Wednesday, March 22, 2017

Slow Food: Still Lifes of the Golden Age

From 9 March through 25 June 2017 the Mauritshuis presents Slow Food: Still Lifes of the Golden Age, the first exhibition to be devoted to the development of meal still lifes in Holland and Flanders from 1600 onwards. The cornerstone of the exhibition is a masterpiece acquired by the museum in 2012, Still Life with Cheeses, Almonds and Pretzels by Clara Peeters.

The exhibition features 22 masterpieces from Washington’s National Gallery of Art, Rijksmuseum Amsterdam, Oxford’s Ashmolean Museum among others including all the works by Peeters from the Museo Nacional del Prado in Madrid.
The meal still life – a subset of the genre that shows prepared food laid out on a table without figures in the composition - originated around 1600 with painters in Antwerp such as Clara Peeters and Osias Beert. Haarlem-based painters such as Floris van Dijck and Nicolaes Gillis followed them shortly thereafter. Meal still lifes showing richly set tables piled high with tempting morsels and precious objects became increasingly popular in the first decades of the seventeenth century. Various artists eagerly devoted themselves to depicting the objects on display in great detail. The exhibition in the Mauritshuis features paintings from the early years of this genre, the period 1600-1640.

Astonishing detail

Masters of the meal still life depicted refined delicacies such as fish, oysters, prawns, cheese, bread, olives and nuts, offset by fine glassware, gilded goblets, pottery jugs or oriental porcelain. The way in which the details have been rendered is a feat of extraordinary precision, as is the play of light on the various materials. Peeters succeeds in replicating the somewhat crumbly texture of the biggest cheese and the creaminess of the butter curls on the plate with great accuracy in her  

Still Life with Cheeses, Almonds and Pretzels.

The delicate play of light on the blade of the knife is also beautifully rendered. Virtuosity is also on display in the work of Claesz and Heda.

In Heda’s impressive Still Life with Gilt Goblet dated 1635, for example, the suggestion of reflected light on the large glass is magnificent. The glass not only reflects the rays of light coming in through a window, but also the muted sheen of a silver tazza (shallow drinking bowl) and a gilded goblet. The reflection resembles a fine mesh on the glass and is a superb example of the craftsmanship that is so characteristic of these early meal still lifes.


The delicacies and precious objects shown in the meal still lifes evoke a utopian world free of hunger and need. The paintings often incorporate a sense of mortality, of the transience of earthly life. This vanitas symbolism is made explicit in the meal still lifes by Claesz and Heda, each of whom include a timepiece in their compositions. At the same time, a good meal also symbolises prosperity and well-being. It is possible that the cornucopia of food shown in the paintings was also intended as an exhortation to moderation. In a number of paintings by Peeters, for example, a knife with the word ‘TEMP[ERANTIA]’ (moderation) on its blade figures prominently. Her aim may have been to impart a deeper meaning to her compositions.

11 Beert NGA (2)

Osias Beert (Antwerpen? c.1580-1623 Antwerpen), Dishes with Oysters, Fruit, and Wine, c.1610-1620, oil on panel, 53 x 73 cm. Washington, National Gallery of Art, Patrons’ Permanent Fund

Pieter Claesz (Berchem 1597/98-1660 Haarlem), Still Life with Roemer, Tazza, and Watch, 1636, oil on panel, 44 x 61 cm (17 5/16 x 24 in.), Royal Picture Gallery, Mauritshuis, The Hague, on long-term loan from the Friends of the Mauritshuis Foundation (Gift of Willem Baron van Dedem) 

Clara Peeters (Active  in Antwerpen, c.1607-1621 of later), Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl, c.1611, oil on panel, 55 x 73 cm. Madrid, Museo Nacional del Prado.

For the duration of the exhibition there will be a greenhouse on the square of the Mauritshuis: Taste Station MH.
27 Peeters Ashmolean Museum (2)

Clara Peeters (Active in Antwerpen, c.1607-1621 of later), Still life with fruits and flowers, c.1612-1613. Cooper, 64 x 89 cm, Oxford, Ashmolean Museum, Bequeathed by Daisy Linda Ward, 1939

30 Van Schooten Frans Hals Museum os 2011-20 (2)

Floris van Schooten (Haarlem? c.1585/88-1656 Haarlem), Still Life with herring and oysters, c.1625-1630, oil on panel, 35 x 49 cm, Haarlem, Frans Hals Museum, purchased with support from "Donation Drs. J-P. de Man "and the Rembrandt Society, 2011

Detail: Floris van Schooten, Still Life with Pewter Flagon and Basket of Cheese, c.1623-1625 Private collection. Now on view in the Mauritshuis

Joachim Beuckelaer  "Kitchen Scene with Christ at Emmaus" Now on view in the Mauritshuis



The Mauritshuis and Waanders Publishers will offer a catalogue to accompany the exhibition. Slow Food: Dutch and Flemish Meal Still Lifes 1600-1640 contains more than 150 colour illustrations, published in English (ISBN 978 94 6262 117 6) and Dutch (ISBN 978 94 6262 116 9). The catalogue is written by Quentin Buvelot, Senior Curator at the Mauritshuis, with additional contributions by Yvonne Bleyerveld, Milou Goverde, Zoran Kwak, Anne Lenders, Fred G. Meijer and Charlotte Rulkens. .

Tuesday, March 21, 2017

Helen Frankenthaler Paintings and Woodcuts

As in Nature: Helen Frankenthaler Paintings
Clark Art Institute, Williamstown, Massachusetts
July 1–October 9, 2017

This exhibition comprises a selection of large paintings by Helen Frankenthaler from the 1950s through the 1990s, focusing on nature as a longstanding inspiration. Like many abstract artists, Frankenthaler continually tested the constraints of the genre, at times inserting into her compositions elements of recognizable subject matter that throw the abstract elements into relief. The paintings in this exhibition represent the full range of styles and techniques that she explored over five decades of work; while all are primarily abstract, they also contain allusions to landscape, demonstrating how Frankenthaler’s delicate balance between abstraction and a nuanced responsiveness to nature and place developed and shifted over time. As Frankenthaler once commented, “Anything that has beauty and provides order (rather than chaos or shock alone), anything resolved in a picture (as in nature) gives pleasure—a sense of rightness, as in being one with nature.”

No Rules: Helen Frankenthaler Woodcuts
Clark Art Institute, Williamstown, Massachusetts
July 1–September 24, 2017

In 1994, when being interviewed by printer/publisher Ken Tyler, Helen Frankenthaler stated, “There are no rules, that is one thing I say about every medium, every picture . . .  that is how art is born, that is how breakthroughs happen. Go against the rules or ignore the rules, that is what invention is about.”

No Rules explores Helen Frankenthaler’s inventive and groundbreaking approach to the woodcut. The artist began creating woodcuts after experimenting with lithography, etching, and screen printing. She produced her first woodcuts,

East and Beyond (1973)

and her ethereal Savage Breeze (1974), by carving pieces of wood with a jigsaw, inking each block of wood separately and arranging the pieces of wood to print them on paper.

 In Essence Mulberry (1977)

and Cameo (1980),

she invented a new technique termed “guzzying,” working the wood’s surface to achieve specific results when printed. Throughout her career, the artist worked with a variety of print publishers to push the medium in new directions. In 1983 she traveled to Japan and worked in traditional methods of color woodblock printing with an expert carver and printers to produce  

Cedar Hill (1983), resulting in an entirely different, layered approach to color.

In the 1990s and 2000s, Frankenthaler continued to experiment with enthusiasm and daring. For Freefall and Radius (both 1992–93), the artist worked with dyed paper pulp to create the maquettes for the final woodcuts. In Tales of Genji (1998)

and Madame Butterfly (2000), she worked with a dazzling array of blocks and papers, collaborating with an expert Japanese carver, printers, and paper-makers to create serial images acknowledged to be landmarks in the evolution of the medium. Her final three woodcuts,  

Snow Pines (2004),

Japanese Maple (2005),

and Weeping Crabapple (2009), pay homage to three different types of trees in strikingly divergent ways.


Gemeentemuseum Den Haag in the Netherlands 
November 5, 2016 through February 12, 2017

Fondation Vincent van Gogh Arles  
4 March through 17 September 2017

Deichtorhallen Hamburg, Germany
October 13, 2017, through January 14, 2018

This retrospective of paintings by Alice Neel (1900–1984) – one of North America’s most important female artists, although largely unappreciated during her own lifetime – is the fruit of a collaboration between several European institutions. The exhibition at the Fondation Vincent van Gogh Arles places the US painter and her realist brush firmly in the spotlight. Imbued with a powerful psychological dimension, Neel’s portraits bear witness to  almost a century of evolution in attitudes towards gender and ethnicity, and to radical changes in fashion at the heart of American society. 

Working in an epoch that declared abstraction the new modernism, Neel would always remain a “painter of modern life” as imagined by Charles Baudelaire, with whom she shared the same vision of modernity and the artist’s role in relation to it. Hallmarked at once by expressionism and realism, Alice Neel’s œuvre translates the paradoxical personality of its maker, who wanted to paint individuals from all social classes and create a visual history of her time – a Comédie Humaine . 

Conceived by Jeremy Lewison, the leading expert on Alice Neel, the exhibition presents more than seventy paintings, including a portrait of Andy Warhol “laid bare” under the artist’s keen gaze. 

After the Ateneum Art  Museum in Helsinki and the Gemeentemuseum Den Haag in The Hague, the Fondation Vincent van Gogh Arles  welcomes this major exhibition from 4 March to 17 September 2017, after which it will travel on to Germany and the Deichtorhallen in Hamburg. 

Exhibition curator: Jeremy Lewison 


Alice Neel is born on 28 January 1900 in Gladwyne, Pennsylvania, USA. She studies art at the Philadelphia School of Design for Women, an institution that distances itself from the formalist approach to art taught during this epoch. In the 1930s Alice Neel lives in Greenwich Village, a district of New York with a Bohemian reputation and popular with artists. She is entered on the payroll of the Works Progress Administration, for which she paints  urban scenes. During this period she also meets and paints the portraits of fellow Communist Party sympathizers. 

In 1938 she moves to Spanish Harlem (today East Harlem), where she embarks on a new series of portraits featuring Puerto Ricans, among others. In the 1960s she settles in Upper West Side, where she reconnects with the art world and executes her  famous portraits of artists, gallerists and curators. At the end of the decade she finds inspiration for her art not only among family members, but also by observing women and children, whom she thus paints at the dawn of the feminist movement. From this period onwards, too, her painting is finally recognized by the American art scene and celebrated in the form of numerous solo and collective shows. 

Alice Neel dies on 13 October 1984 in New York. 



This groundbreaking book re-evaluates the work of Alice Neel, one of the most renowned American portrait painters of the 20th century   

This insightful catalogue examines anew the full range of Alice Neel’s (1900-1984) celebrated paintings of people, still life, and cityscapes. Featuring around seventy paintings spanning the entire length of her career, this handsome book accompanies a major retrospective of her work, and reveals her underlying interest in the history of photography, German painting of the 1920s, and other artists, such as Van Gogh and Cézanne, all of which provided an important precedent for the veracity and raw emotional intensity of her figurative works. Neel is renowned for her visual acuity and psychological depth, and her portraits and nude paintings of friends, family, strangers, and prominent cultural figures alike convey an incredibly consistent intimacy regardless of the relationship to her subject.

The accompanying essays trace the trajectory of Neel’s artistic language as it evolved alongside contemporaneous trends in the New York City art world and examine the manner in which her own work figured into the social and cultural contexts of her time. Created over a sixty-year period, Neel’s oeuvre offers a remarkably expressive document of the specific milieus she navigated through and ultimately transcends the marker of time altogether.

Main exhibitions (a selection) 

• Face Value: Portraiture in the Age of Abstraction , National Portrait Gallery, Smithsonian Institution, Washington, 18 April 2014 – 11 January 2015 

Alice Neel: Painted Truths , Museum of Fine Arts, Houston, 21 March – 13 June 2010, and subsequently touring to the Whitechapel Gallery, London, and the Moderna Museet, Malmö 

• Alice Neel , Whitney Museum of American Art, New York, 29 June – 17 September 2000, and subsequently touring to Andover, Philadelphia, Minneapolis and Denver 

• Féminin-Masculin,  Le Sexe de l’art , Centre Georges Pompidou, Paris, 24 October 1995 – 12 February 1996 


Alice Neel: The Spanish Family© Estate of Alice Neel 
  Alice Neel: Frank O'Hara© Estate of Alice Neel 
Alice Neel: Jackie Curtis and Ritta Redd© Estate of Alice Neel 
Alice Neel: Joey Skaggs© Estate of Alice Neel 
Alice Neel: Self-Portrait© Estate of Alice Neel 

Alice Neel: Gus Hall© Estate of Alice Neel  

José , 1936 Oil on canvas, 58.4 x 46 cm Estate of Alice Neel Photo credit: Malcolm Varon, New York 

Pregnant Julie and Algis , 1967 Oil on canvas, 107.6 x 161.9 cm Estate of Alice Neel Photo credit: Malcolm Varon, New York


Ginny and Elizabeth , 1975 Oil on canvas, 106.7 x 76.2 cm Estate of Alice Neel Photo credit: Ethan Palme 


 Great review, more images

Pissarro. A Meeting on St. Thomas

Ordrupgaard Museum, Denmark
10 March – 2 July 2017

 Is there a connection between Danish Golden Age painting and French Impressionism? Now, Ordrupgaard is marking the centenary of the sale of the Danish West Indies with an exhibition that highlights the meeting between the Danish Golden Age painter, Fritz Melbye, and the ‘father’ of French Impressionism, Camille Pissarro at Saint Thomas. The exhibition adds a completely new angle to the origins of Impressionism. 

Most people are familiar with the great impressionist painter, Camille Pissarro, but few are aware that he was a Danish citizen. Pissarro was born in 1830 in the town of Charlotte Amalie at Saint Thomas. In 1850 the Danish painter, Fritz Melbye travelled from Copenhagen to the Danish colony, and the two young artists spend a couple of years in each other’s company. 

Into Impressionism 

Pissarro. A meeting on St. Thomas presents an extensive number of early works by Pissarro and Melbye, painted during their years together in the Danish West Indies and Venezuela. With paintings, sketches and drawings loaned from museums and collections around the world, the exhibition shows how Pissarro built upon his early years of learning with Melbye as his mentor, and how he applied these lessons in Impressionism.

The exhibition Pissarro. A Meeting on St. Thomas tells the story about the meeting of Pissarro and Melbye, and the creative exchange between the two artists, which Pissarro brought with him into Impressionism. The exhibition presents both artists with pieces borrowed from museums and collections all over the world. 

Pissarro. A Meeting on St. Thomas is an invitation to join an artistic exploration from the Danish West Indies, through the jungle of Caracas and Venezuela, all the way to France where Impressionism was born. The exhibition shows Melbye’s influence on the slightly younger Pissarro as his first mentor and teacher, and thus presents a unique new angle on the origins of French Impressionism. 

Camille Pissarro. Inlet with Sailboat, 1856. Colección Patricia Phelps de Cisneros 

Camille Pissarro. Landscape from the Antilles, Rider and Donkey on a Road, 1856. Ordrupgaard

Fritz Melbye. Palm Trees and Grasses, n.d.
Olana State Historic Site, Hudson, New York /
Office of Parks, Recreation and Historic Preservation

Camille Pissarro, People discussing in the Roadside, 1856. Stern Pissarro Gallery, London 

Camille Pissarro (1830-1903), Landscape, St. Thomas, 1856, Oil on canvas, 46,3 x 38 cm, Virginia Museum of Fine Arts  

Camille Pissarro, The Ennery road. Val d'Oise., 1874. Paris, musée d'Orsay. Photo ©, Musée d'Orsay, Dist. RMN-Grand Palais / Patrice Schmidt .

Fritz Melbye, Parti fra Skt. Thomas havn i Charlotte Amalie, 1851-52, Museet for Søfart.

Sunday, March 12, 2017

Madonnas and Miracles: The Holy Home in Renaissance Italy

The Fitzwilliam Museum 
7 March – 4 June 2017 

The Fitzwilliam Museum opens a major new exhibition that reveals the central place of religion in the Italian Renaissance home from March 7 - 4 June 2017. ‘Madonnas and Miracles’ will show how religious beliefs and practices were embedded in every aspect of domestic life. Challenging the idea of the Renaissance as a time of increasing worldliness and secularization, the exhibition will show ho w the period’s intense engagement with material things went hand in hand with its devotional life.

A glittering array of sculptures and paintings, jewellery, ceramics, printed images and illustrated books will bear witness to the role of domestic objects in sustaining and inspiring faith.

The culmination of a four -year European- funded project, ‘Madonnas and Miracles’ will present the fruits of a ground -breaking interdisciplinary investigation carried out at the University of Cambridge by members of the Department of Italian, and the Faculties of History, Architecture and History of Art. Extensive research in neglected archives and collections across the peninsula has transformed our understanding of the daily lives of Renaissance Italians, and has uncovered hundreds of sources that allow us to tell a new story about the role of the divine in everyday life.

Coinciding with the 500th anniversary of the Protestant Reformation, the exhibition will confound the assumption that Catholicism was a religion dominat ed by priests and ecclesiastical institutions, whilst Protestant families in northern Europe were urged to serve God in their homes. When we peer through the keyhole into the Italian Renaissance home, we find a world in which religion was domesticated in innumerable ways, inflecting every hour of the day and every stage of the life cycle. The intimacy between human and divine was everywhere visible and palpable: in streets and houses, on walls and furnishings, and on a wealth of objects that could be held in the hand. The humblest artisans and the most exalted artists were engaged in producing artefacts that promoted domestic piety.

The exhibition will present a domestic sphere that was supercharged with spiritual significance. Many different kinds of artefact —paintings and crucifixes, crockery and cutlery, jewellery, rosaries, statuettes, prayer books and cheap prints —will be brought together so that we can see how they worked  collectively to shape the domestic religious sphere.

Some of the most powerful items on display will be familiar items of daily life turned to divine purposes. An ivory comb from the mid-fifteenth century features a tiny Annunciation scene. A two -handled cup is decorated with the instruments of Christ’s Passion. Conversely, some religious objects served worldly purposes. A rock crystal rosary, created for a wealthy patron, reveals delicate scenes in gilded glass within each of its thirteen beads; it would have functioned simultaneously as a potent religious tool and a breathtaking piec e of jewellery.

The inclusion of some rare surviving items from Jewish homes – for example, a Hanukkah lamp or a spice -box used in a ritual to mark the end of the Sabbath – will remind visitors that Renaissance Italy was a multi -cultural society. At the same time, the juxtaposition of sacred objects and books from Jewish and Christian households will hint at some of the qualities of domestic devotion that are shared across different faiths.

Displaying almost fifty objects from the Museum’s own collection, as well as over one hundred important loan works from Europe, the United States and Israel, ‘Madonnas and Miracles’ will explore a series of interlinked themes: family life, the physical experience of prayer, the role of the saints, miracles, pilgrimage and religious reform.

The exhibition will demonstrate that domestic religion at the time was well attuned to the needs of ordinary lay-folk, as they experienced the crises and anxieties of everyday life. The point will be driven home by one of the highlights of the show: a selection of ex-voto images drawn from shrines across Italy and never before displayed in the UK. Thousands of these roughly painted boards, originally created to give thanks for miracles were produced in the period. Treasured for their spiritual significance rather than for their artistic value, sizeable collections still exist at many Italian shrines, and the practice of making ex -votos continues to this day. These images of worshippers at moments of extreme physical peril will provide moving testimony to the Renaissance fascination with the miraculous, in its intersection with everyday domestic life.

During the Renaissance, strong ties bound members of a family to their household Madonna, which might be embodied in painting, print, scul pture or figurine. The image of Mary, often displayed on the wall of a bedroom or above a threshold, provided comfort and security to residents of the home as well as offering them a focus for their devotions.

The exhibition will show how the Madonna also functioned as a role -model for motherhood and parenting. This theme is intimately depicted in a favourite painting from the Fitzwilliam’s collection,

Virgin and Child with St John the Baptist (c. 1490–95), Pinturicchio (Bernardino di Betto). © Fitzwilliam Museum, Cambridge
Virgin and Child with St John the Baptist (c. 1490–95), Pinturicchio (Bernardino di Betto). © Fitzwilliam Museum, Cambridge

Pinturicchio’s Virgin and Child with St John, which portrays Mary teaching Jesus to read.

A polychrome wooden doll of the Christ Child from Camerino will leave Italy for the first time to be displayed in the exhibition. Many women in Renaissance Italy possessed similar dolls, which were dressed, undressed, handled and kissed, mimicking the Virgin’s maternal bond with Christ. The Camerino doll continues to be an object of veneration, looked after and dressed by local nuns, and annually revered by crowds of people who queue up to kiss it on the feast of the Epiphany.

Alongside masterpieces by renowned artists such as Filippo Lippi and Annibale Carracci, ‘Madonnas and Miracles’ will feature domestic objects from the Museum’s reserve collection rarely seen by the public. A number of little-known ceramic pieces from the Museum’s stores have been renovated for the exhibition by conservation expert Penny Bendall. They include a maiolica inkstand, sculpted with a scene of the Nativity, and another piece depicting the Adoration of the Magi. The latter has to be rotated to allow the complete story to be seen; thanks to the conservation of its original bright colours, visitors will be able to imagine how it would have captured the attention of children as they received religious instruction. Chips and missing paint have been left, in order to retain the evidence of well-loved domestic wear and tear.

The multi -sensory nature of devotion will be highlighted by the use of different media. While they admire rosaries made of rosewood and bone, visitors will be able to listen to the voice of an elderly Italian woman repeating her Ave Marias and Paternosters. A set of knives that bear the musical notation for a four- part grace will be brought to life by a newly -commissioned recording by members of the Choir of St John’s College, Cambridge.

The exhibition will be accompanied by a lavishly illustrated catalogue, edited by curators Maya Corry, Deborah Howard and Mary Laven.

Comb with The Annunciation (c. 1450–1500), possibly Italy, France or Flanders. © Kunstgewerbemuseum, Berlin.

Comb with The Annunciation (c. 1450–1500), possibly Italy, France or Flanders. © Kunstgewerbemuseum, Berlin.
Jewelled cross pendant (possibly 16th century), Italy. © The Trustees of the British Museum

Jewelled cross pendant (possibly 16th century), Italy. © The Trustees of the British Museum

Virgin and Child with St John the Baptist (c. 1490–95), Pinturicchio (Bernardino di Betto). © Fitzwilliam Museum, Cambridge

Virgin and Child with St John the Baptist (c. 1490–95), Pinturicchio (Bernardino di Betto). © Fitzwilliam Museum, Cambridge
Maiolica panel, painted with a half-length figure of the Virgin with the infant Christ (c. 1600–1700). © Fitzwilliam Museum, Cambridge
Maiolica panel, painted with a half-length figure of the Virgin with the infant Christ (c. 1600–1700). © Fitzwilliam Museum, Cambridge
Virgin and Child (c. 1480–90), Studio of Sandro Botticelli (Alessandro di Mariano Filipepi). © Fitzwilliam Museum, Cambridge
Virgin and Child (c. 1480–90), Studio of Sandro Botticelli (Alessandro di Mariano Filipepi). © Fitzwilliam Museum, Cambridge

The Wyeths: Three Generations, Works from the Bank of America Collection

March 11-August 13, 2017
Mint Museum, Charlotte, N.C.

For more than a century, the members of the Wyeth family have created works of art that have stirred the imagination and fascinated art lovers worldwide. The Mint Museum is now preparing to host an exhibition of Bank of America’s largest collection of unique works by one family, providing a window into the Wyeth family’s artists through more than 60 remarkable paintings, drawings, and photographs.

The Wyeths: Three Generations, Works from the Bank of America Collection will open March 11 and remain on view through August 13 at Mint Museum Randolph, 2730 Randolph Road in Charlotte. 

“Through our Art in our Communities program, Bank of America has made our corporate art collection available for museums and nonprofit galleries around the world,” said Bank of America’s North Carolina and Charlotte Market President Charles Bowman, who also sits on the Mint’s board of trustees. “This is the first time this unique Wyeth exhibition will be on display in the South and the first time it’s been seen in the U.S. in seven years. We’re very excited to bring these generational works to the Mint Museum for the Charlotte community to enjoy.” In addition to lending the works to the Mint, the exhibition is sponsored by Bank of America.

“This is the most comprehensive exhibition of work by the members of the Wyeth family that the museum has ever hosted,” said Dr. Jonathan Stuhlman, the Mint’s Senior Curator of American, Modern, and Contemporary Art. “We extend our gratitude to Bank of America for sharing these treasures of American art with our visitors, who will delight in the opportunity to see so many of these beautifully-executed images of stories, people, and scenery created over the course of the entire 20th century.”

Gnomes Bowling

N. C. Wyeth (American, 1882–1945)

Created: 1921
Oil on canvas. Bank of America Collection

Untitled (Marines landing on beach)

N. C. Wyeth (American, 1882–1945)

Created: 1944
Oil on hardboard. Bank of America Collection

N. C. Wyeth, A Young Maine Fisherman, 1933, oil on canvas. 
Bank of America Merrill Lynch Collection

Patriarch N.C. Wyeth was one of the country’s foremost illustrators at the turn of the 20th century. Included in the exhibition are his illustrations for books by Robert Louis Stevenson and Washington Irving. 

The Rebel

Andrew Wyeth (American, 1917– 2009)

Created: 1977
Drybrush on paper. Bank of America Collection

Eight Bells, (Clyde Stanley and Andrew Wyeth aboard Eight Bells), 1937
N.C.’s son, Andrew, is known for his haunting, highly detailed realist paintings and is represented by works from the 1940s through the 1990s. 

Although not as well-known as her brother, Andrew, Henriette Wyeth was an accomplished artist who painted striking portraits, landscapes, and still lifes. She is represented in the exhibition, as is her husband, Peter Hurd, who chronicled the landscape of the American west. 

Number 86

Jamie Wyeth (American, b. 1946)

Created: 1980
Watercolor and mixed media on paper. Bank of America Collection.

The Tempest, A Triptych

Jamie Wyeth (American, b. 1946)

Created: 1999
Watercolor, gouache, and varnish highlights on gray archival cardboard. Bank of America Collection.

Andrew Wyeth’s son, Jamie, represents the third generation of the family in the show. Jamie continues the family’s tradition of realism using oil paint rather than his father’s preferred mediums of tempera and watercolor. His paintings often feature the people, animals, and landscapes of Maine and Pennsylvania, and are imbued with a unique sense of magic and mystery.

Saturday, March 11, 2017

Picasso: Encounters

The Clark Art Institute, Williamstown, Massachusetts.   
June 4–August 27, 2017

Picasso: Encounters explores Pablo Picasso’s (1881–1973) interest in and experimentation with large-scale printmaking throughout his career, challenging the notion of Picasso as an artist alone with his craft. The exhibition includes important paintings on loan from the Musée national Picasso–Paris. The exhibition addresses his expansive formal vocabulary, the narrative preoccupations that drove his creative process, the often-neglected issue of the collaboration inherent in print production, and the muses that inspired him, including Fernande Olivier, Olga Khokhlova, Dora Maar, Françoise Gilot, and Jacqueline Roque.

The exhibition begins with Picasso’s seminal Self-Portrait (1901) from his Blue Period as a representation of the artist’s mythic isolation. The painting, on loan from the Musée national Picasso–Paris, is followed by thirty-five of the artist’s most important graphic achievements, ranging from the Clark’s rare impression of  

The Frugal Repast (1904)—Picasso’s first major statement in printmaking—

to Ecce Homo, after Rembrandt (1970), executed three years before his death.

Picasso continuously mined his personal life for subject matter. The exhibition includes the captivating 1923 drypoint portrait of his first wife Olga, the playful image of his daughter Paloma (1952), and the heartrending aquatint of his embittered second wife Françoise Gilot (1952).

The exhibition also explores the intertwined narrative threads of the  

Minotauromachia (1934),

The Large Bullfight (1935),

and Weeping Woman I (1937).

Four Weeping Woman prints are accompanied by  

Portrait of Dora Maar (1937), the revered oil painting on loan from the Musée national Picasso–Paris. Maar was Picasso’s muse and served as his model for the paintings, drawings, and prints of weeping women produced in the 1930s.

Picasso’s final years, during which he transformed the compositions of Old Masters from Rembrandt to Cranach to Manet, are represented by linocuts such as  

Portrait of a Young Girl, after Cranach the Younger, II (1958)

and Luncheon on the Grass, after Manet (1968).
Picasso: Encounters is organized by the Clark Art Institute, with the exceptional support of the Musée national Picasso–Paris. Additional support for the exhibition is provided by Margaret and Richard Kronenberg and Marilyn and Ron Walter.