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.
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.
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.
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.
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.
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.
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.
Qualifié de « grand poète » par l'auteur américain Henry James, Titian reste l'un des peintres les plus célèbres de l'art occidental. Depuis sa mort en 1576, sa réputation est restée intacte. Pendant l'Age Doré de l'Amérique, les tableaux de Titian atteignirent une valeur inégalable pour les plus grands collectionneurs et notamment aux yeux d'Isabella Stewart Gardner. En 1896, elle acquit son chef d'oeuvre, The Rape of Europa. Il devint l'unique exemple de son cycle de poésie renommé hors Europe, inspirant une galerie entière dans son musée récemment construit et contribuant au tollé de l'Angleterre au sujet de la perte de ses trésors d'art. Etant le premier dédié à Europa, ce livre raconte l'histoire de la peinture a l'époque de Gardner et de Titian et nous offre de rares aperçus des techniques de virtuose de l'artiste.
George Frederic Watts (1817-1904) was one of the great artists of the 19th century, known at the time as 'England's Michelangelo'. As a young man he exhibited alongside Turner, and by the end of his long career he was influential upon Picasso. Sculptor, portraitist and creator of classic Symbolist imagery, Watts was seen also as more than an artist - a philanthropic visionary whose art charted the progress of humanity in the modern world. Covering all aspects of Watts's career, this book places him back at the centre of the visual culture of the 19th century.
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'.