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​​​​​Learn Art History in our Blog

London Art Week 2016

1/7/2016

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EXHIBITIONS TAKE CENTRE STAGE IN THE GALLERIES OF MAYFAIR AND ST. JAMES’S FROM 1 TO 8 JULY

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London Art Week, the world’s most important gallery-based celebration of pre-contemporary art, will take place in Mayfair and St. James’s from 1 to 8 July 2016 (preview on 30 June from 3pm to 8pm). Bringing together almost 50 leading specialist dealers and three auction houses, this year will present more dedicated exhibitions than ever before, and will also include nine new participants, a Thursday evening preview on 30 June, and an exclusive partnership with Art History UK, a cultural tours company specialised in the history of the capital’s art and architecture.
Further details on the event, including information on participants, exhibitions, tours, a catalogue and a map, can be supplied on request, and can also be found at www.londonartweek.co.uk. 
Presenting a wide array of art from antiquity to the 20th century, including a number of rediscoveries and works rarely, if ever, seen in public, highlights this year include exhibitions dedicated to a wide range of specialist subjects including ancient arms and armour, 16th century stained glass, Dutch flower paintings, ancient Greek coins, artist’s sketches and sketchbook pages, neoclassicism through the centuries, medieval and Renaissance sculpture, British Impressionism, and European portraiture.
London Art Week 2016 will present the opportunity to explore a wealth of works by celebrated figures from art history including, among many others, Jacopo Amigoni, Alberto Burri, John Constable, Antonio Canova, Eugène Delacroix, Sir Thomas Lawrence, Sir Alfred Munnings, Sir Winston Churchill, Marcel Duchamp, Paul Gauguin, Jean-Etienne Liotard, Guercino, Amedeo Modigliani, Jusepe de Ribera, Sir Peter Paul Rubens, Giovanni Battista Tiepolo, Tintoretto and Paolo Uccello.
Dedicated exhibitions include:
  • Vanitas / Memento Mori and The Crucifixion by Paolo Uccello at Agnew’s
  • Art & Adornment: Treasures of Combat at Ariadne Galleries
  • Early European Sculpture at Arcadia Cerri Fine Art
  • Inter-War Paris: Works on Paper at Aktis Gallery
  • European Master Drawings (1545-2015) at Didier Aaron Ltd.
  • Deities & Daily Life at Charles Ede
  • Gilded Light; 16th-century stained glass roundels from the collection of Sir Thomas Neave and other private collections at Sam Fogg
  • Flint Marble Bronze from the Mediterranean and Beyond at Oliver Forge & Brendan Lynch Ltd.
  • Dutch Flower Pieces 1607-1814 and Aspects of British Impressionism at Richard Green Fine Paintings
  • 17th Century Still Life and Song Yu at Johnny Van Haeften Ltd.
  • Horses, Rulers, and Victory in the Art of Ancient Greek Coinage at Kallos Gallery
  • Of Gods and Men at Daniel Katz Gallery
  • Antonio Joli (1700 - 1777): Views of Italy at Lampronti Gallery
  • Classicism Reimagined: Master Paintings and Sculpture 1700-1900 at Lullo•Pampoulides
  • Material X at M&L Fine Art
  • Traveller-artists in the Far East: Views in India, China and Indonesia at Martyn Gregory
  • Bronze Animal Sculptures by Rembrandt Bugatti at The Sladmore Gallery
  • Drawing Inspiration: Sketches and Sketchbook Pages from the 19th and 20th Century at Stephen Ongpin Fine Art
  • Antique Inspiration at Tomasso Brothers Fine Art
  • From Wax to Bronze - Themes and Materials in Sculpture at Trinity Fine Art Ltd.
  • Object in Focus: An Archaic Greek Bronze Griffin Protome at Rupert Wace Ancient Art
  • Cornelius Johnson: Painter to King and Country at The Weiss Gallery
Follow London Art Week on social media via Twitter @LondonArtWeek, Instagram @London_Art_Week and Facebook @LondonArtWeek. 
Art History UK: 
The breadth and variety of works on offer can seem overwhelming, so this year we have teamed up with Art History UK to offer a bespoke series of tours giving insight into themes of the event and the area. ‘Who’s Afraid of Old Master Art?’, ‘How to Start an Old Master Collection’ and ‘Antiquities Revitalised’ are just some of the tours on offer. For more information and booking details please visit: www.londonartweek.co.uk/info/book-tour
London Art Week is sponsored by The Crown Estate as part of its St James’s portfolio. The Crown Estate owns approximately 50% of St James’s and is implementing a £500m investment programme to sensitively refine and enhance the area, which forms part of its core holdings in London’s West End. James Cooksey, Director of Central London, said: “The Crown Estate is delighted to continue with our support of this important event which unites the art galleries of Mayfair and St. James’s, and which helps to promote the extraordinary range of knowledge, expertise and heritage on offer in the art market’s historic home.” 
Notes to Editors:
Media enquiries: Matthew Paton | info@patonarts.com | +44 (0)7711 112425
Galleries: 
Preview -Thursday: 3pm to 8pm
Friday 1st July – Friday 8th July: 10am to 6pm
Weekends: 12 noon to 5pm
Auction houses: 
Friday 1st July – Friday 8th July: 9am to 5pm
Saturday 2nd July: 12 noon to 5pm
Sunday 3rd July: 11 noon to 5pm
London Art Week is a cooperative, non-profit event launched in 2013 as a platform that united Master Drawings & Sculpture Week (est. 2001) and Master Paintings Week (est. 2009). 

Source: http://www.londonartweek.co.uk/press/exhibitions-take-centre-stage-galleries-mayfair-and-st-james’s-1-8-july
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The Art Nouveau Glass Works at the Arts and Antique Fair, Olympia till the 3rd of July

30/6/2016

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Rene Lalique art and other Art Deco & Art Nouveau Glass at Art and Antique Fair today till the 3rd of July.
René Jules Lalique (6 April 1860 — 1 May 1945, Paris) was a French glass designer known for his creations of glass art, perfume bottles, vases, jewellery and more.
There are more of beautiful glass and metal work from the period to see at the fair:
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December 12th, 2016

30/6/2016

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​7th edition sees exceptional rise in Curated Presentations, Mid-20th Century Masters and Classical Works
Masterpiece London is the leading international Fair for art and design from antiquity to the present day. The Fair is an unparalleled opportunity for collectors and curators to discover rare and museum-quality work from 154 worldrenowned exhibitors showcasing over 5,000 years of art history. The Fair’s seventh edition presents influential new exhibitors alongside a strong presence of curated stands, 20th century and Classical art, sculpture and Old Master paintings. All works are for sale and independently vetted by international experts to ensure provenance and quality. The Royal Bank of Canada returns as the Fair’s principal sponsor.

Curated Presentations
Curated presentations are a continuing trend at the Fair. Richard Greenpresents an exhibition inspired by Patrick Heron’s 1953 show to celebrate ‘The liberation of colour’ after the Second World War, including work by Ivon Hitchens, Peter Lanyon and Ceri Richards. A Salon exhibition dedicated to the work and legacy of Zaha Hadid is curated by Francis Sultana. The exhibition, courtesy of David Gill, the late architect’s longstanding gallerist, includes her first commissioned piece for the gallery, Crater Coffee Table 2007. Axel Vervoordt juxtaposes ancient Roman and Egyptian sculptural works alongside modern art and design. The earliest work on show is a black granite Fragment of a Seated Pharaoh c. 1900 B.C. Linley showcases a treasure chest inspired by founder David Linley’s travels in the Middle East, housed in a mirror-design booth surrounded by sketches and drawings. Designers from Linley will be on site to draw up bespoke designs for visiting collectors.

Classical Art
The importance of Antiquities is emphasised with nine exhibitors, four of whom are new, presenting works spanning 3,000 years of ancient art history. Galerie Harmakhis shows an unusual bronze Egyptian statue Horus of Edfu Harpooning and Trampling Crocodiles from 664–525 B.C. Ariadne Galleries brings a fully in-tact Mummy Mask from Western Thebes c. 760–525 B.C. Patrick & Ondine Mestdagh shows ancient Egyptian and Fijian ancient jewellery. Valerio Turchi shares a stand with 18th–19th century specialist Alessandra di Castro and shows a carved marble chariot crash from c. 200 A.D. Rome. Further sculpture, paintings and cultural artefacts from the period are presented by Charles Ede, Rupert Wace Ancient Art, Safani Gallery, David Ghezelbash Archéologie, and Galerie Chenel.

Discoveries
Discovery is always an important feature of Masterpiece. Dickinson shows the monumental Madonna, Child and St John by Sir Anthony van Dyck c.1627 whose authorship is newly confirmed and which has not been seen in public since 1887. Christopher Kingzett Fine Art brings a deeply personal painting by Lucian Freud c.1960 of his daughter Annie, unseen in 20 years, alongside a rare surviving study of Sir Winston Churchill by Graham Sutherland 1954, made shortly before the artist’s painting of the subject went missing. Richard Green displays an 1810 landscape painting by John Constable that has not been seen in public since 1877.

Read more from the source: ​http://www.masterpiecefair.com/DesktopDefault.aspx?tabid=149&tabindex=148&postid=37782&postcategoryid=-1
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Masterpiece Art Fair 2016 Highlights, part 1

22/6/2016

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​Masterpiece London is the leading art fair of the year, antiques and design - and great place to share knowledge and experience. 

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PRESENTED BY KUNSTBERATUNG GALLERY, ZURICH

TAMARA DE LEMPICKA Moscow (1898-1980)
CUERNAVACA LERYTHME, 
OIL ON CANVAS, 60 BY I44 CM SIGNED"T DE LEMPITZKY" 
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PROVENANCE: Cuno Hofer (famous Hungarian writer and publicist), Hungary-Switzerland, 1929; Private collection, Switzerland, 1935: Private collection, Switzerland, 1972 Private collection, Chili 1991: Private collection, Moscow; Private collection. St. Petersburg: Private collection, Monaco; EXHIBITIONS Bottega di Poesia, Tamara de Lempitzka. Milan, Italy (16. Il Ritmo): 1925; 1926. Le Salon des Indépendants, 1926, Paris, France (2143, Le Rythme).
​LITERATURE: A. Blondel, Tamara de Lempicka. Catalogue raisonné, 1921- 1979 Lausanne, 1999, no. B.51. p.122 -123. De Lempicka, Tamara. Annotated photographic album,Archives Lempicka. Houston TX), listed as No 35: De Sceaux, Didier. Un peintre: Tamara de Lempicka, Le Forum, Paris, July 12, 1927, illustrated: Alexandre, Arsene. Tamara de Lempicka, La Renaissance de l'art francais et des Industries de luxe, Paris, July 1929. illustrated on page 334, comment on page 336;
HANCOCKS GALLERY PRESENTS:
​An exceptional Diamond Necklace by Sterle c.1950

​The highly articulated necklace designed as a graduated double row ribbon twist encircling the neck with contrasting strands of sparkling round brilliant and icy baguette cut diamonds all set in platinum, it evokes suppleness and movement in its every curve and cleverly separates into two bracelets of different widths as well as a bandeau or tiara making it a wonderfully versatile piece suitable for wear on endless occasions.
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ANEXCEPTIONAL ART DECO TUTTI FRUTTI BRACELET BY CARTIER, 1929 Cartier's Indian-inspired "Tutti Frutti" jewels are some of the firm's most recognised and celebrated designs. In 1911, Jacques Cartier visited India, where he was exposed to traditional Indian jewels that were set with many richly coloured gemstones that were carved instead of faceted. He brought many of these wonderful gems home with him and began to create pieces that combined Western aesthetics and craftsmanship with Indian inspiration in the form of carved Mughal gems in vibrant juxtapositions of colour and texture. This rare bracelet is a beautiful example of the genre, showcasing the mix of Eastern and Western influences that characterise these jewels.
Galerie Chenel Presents:
HERAKLES WEARING THE NEMEAN LION’S SKIN
Roman Imperial Hadrianic Period, circa 117 138 A.D. Marble H. 124,5 cm Provenance Century (based European private collection(s) since the 17th on restauration techniques. (1877 1946. Rome, by Private collection of Alfred Barsanti In storage in New York City during the second half of the 20th Century.
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BURZINO GALLERY PRESENTS
An important Royal Piedmontese centre-Table en commode made 1788 for the personal use of King Vittorio Amedeo III of Savoy by Giovanni Battista Galletti, he immediate successor to Pietro Piffetti as principal cabinet-maker to the King (Primo etanista di the latter's death on 6 May 1777. The rectangular top with rounded corners with a central oval reserve bearing a troph aming torch with Cupid's bow on a laurel branch and two doves in ivory, one bunch of grapes, the trophy on an amaranth ground within a reserve with kingwood spandrels and cross-banding in various woods, the front and back of the piece ornamented with similar trophies within reserves with greek- key panels above and below, the sides decorated with oval foliate rosettes, the front with a slide above two drawers sans traverse fitted for a collection of veneer samples, the right hand side with a frieze drawer with ink and sander compartment the rounded corners decorated with garlanded flambeaux, on turned tapering legs the fluting simulated in scorched sycamore veneers with ormolu ring-capitals and toupee feet with casters.
Height: 73 cm Width: 57,5 cm Depth: 44 cm  
​The present table commode is a highly accomplished and characteristic work b and one of the finest and best documented masterpieces North Italian furniture in the Louis XVI The drawers each have five divisions, which originally contained veneered plaques with samples of precious

​Now firmly establishes as London’s leading art fair, Masterpiece has a lot to offer and the list of highlights is really endless. There are so much to find and admire here... Come and enjoy it from 30 June till 6 July!

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Painter’s Paintings, From Freud to Van Dyck

16/6/2016

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​Update on The National Gallery must see exhibition this summer, 
​23 June – 4 September 2016

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Left: Lucian Freud, 'Self Portrait: Reflection' (detail), 2002. Private Collection © The Lucian Freud Archive / Bridgeman Images. Photo courtesy of the owner. Right: Jean-Baptiste-Camille Corot, 'Italian Woman, or Woman with Yellow Sleeve (L'Italienne)' (detail), about 1870 © The National Gallery, London
Explore the connections between painters and the paintings they possessed in an exhibition spanning over five hundred years of art history
'Painters' Paintings' takes its inspiration from works in the National Gallery Collection once owned by painters, revealing the private acquisitions of Freud, Matisse, Degas, Leighton, Watts, Lawrence, Reynolds, and Van Dyck.
The exhibition investigates why these painters acquired other painters' works – for artistic inspiration, to support fellow artists, as status symbols, as investments, even out of obsession.
It also considers the fascinating relations painters had with the paintings they possessed, and what happened when their acquisitions entered public collections.
'Painters' Paintings' features more than eighty works spanning over five hundred years of art history, from Freud’s 2002 ‘Self Portrait: Reflection’ to Bellini’s Agony in the Garden of about 1465.
About half of the works are exceptional loans from public and private collections, including Cézanne’s ‘Three Bathers’ once owned by Matisse, Sisley’s ‘The Flood. Banks of the Seine, Bougival’ once owned by Degas, and Gainsborough’s ‘Girl with Pigs’ once owned by Reynolds
Each painting offers a unique insight into the private worlds of these celebrated masters.
Source: National Gallery, London, UK.
To learn more link:
https://www.nationalgallery.org.uk/whats-on/exhibitions/painters-paintings-from-freud-to-van-dyck​​
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Summer Exhibition in RA. Preview this weekend. 13 June — 21 August

13/6/2016

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December 12th, 2016

13/6/2016

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Claude Monet, Sunset on the River Seine at Lavacourt, 1880 Oil on canvasCourtesy of Petit Palais, Musée des Beaux-Arts de la Ville de Paris
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Claude Monet, The Seine at Lavacourt, 1880 Oil on canvas. Courtesy of Dallas Museum of Art, Munger Fund

​Charles-François Duabigny (1817 - 1878)
Claude Monet (1840-1926)

The Seine at Lavacourt:  described this beautiful river scene, which was exhibited at the Salon of 1880, as better behaved, more bourgeois' than his large Sunset on the River Seine at Lavacourt, exhibited nearby. Thanks to Daubigny this type of subject was now established and appreciated. The composition, with is oblique view of the river Seine derives from works such as Daubigny's View of Gloton, near Bonnieres (private collection), exhibited at the 1861 Salon.

Sunset on the River Seine at Lavacourt Winter Effect: Despite its large scale, Monet did not attempt to exhibit this work at the Salon, anticipating that it would be refused. The subject is reminiscent of his lmpression, Sunrise, 1872 (Musée Marmottan, Paris), the controversial painting that gave its name to the lmpressionist movement. Nevertheless, the idea of painting mid-river, in order to give a sense of total immersion in nature, derives ultimately from Daubigny. In reality this effect is an illusion, since Monet set up his easel on a patch of land just beyond his garden at Vétheuil. 

​Source: Exhibition in National Scottish Museum
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Minerva Protects Pax from Mars (Allegory on the Blessing Peace)

13/6/2016

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Peter Paul Rubens, Minerva Protects Pax from Mars ('Peace and War’), 1629-30 Oil on canvas, 
203.5 x 298 cm Courtesy of The National Gallery, London
Sir Peter Paul Rubens was born in 28 June 1577 in Siegen, the modern Germany. He was an outstanding Flemish Baroque painter and a proponent of magnificent Baroque style. Emphatic sense and allegory, color, contrast, movement, and sensuality make admire art lovers all over the world.
He got the high level of recognition with his Counter-Reformation masterpieces, history paintings, landscapes, portraits, and, specially was honored for allegorical and mythological subjects.
He started to incarnate his passion for painting in early age. He had excellent teachers like Vergagt Tobias, Adam van Noort and Otto van van, working under the influence of the Italian Renaissance and managed to instill in the young artist love to all antiquity. He got artist experience copying masters like Titian, Correggio, Leonardo and others. Rubens became the great master inspired by Renaissance.
Rubens had successful career in Italy and was back to Antwerp to run large studio there, which produced art collection well known with European nobility and art collectors. He was an actual prestigious artist and, in addition, diplomat with mission between both Philip IV, King of Spain, and Charles I, King of England.
 
I have chosen to describe his stunning work Allegory on the Blessings of Peace, 1629-1630, guided by several reasons:
  • Origin
  • Influence
  • Symbolic subject, context
  • Visual effects, composition
  • Sensuality.
Firstly, is a well known fact that Rubens created this work in London, out of his studio, where, normally, his students would help him. So only genius’s hands make this work, fully illustrates his style and manner. This adds exclusivity to this paining.
Secondly, this masterpiece is remarkable because it highlights Ruben’s activity in social and political involvedness as diplomat with mission between Philip IV, King of Spain, and Charles I, King of England.
We can read in the book by Fiona Donovan: ‘The theme of Peace and War was one of Ruben’s preoccupations in the late 1620s and the first half of the 1630s. The Effects of War, painted after his final retirement from politics, is his last sad comment on the Thirty Years War; the allegory of the Anglo-Spanish treaty, which he pained in England in 1629-30 is full of optimism ’[2].
 I can add that this picture, praising favorable conditions for peace between the two countries, prosperity and the arts was his gift to Charles I, acted as a compelling argument: the peace treaty was signed in 1630. [7]
Allegory on the Blessings of Peace describes composition of one of the most dynamic, colorful and contrast picture of peace and war.
From the Wikipedia the world Allegory is a device in which characters picture represent or symbolize ideas and concepts. ‘Allegory has been used widely throughout the history of art, and in all forms of artwork. A reason for this is that allegory has an immense power of illustrating complex ideas and concepts in a digestible, concrete way. In allegory a message is communicated by means of symbolic figures, actions or symbolic representation.’ [5]. Undoubtedly, we can see so many symbols in this canvas, so many details and philosophic thoughts.
 
The central lightest figure is personified the Peace, beautiful naked woman feeds infant Plutus (Pax) god of wealth. Such a private and tender natural act mother feeds her child.
Appetizing fruits in the basket blessing gifts of the Peaceful World to next generations, accepting and enjoying by lovely innocent like angels children. They are friendly united in the hug and accompanied with an angel.
One girl is looking at us with her beautiful big eyes, eating grape, a little shy by feeling to be seen. ‘Rubens left a record of his stay in London by using of the Gerbier children as models’ [3]. I think, this way he made the link with the contemporary reflection. The boy with the fire in his hands up represents god Hymen marriage.
I venture to suggest that the lady, turned back to carries gold, pearls and precious items, us is the goddess Venus. She adds gifts with love and multiples wealth. The happy woman dances behind her.
Wild, roaring, always so alive leopard and babies enliven the scene and characteristic paintings by Rubens. Satyr is the winegrower and the lover of Peace.
The picture is deviated diagonally. In the deliberately smaller top-right corner of the picture, Rubens depicted war as an opposite. Not strong enough Mars, god of war, looses and can’t get closer to the world of heavenly peace.  Minerva pushes and drives him away. In the background stormy clouds retreats Mars and his ugly despaired Furies.
We can clearly imagine the impact on the King of England’s conscious to elect the peace agreement as in addicting he was a connoisseur of art. By the way, he considered this canvas more private and important enough to hang it in Bear Gallery at Whitehall Palace [3]. Now we can enjoy looking at the masterpiece in The National Gallery.
The paining can act as a compelling argument and message, very actual contemporary in our world, illustrates the horror of war and the beautiful, healthiness awarding peace.
Lets move to the visual effects as tone composition. I liked the article by Margarita Iakovleva where she wrote about the color contrast: ‘All other adjoining figures appear to be in chaos. However, as your eye starts to follow the lines between light and dark, you can see the harmony, rhythm and movement, which leads your eye from one part of the painting to another, showing more and more details of the painting. It gives you a chance to discover the beauty of the painting, amaze you and return your sight again to the main subject - beautiful lady reprisenting the Peace.’ [4].
I would completely agree that Rubens’ paintings, and this in particular, strikes with their geometrical and hormonal structure. He portrayed nude as feminine and highly sensorial. Rubens is identified with the woman he      depicted. 
Alllegory in Minerva protects Pax from Mars has become an integral part of the content of the great Flemish and it shows inexhaustible resources of master’s skill.

Hanna Yakovleva, MA
 
Bibliography:
 
  1. Rubens / DOWNES, Kerry. (1980.) London :: Jupiter Books, (5), 1980. (Pages 73-76).
  1. Rubens and England / Fiona Donovan. (2004.) New Haven; London :: Yale University Press, (385), 2004. (Pages 23-25).
  2. Heroic deeds and mystic figures : a new reading of Rubens' Life of Maria de' Medici / Millen, Ronald Forsyth. & WOLF, Robert Erich. (c1989.) Princeton, N.J. ;Oxford :: Princeton University Press, (110), c1989. (Pages 185-187).
  3. http://www.margaritaartist.com/articles.id1.html (23.02.08)
  4. http://en.wikipedia.org/wiki/Peter_Paul_Rubens
  5. http://www.bibliotekar.ru/Krubens/index.htm
  6. http://www.centre.smr.ru/win/pics/pic0135/p0135.htm
  1. Поттертон Х. Лондонская национальная галерея. М.: ACT, 2000
  2. Джентили А., Бархем У., Уайтли Л. Лондонская национальная галерея. М.: Слово, 2000
  3. Авермат Р. Петер Пауль Рубенс.М.: ТЕРРА-Книжный клуб, 1999.
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Room of Prints in Summer Exhibition RA

10/6/2016

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Royal Academy Summer Exhibition. Room dedicated to prints.
Stephen Chambers RA has turned this year's print galleries into a lively community of dissimilarity, bound together by an overriding sense of excitement about the possibilities of printmaking. These rooms are filled with many artists new to the Summer Exhibition, and those whose primary disciplines are painting or sculpture. Looking at these densely clustered walls we find moments of tranquillity pierced by bursts of visual energy. The pulsating heart of Gallery Vis Richard Long RA's large abstract print, which combines activity with stillness: a chaos of fluid daubs tamed by a straight line that spirals out from the centre. Long's image captures one of Chambers's own visual interests: the intersection between figuration and abstraction. In Chambers's four small prints, we find figures drawn half- formed from the unconscious, emerging into diaphanous backgrounds. In Carolyn Thompson's spectral print, the word ghost faintly appears from pages of barely legible text, while in Julia Farrers constructivist etchings broad strokes of black and white, referencing solid and negative space, wrestle for precedence. Many of the prints here operate like drawings, allowing simple forms a box of fries, a wooden gate, or Lisa Milroy RA's paper dolls dress to demand our undivided attention. For Chambers, less is always more, and the skill of the artist is to know what to leave out as much as what to put in Throughout the room we see forms come into focus and disappear. Allen Jones RA is playfully suggestive with his images of maitresses half-glimpsed through shimmering veils, whilst Andrzej Jackowskis interiors haunt with their intriguing realms and archetypal forms. The sense of psychological drama is particularly acute in Tim Long's diptych of heads, where the block has been cut from the inside of a piece of wood shaped as a head. And although the wooden head has been reassembled, and we can no longer look inside it, the print serves as evidence of this interior world. At the centre of the room are three stone sculptures by Peter Randall Page RA These natural seed forms echo the sense of expectancy we see in many of the prints, the sense of excitement that comes when waiting for the paper to emerge from the press. 

Source: RA Summer Exhibition reviews
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Bill Jacklin RA. Summer exhibition highlight.

8/6/2016

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Bill Jacklin RA, who has hung Gallery l, has lived in Manhattan for more than 30 years. He is inspired by the city's energy, as eddying crowds and invisible natural forces flow through its manmade canyons. He captures this urban natural history in works that dissolve the city New York into an interconnected swirl of buildings, people, wind, rain and light Gallery l, which focuses on smaller works, is dominated by Kutlug Ataman's THE PORTRAIT oF SAKIP SABANCI, a shimmering, undulating cloud of 10,000 LCD panels that floats just above our heads, each panel a photograph of someone whom Sabanci, the Turkish philanthropist and industrialist, encountered before his death 15 years ago. This populous cloud overshadows the whole space, so to compensate Jacklin has blocked out two densely packed areas of small paintings on the gallery's north and south walls. He has then established a narrative flow through these works, moving us around the room from representational paintings of the figure and landscape, through semi-abstraction to abstraction, with the six larger paintings at each end of the gallery-by Jacklin, Eileen Cooper RA Fred Cuming RA, lan Mackenzie Smith and Jane Lewis offering a distillation of this aesthetic journey. Like the works in the Summer Exhibition itself, the disparate group of artists in this room has no predetermined connections, but because they occupy the same space and are closely hung together, we begin to invent aesthetic narratives to link them. The subtle shifts between light and dark in Nicholas Pace's strange, monochrome landscape are echoed directly opposite, in the slight tonal shifts we see in the minimal abstracts of Tess Jaray RA or Jane Bustin. The children and plants in Mick Rooney RA's surreal interior find a response beneath in Stella Parsons's portrait of a girl with an enormous bunch of flowers, while the yellow dress of David Remfry RA's woman walking an invisible dog is taken up in the background of Harry Hill's two male portraits.

Source: Royal Academy Summer exhibition reviews.
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Manchester Art Gallery - Private Tour Overview 

2/6/2016

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Michelangelo Buonarroti, The Creation of Adam in the Sistine Chapel at the Vatican Museums, Rome. Courtesy of Titimaster, via
North Americans who can't make the trip to Rome now have an opportunity to visit Michelangelo's renowned Sistine Chapel in Mexico City. A full-size replica of the 15th century church, best known for the iconic ceiling fresco painstakingly painted by the Renaissance great between 1508 and 1512, has opened in Plaza de la República (Republic Square). In additional to Michelangelo's contributions, which include The Creation of Adam ceiling panel and the Last Judgment on the altar wall, the reproduction also features works by Renaissance painters such as Raphael, Sandro Botticelli, Domenico Ghirlandaio, Luca Signorelli, and others.
Read more from the source: 
https://news.artnet.com/art-world/sistine-chapel-replica-mexico-515072
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Testimonials

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Visited together:
Vienna greatest museums;
National Gallery, London;
​V&A, London

Natalia Sokolova,
“Private Art Education guide naturally guided me into the world of art.. Her passion and inner energy brings inspiration and generates curiosity .. Her profound knowledge on artists and directions brought answers to all my questions... Hidden details of artists' visualizations.. Deep truth behind the obvious.. I simply love and enjoy the museum tours with Hanna.. Already looking forward to the next one in Wallace Collection"
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 Visited together:
 Royal Academy of Arts,
 From Monet to Matisse,   Painting Modern Garden exhibition preview

Judi Piggott,
"Thank you, my private guide today to the Royal Academy of Arts London, she was highly thorough and very informative, at the end of our 2hour tour I was pleasantly educated about Monet, Manet, Matisse and the rest! Am looking forward to my next arty tour with Hanna!"
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​ Visited together:
 Private view of
 Opera Gallery in Dubai International Financial Center, UAE

Ziad Boikli,
​"Art is not only talent, knowledge and experience, it must be with passion as well , and that’s exactly what Private Art Education guides have."
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​Visited together:
The Wallace Collection,
Masterpiece and LAPADA art fairs,
Commercial London galleries 
Julia Bethwaite,
"My husband and I enjoyed very much a private tour at the Wallace Collection, guided by Private Art Education. Besides it being a truly educative experience, we really had fun! Hanna has a deep passion to the world of art and a keen eye on detail, and it was a great pleasure to share that special energy and learn with her.
I also had a fantastic time at the Masterpiece Fair with Private Art Education group. The tour was both educative and entertaining! In addition, it was wonderful to meet likeminded people, who enjoy enriching their lives with a touch of art."
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Visited together:
The National Gallery, London
The Golden Age of Venetian Art

Niels van der Velden,
"Although I have always been interested in art, the private art tours with Hanna have really increased my enthusiasm for art. I think it is her passion and extensive knowledge that made me feel this way.  I wholeheartedly recommend the Private Art Education membership program. Thank you."
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Visited together:
The National Gallery, 
Allegory of Love.
Private Art Education gold member 

Kievan Zokaei,
"When visiting the galleries together with Private Art Education tour guide, her vast knowledge and passion, opened new horizons and greatly broadened my outlook towards the arts. Personally, I cherish the opportunity and consider it food for soul. I highly recommend Private Art Education."
CONTACT US: 

education@privateart.co.uk
​+447500437326
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