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Endless Enigma: Eight Centuries of Fantastic Art explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Endless Enigma takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time. Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.
Designed by Gottfried Semper, the gallery building at the Dresden Zwinger houses not only the Gemaldegalerie Alte Meister (Old Masters Picture Gallery), but also the Skulpturensammlung bis 1800 (Sculpture Collection from Antiquity to 1800), which is renowned for the high quality and impeccable provenance of its holdings. In addition to outstanding ancient works, around 100 Renaissance and Baroque sculptures are now on permanent display at the Semperbau. The concept for the gallery was revised following a thorough investigation of the collection, which also brought to light some hidden treasures. This catalogue presents the first results of the scholarly research; featuring selected masterpieces by Filarete, Giambologna, Adriaen de Vries, Giovanni Francesco Susini, Corneille Van Cleve, Guillaume Coustou, Paul Heermann and Balthasar Permoser, among others, it illustrates the impressive breadth and variety of the Dresden Skulpturensammlung.
The Staatliche Graphische Sammlung in Munich houses one of the finest and most famous collections of drawings and prints in Germany, with holdings of around 400,000 works ranging from the fifteenth century to modernity. Published to accompany an exhibition at the Morgan Library and Museum in New York, 100 Master Drawings from Munich comprises lush full-color illustrations of over one hundred of the museum's works of art. Demonstrating the impressive depth and breadth of works owned by the Staatliche Graphische Sammlung, the works in this volume range from rough preparatory sketches to meticulously executed studies and encompass a variety of media, including silverpoint, chalk, ink, and aquarelle. Among the many extraordinary pieces are Old Dutch and German prints, nineteenth-century German drawings, and works by Dürer and Rembrandt. But equally not to be missed are the many compelling works of contemporary graphic art for which the museum is best known.
In this illustrated book, an eminent art historian examines the intriguing history and significance of the international art exhibition of the Old Master paintings.
Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."
From the weekly shopping list to the Ten Commandments, our lives are shaped by lists. Whether dashed off as a quick reminder, or carefully constructed as an inventory, this humble form of documentation provides insight into its maker's personal habits and decision-making processes. This is especially true for artists, whose day-to-day acts of living and art-making overlap and inform each other. Artists' lists shed uncover a host of unbeknownst motivations, attitudes, and opinions about their work and the work of others. Lists presents almost seventy artifacts, including "to do" lists, membership lists, lists of paintings sold, lists of books to read, lists of appointments made and met, lists of supplies to get, lists of places to see, and lists of people who are "in." At times introspective, humorous, and resolute, but always revealing and engaging, Lists is a unique firsthand account of American cultural history that augments the personal biographies of some of the most celebrated and revered artists of thelast two centuries. Many of the lists are historically important, throwing a flood of light on a moment, movement, or event; others are private, providing an intimate view of an artist's personal life: Pablo Picasso itemized his recommendations for the Armory Show in 1912; architect Eero Saarinen enumerated the good qualities of the then New York Times art editor and critic Aline Bernstein, his second wife; sculptor Alexander Calder's address book reveals the whos who of the Parisian avant-garde in the early twentieth century. In the hands of their creators, these artifacts become works of art in and of themselves. Lists includes rarely seen specimens by Vito Acconci, Leo Castelli, Joseph Cornell, Hans Hofmann, Franz Kline, Willem de Kooning, Lee Krasner, H. L. Mencken, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Clyfford Still, and Andrew Wyeth.
"Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture.
An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Pergam places the Exhibition in the context of contemporary debates about museum architecture and display. With an analysis of the reception of both "Ancient" and "Modern" paintings, the book questions the function of exhibitions in the construction of an art historical canon. The book also provides an essential reference tool: a compiled list of all of the paintings exhibited in 1857 that are now in public collections throughout the world, with an analysis of the collecting trends manifest in their provenance.