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.
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 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.
Hans Memling was one of the most important, prolific and versatile painters active in 15th-century Bruges, and one of the leading artists of the Early Netherlandish School. Commissioned by Abbot Jan Crabbe, one of Memling's most signifcant and erudite patrons, the triptych of the Crucifixion - in particular its wings, with their complex and meticulously conceived background landscapes and the convincing realism of the portraits - ostentatiously demonstrate Memling's skills and ambitions. Completed around 1470, the triptych was dismembered in the 18th century. Two panels from the altarpiece are among the fi nest paintings owned by the Morgan Library & Museum, New York, where they are on permanent view in Pierpont Morgan's Study. The exhibition brings together the scattered elements of the famous triptych, reuniting the Morgan inner wings with the central panel now owned by the Musei Civici in Vicenza, Italy, and the outer wings from the Groeningemuseum in Bruges, Belgium. Hans Memling: Portraiture, Piety, and a Reunited Altarpiece accompanies the first museum exhibition to explore the reconstructed masterpiece in context. It has long been observed that the donor portraits are the most outstanding aspect of the Crabbe Triptych, especially the portrait of Anna Willemzoon in the left wing, an extraordinary image of old age, and representative of the merging of the sacred and secular realms that is often present in the work of Memling and his contemporaries. Memling was notable as a painter of portraits, and his work in this field revolutionized portrait painting across Europe. To present the artist's extraordinary ability to capture a likeness, a number of his independent portraits will be examined, including the Morgan's compelling Man with a Pink.
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.
Marking 150 years since the artist's birth, this catalogue accompanies the fi rst exhibition dedicated exclusively to Édouard Vuillard's portrayal of his mother, Madame Marie-Justine- Alexandrine Michaud Vuillard. Few other artistic practices have so consistently featured the artist's mother as motif, whether that is in paintings that approximate to the conventions of portraiture, those that represent her professional life as the chef-patronne of a corsetry atelier or the numerous paintings of everyday domesticity that subsume the fi gure of Madame Vuillard into a generically maternal role. It is no coincidence that in 1920 Vuillard declared 'Ma Maman, c'est ma muse'.
Le toucher est notre sens premier. Avec celui-ci, nous revendiquons ce que nous possédons et ceux que nous aimons, nous exprimons notre foi, notre croyance, notre colère. Le toucher nous permet de laisser notre marque et de trouver notre place dans le monde. Le toucher est un moyen de connexion.
Puisant son inspiration des travaux artistiques s'étendant sur 4000 ans et couvrant le monde entier, The Human Touch est un voyage à travers l'anatomie du toucher, sa force créative et son pouvoir émotionnel.
The Dresden collection's singular group of Rembrandt works - about 20 drawings attributed to the master today and the nearly complete oeuvre of etchings- will provide the basis for this remarkable publication. It will have a particular focus on Rembrandt's narrative compositions, printed self-portraits, studies of his wife Saskia, and will include works from all periods of his oeuvre plus prints and drawings by artists from his workshop and followers.
The list of artists who understood Rembrandt as a dynamic authority and source of inspiration is long, reaching from his immediate followers to masters of the 18th century, from Giovanni Benedetto Castiglione to Jonathan Richardson to the kindred spirit Francisco de Goya, into the 20th century and up to the present day. Examples include Edouard Manet, Henri Toulouse-Lautrec, Lovis Corinth, Käthe Kollwitz, Max Beckmann, Pablo Picasso, as well as Marlene Dumas and William Kentridge and artists from the GDR such as A.R. Penck. By including works by these artists, the exhibtion and catalogue foreground Rembrandt as one of the most important 'artists' artist' of all time. Select juxtapositions will help the reader better understand the fi reworks of creativity that Rembrandt not only lit in his own time but those he continues to ignite today.
Rembrandt remains eternally captivating, not only because of his radical choices and unconventional interpretations of Christian and profane pictorial subjects, but also because of his joy in experimentation, especially in the use of printing and drawing techniques, and his refl ective, humorous intellect, complemented by his sensually direct approach to the world. With a light hand, he broke open the conventions of his era. The pictorial worlds that he created with his free, decisive mark convey his near inexhaustible interest in nature as creation, whether it be the human exterior or interior, and off er a wealth of connecting points and constellations for other artists as well as for the viewer.
The destruction on the morning of All Saints Day 1755 of the heart of the city of Lisbon by an earthquake, tidal wave and the urban fires that followed was a tragedy that divides the 18th century in Portugal. One casualty on that fatal morning was the Royal Library, one of the most magnificent libraries in Europe at the time. The Lost Library of the King of Portugal tells the story of the lost library - its creation, collection and significance.
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.
Ambrose McEvoy was one of the most modern and daring English society portrait painters of the early 20th century. His quick, confident style of painting drew the attention of many leading society figures, from Winston Churchill to Lady Diana Cooper, and in particular subjects who craved something beyond a simple 'likeness' in paint. Despite his success, when McEvoy died unexpectedly at the peak of his career in 1927, his name was soon forgotten.
Divine People is the first major written study of McEvoy's life and work and aims to firmly place this long-neglected artist back into the canon of 20th-century British art.
An examination of masterpieces by Dürer and Mantegna to shed light on one of the most important ideas of one of the most influential art historians of the 20th century The Hamburg banker's son Aby Warburg (1866-1929) was one of the most influential art historians and cultural theorists of the 20th century. His life's work was devoted to tracing antique formulas of representation in the depiction of human passions in Renaissance art. For this epoch-spanning relationship, he developed the term 'pathos formula' (Pathosformel). In a lecture given in 1905 in the Konzerthaus in Hamburg, focusing on the young Albrecht Dürer's Death of Orpheus, Warburg outlined his thoughts in front of the original drawing, which he had borrowed from the rich holdings of the Kunsthalle in order to better illustrate his idea. This drawing, pivotal in the young artist's development as an ambitious response to classical antiquity, was displayed during the lecture alongside a group of engravings and woodcuts which included not only some of Dürer's own seminal later prints, such as Melencolia I, but also engravings by Andrea Mantegna which Dürer copied in 1494, the same year he drew the Death of Orpheus.
Warburg's 'pop-up exhibition' of eleven works has here been reconstructed and analysed, using his fascinating lecture notes, sketches and slide lists.
First developed by the Hamburger Kunsthalle in 2011, subsequently on view in Cologne in the Wallraf-Richartz Museum and now at The Courtauld Gallery, each institution has interpreted the material slightly differently, while retaining the core Warburg group.
Aby Warburg aimed at unlocking the meaning of an art work by excavating its roots in its cultural context. By restaging his legendary display of 1905 with Dürer's Death of Orpheus at its heart, the exhibition and accompanying book present some of the most skilful and ambitious works on paper ever produced and also seek to introduce into Warburg's rich intellectual universe to a broader public, hoping thereby to offer both sheer enjoyment and food for thought.