She Is Waiting for Him, Elisabeth Jerichau-Baumann

Young Artist Daydreaming, Gustaf Wappers

The Rape of Proserpina, Gian Lorenzo Bernini

IMG_4600.jpeg

Childhood (1842)

Manhood (1842) - full

Angle

The Wilton Diptych

The Voyage of Life, Thomas Cole

Irises, Vincent van Gogh

The Psyche mirror, Berthe Morisot

The Dance Class, Edgar Degas

The Mirror of Venus, Sir Edward Burne-Jones

Sleeping Woman with Flowers, Marc Chagall

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Only the Young: Experimental Art in Korea, 1960s–1970s examined the groundbreaking and genre-defying body of artistic production from an era of remarkable transformation in South Korea, known broadly as Experimental art (silheom misul). Created by young artists who came of age in the decades immediately following the Korean War, the artworks featured in this exhibition reflect and respond to the changing socioeconomic and material conditions that were shaped by a tumultuous political landscape at home and a globalizing world beyond. (<a href="https://www.guggenheim.org/exhibition/experimental-art-in-korea-1960s-70s" rel="noopener noreferrer nofollow" target="_blank">Source</a>)Through a loose network of self-organized groups, in the city of Seoul and beyond, Experimental artists created alternate frameworks for making art and organizing exhibitions, shunning state-established platforms like the annual National Art Exhibition (Gukjeon). They engaged with pressing issues such as subjectivity in an age of modernization and globalization and the expression of individual will at the fringes of an authoritarian state.

The "touch of Pygmalion" - the mythic sculptor for whom Venus brought to life a statue with which he had fallen in love - refers to Rubens's capacity to transform inert ancient marble into vibrant pictorial material in his drawings and paintings.According to the 20th-century art historian Giuliano Briganti, Peter Paul Rubens was the "spiritual father" of the Italian artists, like Gian Lorenzo Bernini, whose art sustained the magnificence of the Urban VIII's papacy (1623-44). The label "Baroque" was coined little more than two centuries ago to refer to the art of those years, yet scholars have still not established a unanimous definition. Indeed, its chronological boundaries are problematic; its geography is complex, and even its true protagonists are disputed. There is one claim accepted by all scholars: Rubens was an essential and major contributor to the birth of this utterly new, explosive figurative language that inspired Europe for almost 150 years, up to the era of Neoclassicism.Proposing this exhibition of his art, specifically in the setting of the Galleria Borghese, means going beyond the "myth of the Baroque" and the theoretical definition of a label. The exhibition reveals others components of Rubens's art, exploring his new grammar of the human body and bringing into focus his dialogue with great masters of Italian painting, in particular, Caravaggio, Leonardo and Titian. This exhibition pays attention to the artist's relationship with both ancient sculpture - through which Rubens learned how to imbue his pictorial creations with vitality and dynamism - and modern sculpture, heir of many of his most brilliant formal insights. In brief, Rubens was able to give new life to ancient myths without ever losing sight of the reality around him.

Salvador Dalí defies definition. Painter, printmaker, writer, set designer, performance artist, filmmaker, jewelry designer —he was all of these. He is easily the most famous Surrealist painter, whose works record the visions of his unconscious mind. His renown, however, was not entirely based on his art, nor did it happen by accident. He crafted his celebrity through his theatrical behavior-including appearances with his pet anteater-his famous mustache, and provocative statements made in print and on television. And yet he was an artist deeply committed to the past. The Museum's first-ever exhibition of work by Dalí reveals his devotion to European art and artists from the 15th through the 18th centuries. It explores his religious devotion as well, namely his embrace of Catholicism in the 1950s, which led him to focus on sacred imagery. Dalí saw himself as a master of the modern age, just as his predecessors-artists like Albrecht Dürer, El Greco, Diego Velázquez, Francisco Goya, and others represented in this exhibition-had defined their eras. Dalí mined the past, yet expressed himself through the ideas of the 20th century, from the irrational creations of the subconscious inspired by the theories of Sigmund Freud to the discoveries of nuclear physics. Dali disrupted the old to make it new again.

<a href="https://www.moma.org/artists/4609" rel="noopener noreferrer nofollow" target="_blank">Pablo Picasso</a> spent much of the summer of 1921 in a garage. Inside this unlikely studio in a rented villa in Fontainebleau, France, he worked prolifically to create a startling body of work. Picasso’s simultaneous pursuit of disparate styles had enveloped the art world in controversy for several years. Had Picasso progressed or regressed? Was he avant-garde or academic? Revolutionary or reactionary? Critics were divided. These questions speak to the ways in which Picasso’s Fontainebleau output defies categorization and disrupts expectations of how artists evolve. (<a href="https://www.moma.org/calendar/exhibitions/5530" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

Between 1882 and 1890, five artists—Vincent van Gogh, along with Georges Seurat, Paul Signac, Emile Bernard, and Charles Angrand—flocked to villages on the fringes of Paris.Unlike the earlier Impressionists, who in the previous decade had spent significant time in suburban locations further from the city, this next generation of ambitious artists preferred the northwestern suburbs around Asnières. This area along the Seine River had long been a popular spot for recreation and relaxation but was becoming increasingly populated with coal, gas, and manufacturing facilities in the last decades of the 19th century. And while its industrial development was an unappealing aspect to many, these artists found in the changing physical and social landscape a fresh and rich source of creativity.The area’s visual vocabulary—its bridges, embankments, factories, parks, and villages—along with its sunlight, water, and brilliant natural color prompted intense experimentation. Each artist explored the use of discrete brushstrokes and strong colors in innovative ways, and in turn developed novel styles of painting. Seurat and Signac began applying contrasting colors in unblended strokes (Divisionism). They then pioneered the use of small dots of complementary colors (Pointillism) to achieve an optical mixture in the viewer’s eye. Bernard, having reached the limits of these two styles, experimented with laying out large swathes of bold color defined by dark contours (Cloisonnism) in the last years of the decade. Van Gogh and Angrand followed the developments of Seurat and Signac, absorbing many of these approaches into their later painting styles. (<a href="https://www.artic.edu/exhibitions/9639/van-gogh-and-the-avant-garde-the-modern-landscape" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

Chaïm Soutine was one of The School of Paris's leading and most distinctive expressionists. This exhibition's main focus is on the period between the First World War and the onset of the epression in 1929, when Soutine's productivity peaked and his paintings revolved around a series of striking motifs. (<a href="https://louisiana.dk/en/exhibition/chaim-soutine/" rel="noopener noreferrer nofollow" target="_blank">Source</a>)Chaim Soutine (1893-1943) is a singular artist with an unusual life story. He grew up in a poor Orthodox Jewish family in a village near Minsk, in present-day Belarus, and moved to Paris in 1913, making his home in the centre of the art world. Soutine never joined any group of artists. Remaining an outsider throughout his life, he painted figuratively, expressively and against the current. While other artists were preoccupied with abstract avant-garde trends, Soutine followed his own path. His intensely shimmering, expressive painting style is distinguished by distorted subjects, blazing colours and a restless, bold line. He painted portraits - bellboys, maids, cooks and choirboys were his favourite models - still lifes of slaughtered animals and tilting landscapes. Inspiration was drawn from the old masters that he studied at the Louvre. Soutine's paintings are explosions of colour. At once beautiful and violent, they reflect the years before and between the two world wars, a time marked by conflict, social unrest and polarised religious and political views.

Dalí's manifesto, Declaration of the Independence of the Imagination and the Rights of Man to His Own Madness: "The rights of man to his own madness are constantly threatened, and treated in a manner that one may without exaggeration call “provincial” by false “practical-rational” hierarchies. The history of the true creative artist is filled with the abuses and encroachments by means of which an absolute tyranny is imposed by the industrial mind over the new creative ideas of the poetic mind." (<a href="https://www.artic.edu/dali-manifesto" rel="noopener noreferrer nofollow" target="_blank">Full</a>)This installation considers Dalí’s work in light of two defining, if contradictory, impulses: an immense desire for visibility and the urge to disappear. The artist cultivated these notions in a variety of ways: in path-breaking experiments with materials and palette, in depictions of exotic and mundane edible items, in surrealist fashions and sculptures with spaces for hiding, and in optically dynamic visual illusions or “double images.” (<a href="https://www.artic.edu/exhibitions/9713/salvador-dali-the-image-disappears" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

In 1930, Matisse left France and traveled to Tahiti. By deliberately taking a break from creation, he reached a turning point in his career. This exhibition revisits this decisive decade. It is through the prism of Cahiers d’art, the great avant-garde magazine created by Christian Zervos in 1926, that the exhibition will be presenting Matisse’s work in the 1930s. The mouthpiece for international modernism and the aesthetic trends of its day, the magazine reported on the artist’s production throughout the interwar period. Articles and reproductions of Matisse’s works helped relaunch his competition with Picasso. In successive issues of the magazine, Matisse featured alongside the artists of his time: Georges Braque, Juan Miro, Fernand Léger, Wassily Kandinsky, Mondrian, Le Corbusier and Marcel Duchamp. (<a href="https://www.musee-orangerie.fr/en/whats-on/exhibitions/matisse-cahiers-dart-pivotal-1930s" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

“I think of myself, standing in a world that is never standing still,” the artist <a href="https://www.moma.org/artists/1973" rel="noopener noreferrer nofollow" target="_blank">Robert Frank</a> once wrote. “I’m still in there fighting, alive because I believe in what I’m trying to do now.” Life Dances On explores his restless experimentation across mediums including photography, film, and books, as well as his dialogues with other artists and his communities. The exhibition borrows its title from Frank’s poignant 1980 film, in which the artist reflects on the individuals who have shaped his outlook. Like much of his work, the film is set in New York City and Cape Breton, Nova Scotia, where he and his wife, the artist June Leaf, moved in 1970. In the film, Leaf looks at the camera and asks Frank, “Why do you make these pictures?” In an introduction to the film’s screening, he answered: “Because I am alive.” (<a href="https://www.moma.org/calendar/exhibitions/5661" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

This major exhibition is the first to focus on the importance of plaster in Rodin's work. Although Rodin is best known for his bronze and marble sculptures, he himself worked as a modeller, who captured movement, light and volume in pliable materials such as clay and plaster.This presentation evokes the atmosphere of the artist’s studio. Plasters casts in all sizes show how he continually experimented with fragmentation, repetition and joining existing parts in unconventional ways. Some of his best-known works were influenced by this process, including The Burghers of Calais, which is represented here by the newly restored original plaster. With the process of making at its heart, the exhibition also considers the complex dynamics of the workshop, as well as between the artist and his models and collaborators. (<a href="https://www.tate.org.uk/whats-on/tate-modern/ey-exhibition-rodin" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

Buildings produce nearly 40% of the world’s yearly carbon emissions. Emerging Ecologies: Architecture and the Rise of Environmentalism explores how architects in the US responded to the environmental crisis of the 1960s and 1970s, when concern with rising pollution and runaway resource use spurred widespread activism on behalf of the natural world. Tracing the innovative, fantastical, and daring projects that architects proposed as environmentalism gathered steam, Emerging Ecologies tells an alternate history of architecture that focuses on designers who have made the natural world a centerpiece of their practice.The exhibition celebrates those architects who spearheaded this approach, including <a href="https://www.moma.org/artists/2030" rel="noopener noreferrer nofollow" target="_blank">R. Buckminster Fuller</a>, Beverly Willis, and <a href="https://www.moma.org/artists/141" rel="noopener noreferrer nofollow" target="_blank">Emilio Ambasz</a>, and reveals previously unheralded environmental concerns in the work of practitioners like Ant Farm and <a href="https://www.moma.org/artists/1671" rel="noopener noreferrer nofollow" target="_blank">Charles</a> and <a href="https://www.moma.org/artists/1672" rel="noopener noreferrer nofollow" target="_blank">Ray</a> Eames. (<a href="https://www.moma.org/calendar/exhibitions/5609" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

From natural landscapes rendered in close detail to mindscapes that bend reality, M.C. Escher managed to visualize his boundless imagination and dazzling realities like no other. He used his masterly skill to transform a blank sheet of paper into his own infinite worlds, where he would toy with his viewers' perception. His optical illusions and metamorphoses are works that continue to surprise every time you look at them. For decades, his playful prints have been a rich source of inspiration for mathematicians, filmmakers and architects all over the word.

"Perhaps my art is the art of a madman, a sparkling mercury, a blue soul breaking over my paintings."Marc Chagall (1887–1985) numbers among the 20th century’s best-known artists, and his one-of-a-kind oeuvre encompasses works created as early as 1905 and as late as the 1980s. Born to an Orthodox Hasidic Jewish working-class family and raised in the small Belarusian town of Vitebsk, the artist experienced early childhood in ways that would influence him his entire life long.Chagall’s whimsical and poetic pictorial worlds continue to fascinate and present ever-new riddles. His oeuvre oscillates between the traditional and the avant-garde with respect to both style and substance. Based on his experience of 20th-century art’s development from primitivism to cubism, fauvism, and surrealism, Chagall created his very own visual language. The central themes of motherhood and birth, death, and love predominate in Chagall’s paintings, which reflect upon and illuminate them from new perspectives in their repetition and variation. Recurring motifs such as the rooster and the donkey, the cow and the fish function within the artist’s variable, fantastical cosmos as elements that are flexible in terms of their respective meanings. The seeming contradictions and contrasts in Chagall’s compositions and visual worlds bear visible witness to the artist’s search for a “logic of the illogical”, via which he added a psychological dimension to traditional pictorial forms. This presentation at the Albertina Museum, encompassing around 90 works selected from all of the artist’s creative periods, concentrates on his lively engagement with life’s most primal and universal themes—thereby revealing a diverse multitude of “impossible possibilities.” (<a href="https://www.albertina.at/en/exhibitions/chagall/" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

Manet/Degas examines one of the most significant artistic dialogues in modern art history: the close and sometimes tumultuous relationship between Édouard Manet and Edgar Degas. Born only two years apart, Manet (1832–1883) and Degas (1834–1917) were friends, rivals, and, at times, antagonists who worked to define modern painting in France. By examining their careers in parallel and presenting their work side by side, this exhibition investigates how their artistic objectives and approaches both overlapped and diverged. (<a href="https://www.metmuseum.org/exhibitions/manet-degas" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

The Swiss artist Franz Gertsch (1930-2022) is considered a pioneer of photorealistic painting and a master of the modern woodcut. His early path took him through romantic-inspired landscape paintings and Pop Art collages before he made photography central to his work in 1969.Gertsch projected slides onto a canvas on a monumental scale. With supreme skill, he converted the photographic image into a painting. Blown up to epic proportions, Gertsch's images command the space. In his cropping and ability to switch between panorama and extreme close-up, figuration from afar and abstraction up close, Gertsch approached reality in a singular way. Through his art, fleeting images - split seconds documented - become timeless and ambiguous. In the mid-1980s, the artist started turning his photographic references into woodcuts. The product of painstaking, labour-intensive craftsmanship, these works utilise different types of wood, high-quality pigments and homemade Japanese paper.This is the first major presentation of Gertsch's work in Scandinavia. The artist helped plan the exhibition before his death in 2022. (<a href="https://louisiana.dk/en/exhibition/franz-gertsch/" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

Matthew Wong achieved resounding critical acclaim during his short career, which spanned just six years, starting in 2013, when he began painting and drawing in earnest. The Realm of Appearances presents the first U.S. museum exhibition of Wong's otherworldly landscape paintings from late 2014, when he started working in the genre while in Hong Kong, until his death at the age of 35 in Edmonton, Canada.Synthesizing many inspirations — from Post-Impressionism to early modern Chinese ink painting — he created a visual language uniquely his own. In late 2016, Wong's exploration of the emotional and artistic range of landscapes evolved into colorful, uncanny terrains of incessant patterns and an approach he called "obsessive mark-making," which he saw in works by Gustav Klimt and Yayoi Kusama. In his final years, Wong shifted to slow, cool monochromes depicting universal subjects: the sunset, the journey home, the view outside a window. Wong's psychologically charged landscapes and process of intuitive creation reflect the artist's persistent pursuit to capture humanity's relationship to the world beyond the physical realm. (<a href="https://www.mfa.org/exhibition/matthew-wong-the-realm-of-appearances" rel="noopener noreferrer nofollow" target="_blank">Source</a>)

The American artist Robert Longo is known for his monumental hyper-realist imagery: powerful, dynamic charcoal drawings that captivate with their virtuoso technique and breathtaking visual force. Longo chooses motifs that capture dramatic situations at the moment of their greatest tension. The artist is interested in the representation of power-in nature, politics, and history.From the daily flood of images, he selects those which, in his eyes, must not be forgotten. He is concerned with recording relevant images of our time, picking the very picture that best represents an event and achieving a different mode of attention with the aid of drawing. By isolating and reducing his motifs, Longo seeks to magnify their visual impact. By enlarging the subjects, using cropped close-up views and intensifying the lighting to heighten dramatic chiaroscuro, we find ourselves before huge, overwhelming theatrical images. Robert Longo responds to the image storm by totally slowing down their creation: a snapshot in the form of a press photo becomes a drawing on which the artist works for up to a full year.

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