogger.com,1999:blog-32024645.post-65392346898098220652014-03-07T15:14:00.002-07:002014-03-07T19:10:06.576-07:00On the Under-Appreciated History of Drawing<!--[if gte mso 9]><xml>
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<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiegaGLAUGJKvk_QiYDl93meqMI0-Gwa8WB3665CqqMdmGM06b1cmJgAGwCOsapVk8bUZJjfGbRrofzaGaiaSWg5W0_hK3RYYuH8m0DrLsrpUqlbxjWyjYk5IEc0s3xxwr5FAzE/s1600/Zurbaran+again.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiegaGLAUGJKvk_QiYDl93meqMI0-Gwa8WB3665CqqMdmGM06b1cmJgAGwCOsapVk8bUZJjfGbRrofzaGaiaSWg5W0_hK3RYYuH8m0DrLsrpUqlbxjWyjYk5IEc0s3xxwr5FAzE/s1600/Zurbaran+again.jpg" height="200" width="160" /></a>That Santa Fe is a world-class art city was confirmed when I
learned last Fall that an exhibit of the Spanish drawings from the British
Museum would be making it’s only U.S. appearance at the <a href="http://nmartmuseum.org/" target="_blank">New Mexico Art Museum</a> in Santa Fe. Oh joy!<br />
<br />
I attended the <i>Renaissance to Goya</i> show the weekend it opened and promised
myself I’d go back when it was less crowded. Drawings need to be studied close
up, which is hard to do when there are a lot of others jostling to do the
same.<span style="mso-spacerun: yes;"> </span><br />
<br />
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<![endif]--><span style="font-family: inherit;"><span style="font-size: small;"><span style="color: black;">I did
finally return to it this past week … just days before the show closing on Sunday, March
9<sup>th</sup>.</span></span></span> Needless to say, there would have been fewer people at my
elbow had I got back in January, but I had an delightful 2 hours with the
drawings nonetheless.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQw-ho4ol8bl5m_a7OgDf9476LAyCLPVealZrU3VHx7RyGSEPKDqUEpIzMYQ9o6ELK7bP9EBLUEcx33pzoGkxAaJDBueJeqhJeiwAh6H_sie9AdHFCp_fbd7zz30RI2cp50Ywo/s1600/Ribera+drawing.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQw-ho4ol8bl5m_a7OgDf9476LAyCLPVealZrU3VHx7RyGSEPKDqUEpIzMYQ9o6ELK7bP9EBLUEcx33pzoGkxAaJDBueJeqhJeiwAh6H_sie9AdHFCp_fbd7zz30RI2cp50Ywo/s1600/Ribera+drawing.jpg" height="320" width="232" /></a>I hadn’t realized that art historians have long assumed that Spanish artists
didn't draw much and produced little in terms of prints. This show (organized
by Mark McDonald, curator of prints and drawings at the British Museum)
served to challenge that notion to some degree. While McDonald contends that Spanish
drawings are somewhat rare because they were not considered collectable works
of art in their time, he did gather more than 130 sketches and prints to
provide insight into four centuries of Spain's culture and history, including
Murillo, Zurbaran, Ribera and Goya. There were quite a few exquisite drawings
by artists I’ve not heard of before, as well as some by Tiepolo, who spent his last
decade in Madrid.<span style="mso-spacerun: yes;"><br /></span><br />
<br />
I’m sometimes amazed that <i>any</i> drawing on paper has managed to survive the
centuries. Indeed, many of these examples were marked with the stains and tears
and folds that occurred as they were used and reused, as teaching
tools and for developing compositions for paintings. The works in this show
ranged from exploratory sketches to highly finished and detailed drawings. Media included chalks, charcoal, and ink as well as engravings and lithographs. I
was intrigued by the juxtaposition of so many different ways of defining form
and of modeling.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVPICiU4rDKRGn8GbyjnBL2riQZBTz9PU-oCZdBl_KbFyHrQbBLUvS6uWELWLENGm_IMoouaBFNRQacrDM2dL4eWJ8mOAGC8vwBxFeEufN3IX5Kx1Z7uyeUh-3tIF9HALBV8qw/s1600/goya+image.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVPICiU4rDKRGn8GbyjnBL2riQZBTz9PU-oCZdBl_KbFyHrQbBLUvS6uWELWLENGm_IMoouaBFNRQacrDM2dL4eWJ8mOAGC8vwBxFeEufN3IX5Kx1Z7uyeUh-3tIF9HALBV8qw/s1600/goya+image.jpg" height="200" width="132" /></a><span style="font-size: 12.0pt;"><span style="font-family: inherit;"><span style="font-size: small;">In my experience, drawings
typically receive little attention in the teaching of art history. They are viewed as secondary to the real deal: paintings and sculpture. But maybe drawing should be considered the <i>first</i> art. As children we start expressing ourselves visually, by drawing. Art sudents have traditionally started to learn to see, by drawing. Composition is worked out through drawing. Buildings start out on paper, as drawings</span></span>. ...</span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Before going back to see the Renaissance
to Goya exhibit last week, I was googling around in an attempt to learn more about
drawing during the Renaissance. I came
across a website put together by Thomas Buser, a retired professor of Art
History. Titled simply, <a href="http://www.historyofdrawing.com/History_of_Drawing/Title_Page.html" target="_blank"><i>H</i></a><span class="style3"><a href="http://www.historyofdrawing.com/History_of_Drawing/Title_Page.html" target="_blank"><i>istory of Drawing</i></a>, Buser says it is “</span><span class="style4">a textbook and reference book available free
to anyone who loves drawings.” </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">It’s well worth a look if you
want to learn about the development of drawing style, materials, technique, and
purpose from the 15<sup>th</sup> through the 20<sup>th</sup> centuries. The many images
make it a really compelling resource. </span></span></div>
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Jane's Smart Arthttp://www.blogger.com/profile/15248746483295999254noreply@blogger.com0