La Collection Courtauld. Le parti de l'impressionnisme accompagne l'exposition majeure du printemps 2019 à la Fondation Louis Vuitton à Paris qui mettra en lumière l'industriel et mécène anglais Samuel Courtauld (1876-1947), l'un des plus importants collectionneurs du XXe siècle. Le catalogue et l'exposition présenteront son extraordinaire collection d'art impressionniste, qui n'a pas été vue à Paris depuis plus de soixante ans.
Courtauld constitua l'une des plus importantes collections d'art impressionniste au monde. Au cours des années 1920, il rassembla un ensemble exceptionnel de tableaux de tous les plus importants peintres impressionnistes, du chef d'oeuvre de jeunesse de Renoir, La Loge, à la dernière grande toile de Manet, l'emblématique Un Bar aux Folies-Bergère. Sa collection comprenait également Nevermore, le grand nu tahitien de Gauguin, et l'un des plus célèbres tableaux de Van Gogh, Autoportrait à l'oreille bandée, dont ce sera la première présentation à Paris depuis l'exposition organisée en 1955 au musée de l'Orangerie.
This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organized by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria & Albert Museum, from September to December 1946.
The 300 spectacular photographs in Call of the Blue are the culmination of a five-year project by photographer and ocean conservationist Philip Hamilton to witness and photograph marine life around the world. This groundbreaking and inspirational book showcases contributions from acclaimed scientists and notable ocean 'guardians' who share their lives, passions and exploits on, in or under the ocean and reveal what drove them to answer the call of the blue.
Chaim Soutine (1893-1943) produced some of the most powerful and expressive portraits of modern times. His ability to capture in paint the character, humanity and emotion of his sitters is the hallmark of Soutine's greatest work. The major exhibition at the Courtauld Gallery, London, focuses upon one of his most important series of portraits; his paintings of cooks, waiters and bellboys who sat for him in Paris and the South of France during the 1920s. These works helped to establish Soutine's reputation as a major avant-garde painter, seen by many as the twentieth centuryheir to van Gogh. This will be the fi rst time that this outstanding group of masterpieces has ever been brought together and it will be the fi rst exhibition of Soutine's work in London for over thirty years.
Soutine arrived in Paris as an émigré from Russia in 1913 and began a precarious existence as a penniless artist in Montparnasse living among fellow painters, such as Marc Chagall and Amedeo Modigliani. As part of this avant-garde coterie of artists, Soutine developed a highly original style that combined an expressive handling of paint with deep reverence for the Old Masters that he studied in the Louvre.
His portraits often appear both timeless and vividly modern. These qualities are exemplifi ed by the series of paintings of cooks, waiters and bellhops that he produced during the 1920s. These lowly and often-overlooked fi gures from Paris's fashionable hotels and restaurants, including the famous Maxim's, appealed to Soutine's sense that profound emotion and a deep sense of humanity could be found in such humble sitters. The contrast between their working uniforms and the individuality of their faces adds to the emotional charge of these extraordinary portraits. Soutine strived to achieve the most powerful eff ects of colour from the bold whites, reds and blues of their diff erent uniforms. When he started the series, Soutine was living in near-poverty as a struggling artist. These portraits helped to lift him out of these desperate circumstances as they were soon admired by friends and become prized by collectors. Today, they are considered among his greatest achievements.
This publication will bring together the most comprehensive group of these portraits. It will be a unique opportunity to experience the power and profound emotion of Soutine's art.
Fra Angelico transformed painting in Florence with his pioneering images.
Reuniting for the fi rst time his four ingenious reliquaries for Santa Maria Novella, this publication explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting.
Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston, this catalogue explores one of the most important artists of the Renaissance. Fra Angelico (c. 1395-1455) transformed painting in Florence with pioneering images, rethinking popular compositions and investing traditional Christian subjects with new meaning.
His altarpieces and frescoes set new standards for quality and ingenuity, contributing to Angelico's unparalleled fame on the Italian peninsula. With the intellect of a Dominican theologian, the technical facility of Florence's fi nest craftsmen and the business acumen of its shrewdest merchants, he shaped the future of painting in Italy and beyond.
The exhibition reunites for the fi rst time Fra Angelico's four reliquaries for Santa Maria Novella (1424-34; Isabella Stewart Gardner Museum and Museo di San Marco, Florence). Together they cover key episodes in the life of the Virgin Mary and capture in miniature some of his most important compositional innovations. Assembled at the Gardner with exceptional examples of Angelico's narrative paintings from collections in Europe and the United States, this exhibition explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting in Florence.
The Chester Beatty Library's 16th-century Ruzbihan Qur'an-produced in the city of Shiraz in southwest Iran-is one of the finest Islamic manuscripts known. In terms of both materials and workmanship, it is exquisite: lapis lazuli and gold, the two most expensive pigments available, are used on every page, while the rendering of the decoration is exceptionally fine. This is the most detailed and comprehensive study of any Islamic manuscript-and it is well worthy of such scrutiny.
Praised in a 16th-century account as one of the finest calligraphers of his time, Ruzbihan Muhammad al-Tab'i al-Shirazi would have produced numerous Qur'ans during the course of his career, but only five signed by him have survived. Much of the study of this, surely his finest manuscript, is focussed on understanding the processes and procedures involved in the production of the manuscript and thus on gaining an insight into the problems faced by Ruzbihan and the other artists and how they resolved them. Certain surprising and never-before-seen techniques of production and 'tricks-of-the trade' have been uncovered. A large portion of the information presented is the result of very close examination, under high magnification, of the manuscript's 445 folios (890 pages). Many of the reproductions included are of minute details of the decoration that are difficult, or even impossible, to see with the unaided eye.
The book follows the order in which work on the manuscript would have progressed, beginning with an examination of Ruzbihan's calligraphy, the various scripts he used to copy the text and the problems he faced, such as the spacing of the text and his errors and omissions. Additions, such as marginal notations, recitation marks and decorative devices indicating the divisions of the text, all of which guide the reciter in his reading of the Qur'an, are also considered.
Although the manuscript's renown has traditionally rested with the name of its calligrapher, it is equally the quality, extent, diversity and complexity of its superb decorative programme-the work of a team of highly skilled, yet anonymous artists and artisans-that sets the manuscript apart from most other 16th-century Persian Qur'ans.
Fittingly, therefore, the bulk of the study focuses on this aspect of the manuscript. Major aspects of the illumination, such as its lavish beginning, middle and end illuminations, are examined as well as more minor elements such as the 'rays' that emerge from the frontis- and finispiece; even the tiniest of details are revealed, such as what are, in the book, termed 'squiggles and eyes', hidden amongst the illuminations and a challenge to find for the even the most eagle-eyed viewer. However, while many of the secrets of the production of the manuscript were revealed, many mysteries remain. Chief among these is the startling change in aesthetic evident in the illuminations of the final ten openings of the manuscript. Why such as change was undertaken-and then halted-is not known. As was increasingly revealed as study of the manuscript progressed-and as the reader of the book will quickly come to realise-Chester Beatty's Ruzbihan Qur'an is an intriguing and very special manuscript.
The Antwerp painter Jan de Beer (c.1475-1527/28) was highly esteemed in his lifetime and still famous a couple of generations after his death, but then fell into oblivion until the early twentieth century. Only recently have his achievements been fully recognized and documented. The artist's known oeuvre consists of forty works, mainly devotional paintings and triptychs but also a dozen drawings and a stained glass window, after a lost design. De Beer's stylish and elegant art appealed to patrons and collectors, churches abroad, and copyists. His work is typically associated with that of the Antwerp Mannerists, a prominent group of mostly anonymous painters active in the city during his lifetime.
This lavishly illustrated book celebrates one of the most comprehensive and meticulously assembled private collections of Chinese export porcelain from the late Ming dynasty (1368-1644) made at Jingdezhen in Jiangxi province. The Lurie Collection, comprising about 170 porcelain pieces, contains examples that are exceptional not only for their aesthetic beauty and quality but also for their rarity or historical importance. This book makes a significant contribution to several fields of study, most notably those related to the production, design and trade of Jingdezhen export porcelain in the late 16th and early 17th centuries.
The Anglo-American artist James McNeill Whistler (1834 - 1903) is a household name - a man who inspired and astonished the Victorian world. Less well known, though, is the influence of nature on Whistler's work. This innovative and compelling study reconsiders Whistler's work from the context of his military service and his relationship with 'nature at the margins', showing how Whistler's observation of nature and its moods underpinned his haunting visions of nineteenth-century life.
Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston (14 February - 19 May 2019), this catalogue explores the work of legendary Renaissance painter Sandro Botticelli (about 1444-1510). Today the alluring and enigmatic Primavera forms the cornerstone of his modern fame, but its familiarity belies distant origins in the heady intellectual environment of Laurentian Florence and the residences of its moneyed elite. Part of a genre called spalliera, so named for their installation around shoulder (spalla) height, this type of painting introduced beautiful, strange, and disturbing images into lavish Florentine homes. With staggering originality, Botticelli reinvented ancient subjects for the domestic interior, paneling patrician bedrooms with moralizing tales and offering erudite instruction to their influential inhabitants.
At the center of this exhibition is a spalliera reunited, the Gardner's Tragedy of Lucretia and its companion The Tragedy of Virginia (Accademia Carrara, Bergamo). Together with extraordinary loans of the same genre from European and American public collections, Heroines and Heroes explores Botticelli's revolutionary approach to antiquity - from ancient Roman to early Christian - and offers a new perspective on his late career masterpieces.
Catalogue essays address Botticelli's spalliera (Nathaniel Silver), their violence (Scott Nethersole), his textual sources (Elsa Filosa), and rediscovery in Gilded Age Boston (Patricia Lee Rubin). Entries include new insights for each work and up-to-date bibliographies, while a special section features archival materials devoted to Gardner's pioneering acquisition of the first Botticelli in America.
The Dresden Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs of the Staatliche Kunstsammlungen Dresden), which has one of the greatest collections of prints and drawings in Europe, has particularly important and unique holdings of the work of the outstanding German graphic artist Käthe Kollwitz (1867-1945). Kollwitz formed a long association with Max Lehrs (1855-1938), a leading art historian and then the director of the Dresden Kupferstich-Kabinett, and Lehrs became Kollwitz's discerning supporter.
From 1898 Lehrs began buying Kollwitz's work systematically - which, in the Germany of Kaiser Wilhelm II, was a remarkable thing for a man in his position to do, considering that she was a woman artist with marked socialist leanings. Indeed the fi rst work he purchased for the Dresden Museum was her provocative cycle entitled The Weavers' Revolt. Lehrs went on to purchase more than 200 works for the Kupferstich-Kabinett, taking care to document their evolution. The Kupferstich-Kabinett holds a rich correspondence between Lehrs and the artist, which has been newly researched and analysed. Since Lehrs collected contemporary graphic art internationally - for example Whistler, Munch and Toulouse- Lautrec - the signifi cance he attached to Kollwitz's work is all the more telling: this renowned print scholar called her «one the greatest talents in the fi eld of the graphic arts».
The exhibition - and especially the catalogue - tell the circumstances and story of the earliest public holding of Kollwitz's work to be established and of Kollwitz's full development of her major themes - of war and death, of motherhood and love, and not least of self-portraiture, one of the most fascinating aspects of her oeuvre.
This relationship between artist and curator was and is exemplary for its time and our time, while the historical perspective and contextualization of these newly re-examined and freshly assessed works reveals new aspects of the artist, who should be much better known in the English-speaking world.
Sussex, the only place outside London where Blake ever lived, inspired a wide body of extraordinary work, done for new and existing patrons and ranging from the familiar to the rarely considered. Accompanying the fi rst exhibition devoted to the subject, William Blake in Sussex considers the collective signifi cance of the English county to the life and work of the the celebrated artist and writer.
Disillusioned with London life and struggling to make a living, Blake and his wife Catherine went in 1800 to live at the coastal village of Felpham, which the artist soon described as «the sweetest spot on earth». Providing his principal encounters with both English rural life and the coast, the artist's three years «on the banks of the ocean» informed his two greatest illustrated epic poems, Milton and Jerusalem, and continued to be refl ected in his work for the rest of his career:
«In Felpham», claimed Blake, «I saw and heard Visions of Albion».
In addition to the work associated with Felpham, this publication considers the collections of nearby Petworth House, which include three major paintings by Blake - otherwise unrepresented in other grand houses of Britain - along with related prints, books and archival material. The authors will examine the relationships formed by Blake in Sussex, particularly with the poet William Hayley, the sculptor John Flaxman, the 3rd Earl of Egremont (one of the great collectors of contemporary art in the early 19th century) and his estranged wife Elizabeth Ilive, who commissioned two of the three paintings now in Petworth.
Blake's work for Hayley, often dismissed as illustrative and decorative, will be reappraised, and other projects he worked on in Sussex - including remarkable biblical watercolours produced for his great London patron, Thomas Butts - will be celebrated. Blake's infamous arrest and trial for sedition - chief among the events profoundly aff ecting him in Sussex - will be discussed. It is not widely known that Blake was tried fi rst in Petworth, where he was vouched for by the 3rd Earl.
Eliot Hodgkin (1905-1987) is best known as a painter of still life subjects beautifully executed in tempera. Less well known are his haunting views of bomb-sites in London after World War II. This revealing, fully illustrated catalogue accompanies the first survey exhibition on the artist since 1990.
Ruskin, Turner & the Storm Cloud presents new writing on John Ruskin's vision of art and its relationship with modern society and a changing environment. As part of the re-evaluation of Ruskin, 200 years after his birth in 1819, art historians, scientists, geographers, artists and curators explore the critic's lifelong commitment to the painted landscapes of JMW Turner and his own artistic ambitions, as well as his prophetic concerns about the world's darkening skies, pollution and psychological turbulence. In 1884 John Ruskin spoke out against an encroaching "Storm Cloud"-a darkening of the skies that he attributed to the belching chimneys of the modern world. The imagery of the pollution-stained sky also allowed Ruskin to articulate the internal distress that seemed to engulf him. His analysis of a "blanched sun, blighted grass [and] blinded man" overwhelmed by a modern "plague-wind" expresses both the visible climatic effects of industrialization and the effects of his own worsening mental health. Propelled by bereavement and anxieties over his religious faith, Ruskin became fixated on the skies, "watching a cloud from four in the afternoon to four in the morning".This collection of essays examining Ruskin's distinctive blend of meteorology, morality and social criticism brings new perspectives to one of the most influential and provocative thinkers of the nineteenth century. Ruskin's deep and personal engagement with Turner's work over many decades emerges as a recurring theme. In Turner, Ruskin found the ideal "Modern Painter"-an artist whose powerful sunrises and sunsets, mountains and storms, inspired his own critical engagement with the natural world.As an artist and critic, Ruskin consistently challenged the way others experienced the world, encouraging his audiences to recognise and record nature's transient beauty, and doing the same with his own intimately observed drawings of animals, flora and weathered buildings. As an environmentalist, he witnessed a natural world changing before his eyes, as the landscapes, buildings and skies he had seen as a young man came under threat. As an ethical provocateur ahead of his time, he condemned the throwaway culture that spoilt the towns and rivers he loved, urging his audiences to take responsibility for these changes.Responding to this rich and troubled legacy, the book brings together original contributions by artists and curators, art historians, geographers and climate change specialists, each of whom shares new insights into Ruskin's concerns about the changing weather patterns and shifting landscapes of the modern world. Individual essays reconsider Ruskin alongside a range of contemporary issues, encompassing mental health, technology, environmental pollution and climate change. The collection's diverse voices make a compelling case for the continuing relevance of Ruskin and his ways of seeing in the twenty-first century.Ruskin, Turner& the Storm Cloud accompanies a major exhibition at York Art Gallery and Abbot Hall Art Gallery.
Patricia Wengraf is one of the world's leading dealers in bronzes, sculpture and works of art. In her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. This exquisite catalogue - the first sales catalogue ever published by the dealer - presents a selection of exceptional works. Accompanies an exhibition in New York City.
Published in commemoration of the 500th anniversary of Raphael's death, this engrossing publication accompanies an exhibition the Isabella Stewart Gardner Museum. Raphael and the Pope's Librarian brings together for the first time one of the most fascinating works in the museum's collection - the Gardner Museum's portrait of papal librarian Tommaso Inghirami - and a painting from the Vatican Museums depicting an episode in this life. This book tells the story of the first Raphael in America and explores Inghirami's fascinating career.
Accompanying an exhibition at Les Enluminures, New York, this lavish catalogue presents an extraordinary collection of diamonds from the king of gems, Benjamin Zucker, one of New York's leading dealers in diamonds and precious stones. Benjamin Zucker's remarkable story unfolds over three generations of diamond dealers. Arriving in New York in 1941, he had the benefit of the training of his grandfather, a leading expert in uncut diamonds in Antwerp, and his uncle, one of the foremost dealers of diamonds in the Far East. Some of the world's most famous diamonds, such as the Wittelsbach Diamond, passed through the hands of the Zucker family. Armed with the family "know-how", Benjamin Zucker formed a collection that "has taken a lifetime of patience, money, and unquenchable enthusiasm", according to Diana Scarisbrick. As Mr. Zucker himself says "diamonds will always be a magical window facing the invisible world." Put together over more than forty-five years, this truly rare and immensely valuable collection includes thirty-five precious jewels mostly made for European patrons - rings, brooches, hairpins, earrings. It tells the story of the Indian diamond over a period of nearly 600 years, ending before the discovery of mines in Brazil, a source that displaced India and inaugurated a new age of diamonds. Starting with the octahedral diamond, the collection includes outstanding examples of world-class importance showing how jewellers gradually captured more and more of the allure of these indomitable gems, evolving from point to table to rose to brilliant cuts. The success of the brilliant cut (close to our cuts today) eclipsed the earlier shapes, many of which were recut to "modernize" them, with the result that the earlier cuts of "old mine" diamonds included here are exceedingly rare. Most of these jewels are published. Many of them have been exhibited in prestigious museums such as the Walters Art Museum, the Yale Peabody Museum of Natural History, the Museum of Fine Arts, Houston, and most recently the Metropolitan Museum of Art. As assembled in the present collection they have never been displayed together and have never been offered for sale. This lavish publication by the leading scholar in the field accompanies the exhibition. It is written by Diana Scarisbrick, celebrated jewellery historian and author of Diamond Jewelry: Seven Hundred Years of Glory and Glamour (September 2019).
In the eighteenth century the tradition of open-air painting was based in Italy, Rome in particular. Artists came from all over Europe to study classical sculpture and architecture, as well as masterpieces of Renaissance and Baroque art. During their studies, groups of young painters visited the Italian countryside, training their eyes and their hands to transcribe the effects of light on a range of natural features. The practice became an essential aspect of art education, and spread throughout Europe in the nineteenth century. This exhibition focuses on the artists' wish to convey the immediacy of nature observed at first hand.