The idea of holding an exhibition of Russian Art in New York was gathering momentum as early as 1922. One of the early instigators of the plan. Troyanovsky, had hoped it would serve as a means of financial support to Russian artists alongside the broader cultural goal of introducing Russian art to an American audience. The members of the Exhibition Committee formed in 1923 consisted of Grabar, Vinogradov, Zakharov, Somov and Sytin. It was Somov who invited the Lanceray brothers and their sister Zinaida Serebriakova to join in the exhibition as fellow miriskusstniki. It was a difficult period in Serebriakova's life Her husband had died in 1919 and with little means to support herself, she and the four children had moved into her mother's house. In the face of the advancement of the Red Army, she had been forced in November 1919 to abandon their beautiful estate of Neskuchnoe in Kursk province (now in the Kharkiv oblast in Ukraine). It was there she had spent her happiest years with her husband and children, and produced some of her most famous paintings such as Harvest (1915) and Bleaching Linen (1916-17).
Serebriakova and the children lived for over a year in Kharkov. then in December 1920 moved to Petrograd and settled in the Benois household. Serebriakova had to earn her living through the occasional portrait commission. but she was fixated by the idea of going to Europe to make her fortune, inspired no doubt by her uncle, the artist Alexander Benois, as well as the success that both Roerich and Sorin had found in the United States If you only knew, my dear Uncle Shura' she wrote in a letter to Alexander Benois on 17 December 1923, how often I dream of leaving and somehow finding a way to turn my life around, a life without that single overriding daily worry about food (of which there is never enough and is always bad anyway), a life where my earnings are not so hopeless that we can't even afford essentials. Commissions for my portraits are very infrequent indeed and hardly pay. The pennies l earn from them are normally spent on food even before the pictures are finished. If only something would sell at the American exhibition... In the Autumn of 1923 Somov had helped Serebriakova to select fourteen works for the exhibition. These were sent to Riga in December and then shipped via Sweden and England to arrive in New York in January 1924. On 8 March 1924, "The Exhibition of Russian Art' opened on the top floor of the New York Grand Central Palace. Works from 1921-23 were presented by 84 Russian artists.
Study of a Sleeping Girl is the first of Serebriakova's works listed in her section of the catalogue. It was also one of the highlights of the exhibition reproduced on individual photographic prints: other highlights included K Portrait of Feodor Chaliapin and The Coachman and paintings by Arkhipov, Polenov and Nesterov.
These prints were in great demand according to Grabar and sold like hot cakes' as did everything that seemed "very Russian to the American public and could be considered a Russian souvenir (see Grabar's correspondence, 18 March 1924). The demand for the paintings themselves was slower however, and Grabar wrote gloomily that they hadn't realised that the golden days of the American art market were long gone. Around twenty years ago, or perhaps even twelve or fifteen, the art market in America reached its peak but then sank dramatically". On 28 March 1924, Somov wrote to his sister A.Mikhailova: do feel sorry for artists like Zina who are waiting to get some support. But almost a week later on 4 April, he makes a more optimistic note that there are still great success stories, even if only for some: a wooden sculpture by Konenkov and two works by Serebriakova (a still life and Sleeping Girl) The beauty of the female body was one of the leading themes in Serebriakova's work. While she was working on the Bath House in 1912 at Neskuchnoe, Serebriakova would ask young village girls from nearby to acts as models so she could practice drawing life studies. In Petrograd, she would use her children as models. Nude portraits of her daughter Katya can be found in the collections of the State Tretyakov Gallery (fig 5) and the Peterhof Museum. On 19 April, the penultimate day of the exhibition, Boris Bakhmeteff purchased four paintings from the show, including the present lot. On 1 May Somov wrote to his sister, I am so happy for Zina, she has finally sold a work Sleeping Girl. think it comes in her hour of need in fact with her mother's illness she is going out of her mind.' Though she had earned no great fortune, the proceeds from the exhibition allowed her to support the family with enough to spare that in August that year she was able at last to set out for Paris in search of work Sleeping Girl is one of the last masterpieces of Serebriakova's Russian period and can be seen as a prelude to the series of stunning nudes which she would go on to produce in France are grateful to Pavel Pavlinov for providing this catalogue note.
Source: Sotheby’s Action catalogue 2015 Russian picture sale.
Bazille came from Montpellier but soon migrated to Paris (1862), studying in the studio of the academic painter, Charles Gleyre where he met Monet, Sisley and Renoir. His promising career was tragically cut short by the Franco-Prussian War: he was killed in battle on 28 November 1870. Although, for it date (1868), not as advanced as the work of Monet or Renoir, the View of a Village shows well the Impressionist style in embryo: the careful observation of light effects, the use of colour in shadow (note the treatment of grass and bushes on the right), the informal com- position, the attempt to depict the model in the open air rather than in front of a land- scape backdrop, and the choice of a subject without dramatic or sentimental overtones. The handling of the paint is still rather heavy and suggests the influence of Courbet's pic- tures, which Bazille admired. The model was the daughter of a tenant farmer on his parents estate near Montpellier. The somewhat con- servative air of the View of a Village probably explains why it was accepted for the Paris Salon of 1869, for which canvases by both Sisley and Monet were refused. Not that Bazille regarded this as an unqualified triumph; to be turned down by the Salon was in some respects more helpful to the cause of the avant garde. "What pleases me he wrote in the spring of 1869, "is that there i genuine animosity against us; it is M. Gérome who has done all the harm; he has treated us as a band of lunatics and declared that he believed it his duty to do everything to prevent our paintings from appearing; all that isn't bad.' Bazille was one of the models for Monet's Picnic.
Source: Painters of Light. the World of Impressionism, Keith Roberts.
The studio is where strange magic happens, as much for the artist’s imagination as for the public’s. It’s the conjuring place of new concepts, styles, or forms. Sometimes it even comes to be seen as sacred, a place where visitors become pilgrims to the altar of art.
The alluring mystique of the modern artist in his studio may have found its archetypal expression in Pablo Picasso. His most iconic portraits depict women in the studio, like those of Dora Maar, his “private muse.” In 2001, the Cleveland Museum of Art exhibition and accompanying catalogue Picasso: The Artist’s Studio explored the artist’s work in the context of his workspace. And the theme has endured; Picasso: In the Studio was the subject of a spring 2016 issue of the journal Cahiers d’Artand a show in its Paris gallery featuring previously unpublished photographs of the artist at work—where else?—in the studio.
During the summer and autumn of 1946, Michel Sima photographed Picasso in black and white, in his workshop at the Grimaldi castle. Michel Sima, whose true name was Michal Smajewski, a sculptor and photographer of Polish origin, student of the Grande Chaumiere academy and assistant of Ossip Zadkine in 1934, had become acquainted with Picasso in Paris. During the summer of 1946, while living in Cannes with Romuald Dor Souchere, after his return from three years of deportation to Auschwitz, Sima arranged an interview between the curator of the Grimaldi museum and the artist, on a beach at Golfe-Juan Dor de la Souchere then offered Picasso, expressing his disappointment at never having received large surfaces to be decorated from the State, a part of the castle to work in, from the afternoon until late in the evening. Certain platesbySimaplay withthelight contrast created bythetwocinema projectors which had been leased to the Victorine studio, in Nice, for Picasso. The artist played his part by posing regularly in front of his work, alone, in the company of Francoise Gilot or in the company of his friends the Eluards, setting the subject, seated on a mattress, upright front of his paint pots, or concentrated on his work resting directly in on the ground. These glimpses are a unique testimony that make it possible not only to seize the atmosphere of the workshop, but also to better understand the progress of Picasso work, the stages of creation and the modifications performed on works before their final state.
Last year French art publishing house and gallery Cahiers d'Art presented an exhibition accompanied by the latest issue of the Cahiers d’Art revue, both entitled Picasso: in the Studio, devoted to Pablo Picasso and the various techniques in which the artist was most profilic. The exhibition and the issue offer an exceptional close look at the artist in his studio as you have never seen him.
HIGHLIGHTS OF THE EXHIBITION PICASSO: IN THE STUDIO
The exhibition illustrates the way in which Picasso worked in the various studios and highlights his practices and numerous techniques. It provides a captivating and unique perspective of the environment in which he developed his work through rare and previously unpublished photographs. Thus, the viewer discovers the artist’s sculpture studio in Boisgeloup in 1931-1932 through remarkable photographs from the Archives Olga Ruiz-Picasso (courtesy Fundación Almine y Bernard Ruiz-Picasso para el Arte). The viewer is then invited to discover Picasso in the Madoura ceramics studio, photographed by Yves Manciet between 1948 and 1953, his Le Fournas studio in Vallauris captured by the lens of Edward Quinn in 1953 and his home and studio in Mougins where Lee Miller photographed the presentation of the tapestry Femmes à leur toilette. To lean more: www.artsy.net/show/cahiers-dart-picasso-in-the-
A Brief History of the Artist’s StudioARTSY EDITORIAL
BY GEORGE PHILIP LEBOURDAIS
and Grimaldi castle Picasso Museum catalogue information
A lot of visitors to mountain are not aware of the treasures that lay within this wonderful sight.
The Benedictine Monk retreat at Montserrat offers you some of the most spectacular mountain views of Catalunya.
Now it is magnificent UNESCO heritage and included in 10 most visited spiritual places in the world.
The main reason to make a journey for tourist from all over the world to this spectacular mountain is to see and pray to the black faced Madonna n the basilica Montserrat monastery. To learn more visit this link:
The black faced Madonna in the basilica Montserrat monastery
And yes, tour guids will insure you that if you ask Madonna with your open heart and believe, she will make your wish come true!
We did that and hope all will work out great about our deep wishes and happiness... But the main focus at this page i wish to turn to ART MUSEUM at Montserrat because a lot of visitors to mountain are not aware of the treasures that lay within this wonderful sight.
The Museum of Montserrat houses an important collection of ancient paintings. Most of the paintings in this section come from the acquisitions of Abbot Antoni M. Marcet in Rome and Naples between 1913 and 1920. Abbot Aureli M. Escarré extended the collection with new acquisitions to which other donations have been added.
I would like to present you my highlights of this museum as take a stroll around it and you will find the likes of Picasso, Dali and Caravaggio nestled in amongst less well-known artists. There are over 1300 pieces housed in the museum covering a broad historical period: the earliest exhibit is an Egyptian sarcophagus from 13th century BC and the most recent exhibit is a sculpture from 2001 by Josep M Subirachs.
To learn more and see more art from the source:
Following several years spent capturing the Yorkshire landscape, which culminated in A Bigger Picture at the Royal Academy of Arts in 2012, David Hockney moved back to Los Angeles. There he returned to the intimacy of portraiture, a genre that has played a major role in his long career. In the summer of 2013 he painted the first of what was to become a large body of portraits. All share the same dimensions and are painted in acrylic on canvas, with the subject seated on the same chair in Hockney's Los Angeles studio, illuminated by the bright, clear light of southern California. Almost every painting was executed over three days, or, as Hockney puts it, in a wry comment on photography, with a twenty-hour exposure. None of these portraits is a commission. Hockney invited each of his subjects to sit; they comprise family, friends and close associates, thereby affording the viewer an insight into the artist's life in Los Angeles. The uniformity of each painting's key elements highlights the differences between the individual sitters, and each depiction the result of intense scrutiny becomes a kind of psychological exploration. The effect is a deliberately immersive and intense installation, in which Hockney reassesses the role of the painted portrait.
The source: Royal Academy exhibition information
Summer is represented as the goddess Ceres wearing a crown wheat stalks and holding a torch.
The summer season, when the fruits of the earth is often represented as a bare-breasted woman accompanied by a number of distinguishing attributes: a stalk of grain, a burning torch, and a fruit-filled cornucopia. Her colors are yellow and gold. In Greek mythology, the summer was identified with Deme- ter, goddess of the earth and agriculture. The goddess journeyed to the Underworld in search of her daughter Persephone, who had been abducted by Hades, god of the dead; this motif reflects Ceres' dual nature as bestower of abundance but also of drough During the Renaissance, in the complex system of corre- spondences between macrocosm and microcosm, the summer season was associated with fire, the choleric temperament, and the iconographic motif of the five senses. Summer appears as a man in the flower of youth, laden with symbolic motifs related to sun worship and the cult of empire: the stalks of grain that make up his clothing, the artichoke, and ripe corn. In Western iconogra phy, this season can also be represented by its corresponding farm abors.
From the painting by Pieter Bruegel, the cutting of the wheat normally occurs in late June, around the time of the summer solstice. The theme of working in the fields is here combined with a celebration of rest. In his cycle of the Seasons, Bruegel presents a splendid slice of the peasant life of his time.
There is a wheat field in Place Vendôme, France You can thank Chanel for that
As the direct reference from the Renaissance art iconography, Chanel presented the Blés Vendôme installation, created by French artist Gad Weil. It's also where the fashion house unveiled its latest collection of high jewellery, Les Blés de Chanel, inspired by wheat (which translates to les blés in French).
Wheat also signifies luck and prosperity in France, and because of that Gabrielle Chanel used it as a good-luck charm, which appears in every room in her apartment. It appeared on a brass bouquet, in gilded wood on the fireplace and she even had gilded sheaves for a table leg. She also owned a painting of a single blade of wheat, presented to her by Salvador Dali.Current Chanel creative director Karl Lagerfeld made references to this lucky charm in his Spring 2010 collection, with ears of wheat featured on chain belts, sunglasses, bracelets, headbands, necklaces and brooches.
The Blés Vendôme exhibition runs until 7 July 2016, after which Weil will take his installation to Saumur, France. See more of the high jewellery collection below.
Sources: Matilde Battistini, Symbols and Allegories in Art, The J.Paul Getty Museum, Los Angeles and
Star attraction of Amsterdam’s Van Gogh Museum has suffered from pigment deterioration and addition of later varnish
The Van Gogh Museum’s Sunflowers will probably be conserved, to help preserve the picture and possibly bring back the artist’s more vibrant colours. The painting has been taken off display and is now being inspected in the conservation studio. A statement by the Amsterdam museum says this is being done “so that we can decide how best to conserve and possibly restore it”. Conservators are now considering whether to remove old varnish, which would enable one to see more of Van Gogh’s original colours—and make the sunflowers appear even more powerful than they do today.
The Amsterdam Sunflowers was painted in the Yellow House in Arles in January 1889, a month after Van Gogh mutilated his ear. The picture, with fifteen blooms set against a yellow background, was probably painted for Gauguin—although he never received it. It is a signed copy of the original version, done five months earlier and now in the National Gallery in London. Van Gogh also made five other still lifes of Sunflowers (they are in Tokyo, Philadelphia, Munich and a private collection and one was destroyed during the Second World War).
Read more from the source: theartnewspaper.com/news/conservation/van-gogh-s-sunflowers-likely-to-be-restored-to-their-previous-bloom/
Georgia O’Keeffe is one of the most significant and intriguing artists of the twentieth century, known internationally for her boldly innovative art. Her distinct flowers, dramatic cityscapes, glowing landscapes, and images of bones against the stark desert sky are iconic and original contributions to American Modernism.
The art of Georgia O’Keeffe has been well known for eight decades in this country and for many years has been attaining similar prominence abroad. More than 500 examples of her works are in over 100 public collections in Asia, Europe, and North and Central America. In addition, since her work was first exhibited in New York in 1916, it has been included in hundreds of solo and group exhibitions organized around the world.
The Georgia O’Keeffe Museum cares for a growing collection of artwork by O’Keeffe, including nearly 150 oil paintings, nearly 700 sketches, and important pastels, watercolors, and charcoals. Our collections also include O’Keeffe’s personal property, including her art materials, and a significant archive of documentation and photography of her life and times.
The Martyrdom of Saint Ursula (1610), is a painting by the Italian artist Caravaggio (1571–1610) and thought to be his last picture. It is in the Intesa Sanpaolo Collection, the Gallery of Palazzo Zevallos Stigliano, Naples.
The holy Ursula, accompanied by eleven thousand virgins, was captured by the Huns. The eleven thousand virgins were slaughtered, but the king of the Huns was overcome by Ursula's modesty and beauty and begged her forgiveness if only she would marry him. Ursula replied that she would not, upon which the king transfixed her with an arrow.
The figure favourited in Medieval and Baroque period by Italian artists.
Her legend, probably not historical, is that she was a princess who, at the request of her father King Dionotus of Dumnonia in south-west Britain, set sail to join her future husband, the pagan governor Conan Meriadoc of Armorica, along with 11,000 virginal handmaidens. After a miraculous storm brought them over the sea in a single day to a Gaulish port, Ursula declared that before her marriage she would undertake a pan-European pilgrimage. She headed for Rome with her followers and persuaded the Pope, Cyriacus(unknown in the pontifical records, though from late 384 there was a Pope Siricius), and Sulpicius, bishop of Ravenna, to join them. After setting out for Cologne, which was being besieged by Huns, all the virgins were beheaded in a massacre. The Huns' leader shot (with a bow and arrow) Ursula dead, in about 383 (the date varies).
ALPHONSE MARIA MUCHA, July 24, 1860 – July 14, 1939, a czech artist who studied in paris and munich, produced an immense amount of paintings, posters, advertisements, and book illustrations, as well as designs for jewellery, carpets, wallpaper, and theatre sets in what was initially called the MUCHA STYLE but became known as ART NOUVEAU ( new art ). MUCHA’S works frequently featured beautiful young women in flowing vaguely neoclassical looking robes, often surrounded by lush flowers which sometimes formed haloes behind the women’s heads. In contrast with contemporary poster makers he used pale pastel colors. the ART NOUVEAU style however, was one that MUCHA attempted to distance himself from throughout his life. he always insisted that rather than adhering to any fashionable stylistic form, his paintings came purely from within and czech art. he declared that art existed only to communicate a spiritual message, and nothing more.
Mucha Alphonse as noble and spiritual as Joan of Arc, yet sensually provocative and appealing a dream-like seductress stands resting her hand on a bottle of liqueur, La Trappistine. The round decoration surrounding her head like a halo gives this temptress an almost divine appearance of rare beauty. Delineated in gated, curvilinear strokes and coloured in pale, watery tones, this advertising poster is an example of the stylish of Art Nouveau, of which Mucha was one of the chief exponents. The artists of the Art style attempted to blend all categories of art into a decorative unity based on graceful, elegant linear forms. Mucha was largely responsible for popularizing many of the style's key motifs, such as undulations of flowing hair and flowers on slender twining stems. A prolific graphic artist, Mucha also designed jewellery, stained glass, furniture, stage sets and costumes. He spent much of his career in Paris, but returned to his native Czechoslovakia in 1910.
THE SEASONS, 1896, was Mucha's first set of decorative panels and it became one of his most popular series. it was so popular that he was asked to produce at least two more sets based on the same theme in 1897 and 1900. designs for a further two more sets also exist. the idea of personifying the seasons was nothing new – examples could be found in the works of the old masters as well as in other publications at that time. however, MUCHA’S nymph-like women set against the seasonal countryside background breathed new life into the classic theme, MUCHA captures the mood of the seasons – innocent spring, sultry summer, fruitful autumn and frosty winter.
Alphonse Mucha: In Quest of Beauty will open on the 8 October 2016 at the at Kelvingrove Art Gallery and Museum in Glasgow. Following on from very successful exhibitions at the Russell-Cotes Museum in Bournemouth and the Sainsbury Centre in Norwich, the Kelvingrove Art Gallery and Museum is the third venue in our UK tour.
Objects from Glasgow Museums' collection have been carefully selected to accompany the artworks by Mucha. Paintings and posters by artists such as Dante Gabriel Rossetti, John Duncan, and Charles Rennie Mackintosh and his Glasgow Style contemporaries demonstrate the interchange of artistic ideas between Scotland, the rest of the UK, and continental Europe.
Artistic links to the artists like Klimt, Moreau, Munch, Toulouse-Lautrec.
1. The Art Book, new edition 2012, Phaeton Press Limited, London
A rare opportunity to see over 100 remarkable paintings by this pioneer of twentieth-century art
One hundred years after the American painter Georgia O’Keeffe (1887-1986) made her professional debut at the 291 gallery in New York, Tate Modern opens the first UK survey of her work since 1993. The show, which is almost entirely drawn from US collections, speaks to a startling fact: none of O’Keeffe’s works are held by any public UK museum.
With around 100 pieces by the artist, the survey opens with abstract charcoals, including those shown at her first 291 exhibition, and moves through the skyscape series she made in the early 1960s, when she was “still working at the height of her powers”, says Tanya Barson, the curator who organised the exhibition.
Read more from the source: theartnewspaper.com/shows/sometimes-a-flower-is-just-a-flower-georgia-o-keeffe-at-tate-modern/
or from Tate Modern: http://www.tate.org.uk/whats-on/tate-modern/exhibition/georgia-okeeffe
Belle Epoque in all its opulence and beauty.
Monte Carlo Casino is one of the oldest as its inauguration dates back to February 18th 1863. It is also one of the most representative examples of Belle Epoque architecture, which was first seen during the reign of Emperor Napoleon Ill The first stone was laid by Prince Albert 1st in the presence of Prince Charles Ill on May 13th 1858 It was Prince Charles Ill's idea. He entrusted the development to a 57 year-old businessman and passionate art lover, Francois Blanc, who had made his fortune in Homburg (Germany). Blanc, then his wife, Marie Blanc, and then his son, Camille, called upon the best architects and artists of the late 19th century including Charles Garnier, who had just completed the Paris Opera House. On April 2nd 1863, Francois Blanc bought back the gaming for 50 years As soon as work began, he extended the Casino, added a ballroom and in January 1864, he opened the Hotel de Paris. The name "Monte-Carlo the Ligurian translation of "Mount Charles'' in honour of the Sovereign, Prince Charles Ill, first appeared in 1866 Two years later, the railway reached Monaco, finally bringing a large number of visitors and gamblers. The inauguration of the Opera House took place on January 25th 1879; the prestigious décor took shape and the celebrations began. From 1909, there was an unending stream of top-class personalities, from Diaghilev to King Edward VII, from Caruso to la Belle Otero and of course the unforgettable Chaliapin. Today, after lengthy and delicate restoration work, Monte Carlo Casino has regained all its splendour of the olden days. To enter the Monte Carlo Casino is not only to try one's luck at gambling but it is to enter the Legend of a unique venue.
Source: Le Casino Monte Carlo, The History of Monte Carlo Casino.
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:
During London Art Week at Christies Auction House is the great opportunity to see the masterpiece by Rubens.