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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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 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 Masterpiece London is the leading art fair of the year, antiques and design - and great place to share knowledge and experience.
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!Update on The National Gallery must see exhibition this summer, |
 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 |  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
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
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:
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:
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.
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:
- Rubens / DOWNES, Kerry. (1980.) London :: Jupiter Books, (5), 1980. (Pages 73-76).
- Rubens and England / Fiona Donovan. (2004.) New Haven; London :: Yale University Press, (385), 2004. (Pages 23-25).
- 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).
- http://www.margaritaartist.com/articles.id1.html (23.02.08)
- http://en.wikipedia.org/wiki/Peter_Paul_Rubens
- http://www.bibliotekar.ru/Krubens/index.htm
- http://www.centre.smr.ru/win/pics/pic0135/p0135.htm
- Поттертон Х. Лондонская национальная галерея. М.: ACT, 2000
- Джентили А., Бархем У., Уайтли Л. Лондонская национальная галерея. М.: Слово, 2000
- Авермат Р. Петер Пауль Рубенс.М.: ТЕРРА-Книжный клуб, 1999.
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
Source: RA Summer Exhibition reviews
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.
Source: Royal Academy Summer exhibition reviews.
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
Read more from the source: https://news.artnet.com/art-world/sistine-chapel-replica-mexico-515072
