tag:blogger.com,1999:blog-68721233005178907312024-03-13T01:16:38.136-07:00ArtWithHillaryArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.comBlogger136125tag:blogger.com,1999:blog-6872123300517890731.post-12230569847519178662023-12-19T15:33:00.000-08:002023-12-19T15:37:27.638-08:00Pipilotti Rist<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6IO47LqLInxvKPPhrA33JEWJVazC9imh_IzptSJa7YsK5MpEwHrbF7pnmYhUBaJY3RdDPdWKh6IyVoQnscJu5fkdhxeWNUKWM-8QTnogyIxz2u-GFVNpdRN6J1dA-dC81UzGYi-xky-M/s1600-h/MOMA+Pour+Your+Body+Out+(7354+Cubic+Meters).jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6IO47LqLInxvKPPhrA33JEWJVazC9imh_IzptSJa7YsK5MpEwHrbF7pnmYhUBaJY3RdDPdWKh6IyVoQnscJu5fkdhxeWNUKWM-8QTnogyIxz2u-GFVNpdRN6J1dA-dC81UzGYi-xky-M/s320/MOMA+Pour+Your+Body+Out+(7354+Cubic+Meters).jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5421222802092275938" /></a>
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<br /><font size="1"><em>Pour Your Body Out (7354 Cubic Meters)</em>, 2008,
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<br />Many readers have contacted me expressing their unfamiliarity with the artist Pipilotti Rist. You can, of course, see her work on the internet but image resolution is poor. The artist's website <a href="http://www.pipilottirist.net/">http://www.pipilottirist.net</a>, offers the best results.
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<br />Take a look and explore the links to her gallery, a trailer of one of her films and her old homepage. Rist work is best experienced directly so if she has a show near you, go. </div>
This was published December 20, 2009. ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-38558352147454793402020-03-23T13:14:00.001-07:002020-04-09T12:28:18.359-07:00 Happy Days Will Come Again<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZpUsQkmETVkpBWvuJcavRpfIMU95XrS2cQOvs1LTUR1cnU_p_l2EW-qDgYCrqpiN4z_Dgh_UqcTx0ntXfmvUWiNa9eSL9esIScXnGfwjPLth8ppxRmtutBh-IdrFGra5BrTiDEgxC2s/s1600/MonetMetAMICO_METRO_103826791.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="777" data-original-width="1024" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZpUsQkmETVkpBWvuJcavRpfIMU95XrS2cQOvs1LTUR1cnU_p_l2EW-qDgYCrqpiN4z_Dgh_UqcTx0ntXfmvUWiNa9eSL9esIScXnGfwjPLth8ppxRmtutBh-IdrFGra5BrTiDEgxC2s/s400/MonetMetAMICO_METRO_103826791.jpg" width="400" /></span></a></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Claude Monet (1840 - 1926), <i>Garden at Sainte-Adresse</i>, 1867, </span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 38 5/8 x 51 1/8 in. (98.1 x 129.9 cm)</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">ArtWithHillary will not be published for the duration of the COVID-19 crisis. For now, I encourage readers to explore the Web sites of museums, galleries and other art venues.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Stay safe and healthy. </span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-30715436124190413842020-01-28T15:40:00.002-08:002020-02-17T15:47:59.653-08:00 Andrew Wyeth's World Revisited<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvr1ktn4EOYsqBbMqW0LRdeWDsItoo1N6SwDFwpH2UQjNiEUvavY8ZV87jDGuT3vlAuvKLTFENremh9x6_BTFdQvv-Isoe55ipQc6i3Likmj1RaqYcuogNv-YxRHR5cwEdZDFObyzIb0/s1600/4+works+IMG_0313.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvr1ktn4EOYsqBbMqW0LRdeWDsItoo1N6SwDFwpH2UQjNiEUvavY8ZV87jDGuT3vlAuvKLTFENremh9x6_BTFdQvv-Isoe55ipQc6i3Likmj1RaqYcuogNv-YxRHR5cwEdZDFObyzIb0/s400/4+works+IMG_0313.jpg" width="400" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61);">View of </span>exhibition <i>Andrew Wyeth: Five Decades</i>, </span><br />
<span style="font-size: x-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">January 16, 2020 - February 22, 2020, </span><a href="https://www.forumgallery.com/" style="font-family: georgia, "times new roman", serif;">Forum Gallery</a><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-size: x-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">l to r: </span><i style="color: #0c343d; font-family: georgia, "times new roman", serif;">In the Orchard</i><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, 1974, watercolor and graphite on paper,</span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 21 5/8 x 29 7/8 in. (54.93 x 75.88 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Maine Door</i>, 1970, watercolor on paper, 29 x 21 in. (73.66 x 53.34 cm) sight size, </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Teel's Landing</i>, 1953, watercolor on paper, 19 x 28 in. (48.26 x 71.12 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Heat Lightning</i>, 1977, tempera on panel, 20 1/2 x 30 3/4 in. (52.07 x 78.11 cm)</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation Photo Courtesy of <a href="https://www.forumgallery.com/">Forum Gallery</a>, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© 2020 Andrew Wyeth / Artists Rights Society (ARS)</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Is Andrew Wyeth (1917 - 2009) the most underrated or overrated artist? Or, as the art historian, critic and curator Robert Rosenblum (1927 - 2006) claimed in 1977, he is both. Rosenblum said, "He is the most overestimated painter by the public and the most underestimated painter by the knowing art audience."</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Wyeth, called Andy by family and friends, has always elicited opposing reactions. Some respond to his work as kitsch, as overly sentimental and cloyingly romantic with its traditional subject matter of landscapes, seascapes and portraiture. Others hold he is an artist of genius possessing extraordinary technical skills, expressive capabilities and is a master of the mediums of his choice. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Wyeth is categorized as a realist or magic realist artist. Yet, he described himself as an abstract painter. When the American realist painter and printmaker Edward Hopper (1882 - 1967) wanted Wyeth to sign a petition protesting the increasing number of abstract expressionists who had been included in the 1966 annual exhibition at the <a href="https://whitney.org/">Whitney Museum of American Art</a>, he objected. Wyeth felt a kinship with such abstract painters as Clyfford Still (1904 - 1980) and Mark Rothko (1903 - 1970) in that their work and his went beyond what could be seen. He said he probably had more in common with abstract expressionist Franz Kline (1910 - 1962) than people realized. Wyeth may also have wanted to avoid public </span>controversy since a major show of his work dating from 1938 through 1966 was touring and coming to the </span><a href="https://whitney.org/" style="font-family: Georgia, "Times New Roman", serif;">Whitney</a> in February 1967.*</div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The </span><a href="https://www.forumgallery.com/" style="text-align: center;">Forum Gallery</a>'s current exhibition <i>Andrew Wyeth: Five Decades</i>, January 16, 2020 - February 22, 2020, includes<i> </i>22 paintings, watercolors and drawings, the earliest from 1940, the latest c. 1999. The installation provides an opportunity for close observation of different aspects of Wyeth's painting and draftsmanship. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjjWWcAliOhXt5nZvhfoymNN7kiXsojQWSPtSdJR4RKPQuMH-K2FtO35l6O8nFfny60RkCfKwIcmUggxVMUUJktM6NjieCuXCGjlZjDCQlqcGaqV7qMM0i2-uQHYNZwhFs3U3wpl2j9Jo/s1600/IMG_0303.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjjWWcAliOhXt5nZvhfoymNN7kiXsojQWSPtSdJR4RKPQuMH-K2FtO35l6O8nFfny60RkCfKwIcmUggxVMUUJktM6NjieCuXCGjlZjDCQlqcGaqV7qMM0i2-uQHYNZwhFs3U3wpl2j9Jo/s400/IMG_0303.jpg" width="400" /></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61);">View of </span>exhibition <i>Andrew Wyeth: Five Decades</i>, </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d;">January 16, 2020 </span><span style="caret-color: rgb(12, 52, 61); color: #0c343d;">- February 22, 2020</span><span style="caret-color: rgb(12, 52, 61); color: #0c343d;">, </span><span style="caret-color: rgb(12, 52, 61); color: #0c343d;"> </span><a href="https://www.forumgallery.com/" style="font-family: georgia, "times new roman", serif;">Forum Gallery</a><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-size: xx-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"> </span></span><span style="caret-color: rgb(12, 52, 61); color: #0c343d;">l to r: </span><i style="color: #0c343d;">Surf, </i><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">1978, dry brush watercolor on paper, </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 48 x 29 1/4 in. (121.92 x 74.3 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Lamplight</i>, 1975, watercolor on paper, 21 1/2 x 21 3/8 in. (54.61 x 73.98 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Cook's Wharf</i>, 1940, watercolor on paper, 17 3/8 x 28 in. (44.13 x 54.29 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Winfields (first version of Heat Lightning</i>), 1977, watercolor on paper, </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">20 1/2 x 30 in. (54.61 x 76.2 cm)</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation Photo Courtesy of <a href="https://www.forumgallery.com/">Forum Gallery</a>, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© 2020 Andrew Wyeth / Artists Rights Society (ARS), New York </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Wyeth was born to a family of artists and was taught by his highly successful painter illustrator father Newel Convers Wyeth known as N. C. Wyeth. He was the youngest of five children who all spent evenings drawing. The family lived in Chadds Ford, Pennsylvania and summered in Cushing, Maine. The artist would spend his life in Chadds Ford and Maine painting his surroundings, family and friends. His father was his greatest influence. Early on, however, he had a keen interest in the work of the German Renaissance artist Albrecht Dürer (1471 - 1528) and the watercolors of the American painter Winslow Homer (1836 - 1910). Wyeth had his first solo exhibition in 1937 when he was twenty. It took place at the Macbeth Gallery in New York City, the first art gallery to specialize in American art. All 23 paintings catalogued sold out in 2 days. It was the first of many distinctions that came to the artist throughout his career. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In 1955 Wyeth was the youngest member elected to the <a href="https://artsandletters.org/">American Academy of Arts and Letters</a> and the <a href="https://artsandletters.org/about/history/">National Institute of Arts and Letters</a>. <span style="font-family: "georgia" , "times new roman" , serif;">He was the first artist ever to have a one-person show in the White House, Washington, DC, February 19, 1970 - March 28, 1970. He was the first living American artist </span><span style="font-family: "georgia" , "times new roman" , serif;">to have a solo exhibit in New York's <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, </span><span style="font-family: "georgia" , "times new roman" , serif;">October 16, 1976 - February 6, 1977 and</span><span style="font-family: "georgia" , "times new roman" , serif;"> the first living American artist to have an exhibition at the <a href="https://www.royalacademy.org.uk/">Royal Academy of Arts</a>, London, UK, June 6 1980 - August 31, 1980. Wyeth received some 26 honorary doctorate degrees including one from Harvard University. He had exhibits throughout the United States, Canada, Europe, Japan and Russia. In 1963 he was awarded the Presidential Medal of Freedom by John F. Kennedy, a first for a visual artist and the same year was on the cover of <a href="https://time.com/magazine/">Time</a> magazine. He was elected as an associate to the <a href="http://www.academiedesbeauxarts.fr/">Académie des Beaux-Art Institut de France</a> in 1976, the only American painter besides John Singer Sargent (1856 - 1925) to become a member. In 1990 Wyeth was awarded the Congressional Gold Medal by President George H. W. Bush, which had never been given to a visual artist before. President George W. Bush presented him with the National Medal of Arts in 2007 a little over a year before his death in January 2009. On the 100th anniversary of Wyeth's birth, the U.S. Postal Service issued a sheet with 12 stamps each with a different image of the artist's paintings. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Wyeth chose to work in the quick-drying mediums of tempera and watercolor. The former is made by mixing pigments with egg yolk that has been diluted with distilled water; the latter is made by mixing pigments with a binder such as gum arabic. Tempera is applied to a prepared support such as a wood panel covered with gesso which is a mix of chalk, glue binder and white pigment that makes for a smooth, hard, absorbent surface. Watercolor paint is applied with water to a support like paper. The water evaporates and the binder fastens the pigments to the support surface. Both mediums require the artist to apply layer upon layer of paint to achieve desired colors and textures. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Wyeth is noted for his innovative use of dry brush technique. In a 1976 interview with Thomas Hoving (1931 -2009) then director of the <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York, the artist explained "I paint with a smaller brush, dip it into color, splay the brush and bristles, squeeze out a good deal of the moisture and color with my fingers so there is only a very small amount of paint left. Then when I stroke the paper with the dried brush, it will make various distinct strokes at once, and I start to develop the forms of whatever object it is until they start to have real body…." He could also achieve highly detailed imagery with dry brush. The artist employed a variety of other techniques for instance, with watercolors, wet on wet, color splattering and sgraffito or scratching.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihniscyVfU-rFuT6bw5x3OJMe3QFsHCjBCspF0bMn5YlPnhEJ4BXIDjQ7L1FKO6aKIjXCt-DrIpasDTVE2jOnqvzJZ9Lw-eGSITuQ7VioIzwMoR4Jx5_rZLu6oO7QX9njS5FvJiCAi1is/s1600/IMG_0306.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihniscyVfU-rFuT6bw5x3OJMe3QFsHCjBCspF0bMn5YlPnhEJ4BXIDjQ7L1FKO6aKIjXCt-DrIpasDTVE2jOnqvzJZ9Lw-eGSITuQ7VioIzwMoR4Jx5_rZLu6oO7QX9njS5FvJiCAi1is/s400/IMG_0306.jpg" width="400" /></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61);">View of </span>exhibition <i>Andrew Wyeth: Five Decades</i>, </span><br />
<span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">January 16, 2020 - February 22, 2020, </span><a href="https://www.forumgallery.com/" style="font-family: georgia, "times new roman", serif;">Forum Gallery</a><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-size: x-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">l to r: </span></span><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61);"><i>Winfields</i> (<i>first version of Heat Lightning</i>) 1977, watercolor on paper, </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61);">20 1/2 x 30 in. (54.61 x 76.2 cm)</span></span><br />
<span style="font-size: x-small;"><i style="color: #0c343d; font-family: georgia, "times new roman", serif;">Pickup Sticks, </i><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">1994, watercolor on paper,</span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 16 3/4 x 27 1/2 in. (42.55 x 69.85 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Letting Her Hair Down</i>, 1972, tempera on panel, 28 in. (63.5 x 71.12 cm), </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Frozen Race</i>, 1969, watercolor on paper, 20 1/4 x 29 1/4 in. (51.44 x 74.3 cm), </span><br />
<span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Anchor Man, 1983, dry brush watercolor on paper, </span><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">17 x 34 in. (43.18 x 86.36 cm)</span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Firewood</i> <i>(Study for Groundhog Day)</i>, 1959, dry brush and watercolor on paper, </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">14 x 22 in. (35.56 x 55.88 cm)</span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>East Point Lighthouse</i>, 1991, watercolor on paper, 19 1/2 x 27 1/2 in. (49.53 x 69.85 cm)</span><br />
<span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Installation Photo Courtesy of </span><a href="https://www.forumgallery.com/" style="font-family: georgia, "times new roman", serif;">Forum Gallery</a><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© 2020 Andrew Wyeth / Artists Rights Society (ARS), New York </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The works on view at the </span></span><a href="https://www.forumgallery.com/" style="font-family: georgia, "times new roman", serif; text-align: center;">Forum Gallery</a> demonstrate Wyeth's technical command and his ability to be a realistic and abstract painter at once. </span><span style="font-family: "georgia" , "times new roman" , serif;">Throughout the exhibition there are sections of paintings which take viewers out of the realm of representation into a painterly, gestural sometimes calligraphic sphere. Look at the specks, dabs and washes in the snow that covers about two-thirds of the watercolor <i>East Point Lighthouse</i> or the beige colorations in the snow in <i>The Blonde Study</i> or the scratches, smears and muddle of browns in the foreground of <i>Untitled</i>. Spend time with areas of the ruffled bed covering in </span><i style="font-family: georgia, "times new roman", serif;">Winfields</i><span style="font-family: "georgia" , "times new roman" , serif;"> (f</span><i style="font-family: georgia, "times new roman", serif;">irst version of Heat Lightning</i><span style="font-family: "georgia" , "times new roman" , serif;">) and the water of <i>Surf.</i></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Frozen Race</i> is a painting of the Wyeths' early 18th-century mill which they purchased in 1958, restored and made into their primary residence. In front is Nell, the Wyeths' much loved dog. The dog is described in brown dabs of washes under which can be seen the dark sketched outline of its form. A deep earth tone splotch on its face defines a shadow which creates the effect of having the dog seem to turn toward the viewer. The mill's wall and sixteen panes of glass in the double hung window are a tour de force in making abstract markings metamorphose into a representation of solid structures. The painting gives the impression of emanating light from the areas illuminated by the sun. Light falls on the foreground patches of snow, the dog's body, the upright post and, of special beauty, the remnants of snow on tree branches at the far left. The last mentioned highlights sparkle and compare to the accents of light on the hair of Helga in the adjacent painting <i>Letting Her Hair Down</i>. </span><br />
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<span style="color: #274e13; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Andrew Wyeth (1917 - 2009) , <i>Letting Her Hair Down</i>, 1972,</span></div>
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<span style="color: #274e13; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">tempera on panel, 25 x 28 in. (63.5 x 71.12 cm)</span></div>
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<span style="color: #274e13; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection</span></div>
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<span style="color: #274e13; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: </span><a href="https://curiator.com/" style="font-family: georgia, "times new roman", serif;">Curaitor</a><span style="font-family: "georgia" , "times new roman" , serif;"> Website</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Helga is Helga Testoff (1933 or 1939 - ) who was married and also lived in Chadds Ford. She was caring for Wyeth's old friend and model, the farmer Karl Kuerner when the artist began to use her as a model in secret. Wyeth was in his early 50s and Helga in her 30s when they met. Their clandestine relationship lasted from 1971 till 1985. During these 15 years Wyeth painted and drew some 240 depictions of her, many of which portrayed Helga in the nude. No one outside of the two knew about these works, not even Wyeth's wife. The Helga series were revealed in the mid-1980s and a traveling show followed in 1987 originating at the <a href="https://www.nga.gov/">National Gallery of Art</a>, Washington, DC.**</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Letting Her Hair Down</i> may be one of the finest American portraits. Marvels include the light falling from the right window onto her flesh revealing the abundance of colors making up her skin tones, the luminescent strands of blond hair and her worker's hand with its unkept fingernails. Wyeth's depiction with its tactile, three-dimensionality gives the figure its substance.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The show also has Wyeth's tempera <i>Heat Lighting</i>. This painting along with the watercolors <i>Winfields</i> (f<i>irst version of Heat Lightning</i>) and <i>Surf</i> present a nude female on her knees. The figure is made up of Helga's body and the head of another model. As was Wyeth's custom, he would find a position of interest and explore it in a succession of works. Also as his wont, he would combine Helga's body with the head of someone else - this was during the time his and Helga's</span><span style="font-family: "georgia" , "times new roman" , serif;"> relationship was covered up. Sometimes he would turn Helga's body into that of a black female. For </span><i style="font-family: georgia, "times new roman", serif;">Heat Lighting,</i><span style="font-family: "georgia" , "times new roman" , serif;"> he</span><span style="font-family: "georgia" , "times new roman" , serif;"> said he used the head of his friend Andy Davis' grandniece. Andy Davis was part of Chadd Ford's African community. Wyeth had longtime friends with some of its members and used </span><span style="font-family: "georgia" , "times new roman" , serif;">them as models. </span><br />
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<span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="caret-color: rgb(12, 52, 61);">View of </span>exhibition <i>Andrew Wyeth: Five Decades,</i></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">January 16, 2020 - February 22, 2020, </span><a href="https://www.forumgallery.com/" style="font-family: georgia, "times new roman", serif;">Forum Gallery</a><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">l to r: </span></span><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Jimmy's Porch</i> (<i>Study for the tempera "Drifting"</i>) 1991, </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">pencil on paper, </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">17 x 23 in. (43.18 x 58.42 cm)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i style="color: #0c343d;">Housebound Study, </i><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">1986, graphite on paper,</span></span><br />
<span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">16 1/8 x 13 3/8 in. (40.96 x 33.97 cm)</span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation Photo Courtesy of <a href="https://www.forumgallery.com/">Forum Gallery</a>, </span></div>
<span style="color: #0c343d;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© 2020 Andrew Wyeth / Artists Rights Society (ARS), New York </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">The exhibit includes two drawings which are a reminder of </span><span style="font-family: "georgia" , "times new roman" , serif;">Wyeth's talent as a draftsman</span><span style="font-family: "georgia" , "times new roman" , serif;">. The motorcycle in </span><i style="font-family: georgia, "times new roman", serif;">Jimmy's Porch</i><span style="font-family: "georgia" , "times new roman" , serif;"> (</span><i style="font-family: georgia, "times new roman", serif;">Study for the tempera "Drifting"</i><span style="font-family: "georgia" , "times new roman" , serif;">) is as elegant as anything can be. Catch the show!</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">*</span></span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Andrew Wyeth – Temperas, Watercolors, Dry Brush, Drawings</i>, 1938 – 1966. </span><span style="font-family: "georgia" , "times new roman" , serif;">Venues: </span><a href="https://www.pafa.org/" style="font-family: georgia, "times new roman", serif;">Pennsylvania Academy of the Fine Arts</a><span style="font-family: "georgia" , "times new roman" , serif;">, Philadelphia, Pennsylvania October 5 – November 27, 1966; </span><a href="https://artbma.org/" style="font-family: georgia, "times new roman", serif;">Baltimore Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, Baltimore, Maryland December 11, 1966 – January 22, 1967; </span><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York February 6 – April 12 1967; </span><a href="https://www.artic.edu/" style="font-family: georgia, "times new roman", serif;">Art Institute of Chicago</a><span style="font-family: "georgia" , "times new roman" , serif;">, Chicago, Illinois April 21 – June 4, 1967.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">**<i>American Drawings and Watercolors of the Twentieth Century: Andrew Wyeth, the Helga Pictures</i>. Venues: </span><a href="https://www.nga.gov/" style="font-family: georgia, "times new roman", serif; text-align: justify;">National Gallery of Art</a><span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;">, Washington, DC, </span><span style="font-family: "georgia" , "times new roman" , serif;">May 24 – September 27, 1987; </span><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.mfa.org/">Museum of Fine Arts</a>, Boston, October 28, 1987–January 3, 1988; </span><a href="https://www.mfah.org/" style="font-family: georgia, "times new roman", serif;">Museum of Fine Arts</a><span style="font-family: "georgia" , "times new roman" , serif;">, Houston, January 31–April 10, 1988; </span><a href="https://www.lacma.org/" style="font-family: georgia, "times new roman", serif;">Los Angeles County Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, April 28–July 10, 1988; </span><a href="https://www.famsf.org/" style="font-family: georgia, "times new roman", serif;">Fine Arts Museums of San Francisco</a><span style="font-family: "georgia" , "times new roman" , serif;">, August 13–October 16, 1988; </span><a href="https://www.dia.org/" style="font-family: georgia, "times new roman", serif;">Detroit Institute of Arts</a><span style="font-family: "georgia" , "times new roman" , serif;">, November 13, 1988–January 22, 1989.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="color: #274e13; font-family: "georgia" , "times new roman" , serif;">Andrew Wyeth: Five Decades</span></i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #274e13;">January 16, 2020 - February 22, 2020</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.forumgallery.com/" style="text-align: center;">Forum Gallery</a><span style="color: #274e13; text-align: left;">, New York</span></span></span></div>
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<span style="color: #274e13; font-family: "georgia" , "times new roman" , serif;">Hours:</span></div>
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<span style="color: #274e13; font-family: "georgia" , "times new roman" , serif;">Monday through Saturday 10:00 a.m. - 5:30 p.m.</span></div>
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<span style="color: #274e13; font-family: "georgia" , "times new roman" , serif;">Closed Sundays and Holidays</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com1tag:blogger.com,1999:blog-6872123300517890731.post-68514589991322165092019-12-31T16:14:00.000-08:002020-02-17T15:48:09.318-08:00 The Making Of History Brick By Brick<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: large;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Babylon's Ishtar Gate and Processional Way</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqjdj6syvWIHgNieylyFEFtW-g64LsDOWjc6NehciNp2wkIgGaR1MQ_WAUTiVpiUi4ZrquG00Sqj3qFN9ZcJrmyvwbelZw6thuGmRx4W5MXifndQninEjswK_27uO2GLVIiAYZFggRSo/s1600/%252815%2529+LionMETReconstructed+panel+of+bricks+with+a+striding+lion+31.13.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="445" data-original-width="1024" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqjdj6syvWIHgNieylyFEFtW-g64LsDOWjc6NehciNp2wkIgGaR1MQ_WAUTiVpiUi4ZrquG00Sqj3qFN9ZcJrmyvwbelZw6thuGmRx4W5MXifndQninEjswK_27uO2GLVIiAYZFggRSo/s400/%252815%2529+LionMETReconstructed+panel+of+bricks+with+a+striding+lion+31.13.2.jpg" width="400" /></span></a></div>
<div style="text-align: center;">
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Reconstructed panel of bricks with a striding lion,</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Neo-Babylonian Period (reign of Nebuchadnezzar II, 604–562 BCE),</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">molded and glazed baked clay,</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Processional Way, El-Kasr Mound, Babylon, Iraq</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0);">39.3 x 90.8 in. (</span></span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(99.7 cm x </span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">230.5 cm)</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Lent by <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York, </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Fletcher Fund, 1931: 31.13.2 CC0 1.0 </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Image courtesy of <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> </span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"> </span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">Kingdoms come and go. Some are remembered although their great cities and monuments lie in ruin, often unrecognizable. The exhibition, <i>A Wonder to Behold: </i> </span></span><i style="font-family: georgia, "times new roman", serif;">Craftsmanship and the Creation of Babylon's Ishtar Gate</i><span style="font-family: "georgia" , "times new roman" , serif;">, at </span><a href="http://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a>'s <a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Institute for the Study of the Ancient World</a><span style="font-family: "georgia" , "times new roman" , serif;"> (</span><a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">ISAW</a><span style="font-family: "georgia" , "times new roman" , serif;">) sheds light on the building practices, craftsmanship, religion and values of one ancient empire through a focus on the iconic edifice that defines it. Over 100 objects are on display from 9 major US and European museums.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">The city of Babylon was the capital and religious center of the Neo-Babylonian Empire </span></span><span style="font-family: "georgia" , "times new roman" , serif;">(</span><span style="text-align: left;">626 - 539 B.C.). Under King </span><span style="text-align: left;">Nebuchadnezzar II (r. 604 - 562 B.C.) this empire spread from </span><span style="font-family: "georgia" , "times new roman" , serif;">Mesopotamia to the Mediterranean Sea, the Red Sea and the Persian Gulf, encompassing what today is called Middle East - Iraq, Syria, Jordan, Lebanon, Israel, Southeastern Turkey and parts of Iran.</span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Nebuchadnezzar built lavishly in Babylon, adorning his capital with temples, palaces, gateways and thoroughfares. His beautification sought to impress. The city became an emblem of his power. Its</span><span style="text-align: left;"> archeological </span><span style="font-family: "georgia" , "times new roman" , serif;">remains cover over 2000 acres. </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of Ishtar Gate Reconstruction in the <a href="https://www.smb.museum/en/museums-institutions/pergamonmuseum/home.html">Pergamon Museum</a>, Berlin, Germany</span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photographer: Rictor Norton</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://commons.wikimedia.org/wiki/Main_Page">Wikimedia Commons</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">It was Nebuchadnezzar who had the imposing Ishtar Gate and Processional Way built in Babylon about 575 B.C. Actually there were three phases of construction. It seems the King would remake structures as more advanced building and decorative techniques were developed. The Ishtar Gate was one of eight portals to the city. It was the most important dedicated to Ishtar, the goddess of war and sexual love. Originally, it was about 49 feet high and 32 feet wide. The Processional Way, the corridor to the gate, has been estimated to be approximately 591 feet long; its walls on each side about 50 feet high; and, its width approximately 66 feet which could accommodate pedestrians and chariots. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Part of the gate and a portion of the Processional Way have been reconstructed on a smaller scale in the <a href="https://www.smb.museum/en/museums-institutions/pergamonmuseum/about-us/profil.html">Pergamon Museum</a>, Berlin, Germany. The </span></span><a href="https://www.smb.museum/en/museums-institutions/pergamonmuseum/about-us/profil.html" style="font-family: georgia, "times new roman", serif;">Pergamon Museum</a> is<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> part of the <a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html">Vorderasiatisches Museum</a> collection of the <a href="https://www.smb.museum/en/home.html">Staatliche Museen zu Berlin</a>. Modern glazed bricks are used in more than 80% of the recreation. In addition, an even more reduced version of the gate has been reproduced at the ruins of Babylon in Iraq. Although extensive studies have been done, scholars are still uncertain about some aspects of the monuments such as the height levels of the processional animals decorating the walls or the crenellations capping </span></span><span style="font-family: "georgia" , "times new roman" , serif;">top levels. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">There were occasional limited excavations at the Babylon site during the nineteenth century. Notably the British business agent, scholar, antiquarian and collector Claudius James Rich (1787 - 1821) sketched a plan of the ancient city in 1811 before its excavation. He also dug up inscribed bricks and explored underground cavities. Rich's findings were subsequently published and his work is considered the starting point of Mesopotamian archeology. </span><br />
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Installation view of the exhibition </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><i>A Wonder to Behold: </i> </span></span><br />
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i style="font-family: georgia, "times new roman", serif;">Craftsmanship and the Creation of Babylon's Ishtar Gate</i><span style="font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">at </span><a href="http://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a>'s <a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Institute For The Study Of the Ancient World</a><span style="font-family: "georgia" , "times new roman" , serif;"> (</span><a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">ISAW</a><span style="font-family: "georgia" , "times new roman" , serif;">), </span></span></div>
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;">November 6, 2019 - May 24, 2020</span> </span></span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Crate used to ship bricks back to Berlin, </span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1903 or 1927 CE,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">wood, Babylon, Iraq, </span></span><br />
<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">approximately H. 17.7 in. W. 33.5 in D. 18.9 in. (H. 45 cm W. 85 cm D. 48 cm)</span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.smb.museum/en/home.html" style="font-family: georgia, "times new roman", serif;">Staatliche Museen zu Berlin</a>, <a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html" style="font-family: georgia, "times new roman", serif;">Vorderasiatisches Museum</a><span style="font-family: "georgia" , "times new roman" , serif;">, </span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Selection of brick fragments with mušhuššu-dragon scales, lion fur,</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"> floral motifs, </span></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">cuneiform signs and background color,</span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4);">Neo-Babylonian Period (probably reign of Nebuchadnezzar II, 604–562 BCE),</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4);">glazed baked clay some molded, Babylon, Iraq</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.smb.museum/en/home.html" style="font-family: georgia, "times new roman", serif;">Staatliche Museen zu Berlin</a><span style="caret-color: rgb(120, 63, 4); color: #783f04;">, </span><a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html" style="font-family: georgia, "times new roman", serif;">Vorderasiatisches Museum</a></span></div>
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<span style="text-align: left;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">It took almost a century for a full-scale archeological examination of the area Rich identified. From 1899 through 1914, the German archeologist Robert Koldewey (1855 - 1925) directed the excavation with some 250 workers. They unearthed walls, temples, various edifices, the Ishtar Gate, the Processional Way and more. In ancient times, a</span></span><span style="font-family: "georgia" , "times new roman" , serif;">fter the city's edifices were no longer considered important, the monuments were taken apart. The bricks, which were of high quality, were stripped of their upper surface decoration and reused for other structures. </span><span style="font-family: "georgia" , "times new roman" , serif;">Tens of thousands of glazed and molded brick fragments were left in mounds up to 66 feet high. </span><span style="font-family: "georgia" , "times new roman" , serif;">These fragments were sent back to Germany in two shipments: 399 crates in 1903 and almost 400 crates in 1927. </span><br />
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photographer unknown, <i>Sorting and collecting glazed brick fragments from Babylon</i>, </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">1930, reprinted 2019, </span><span style="font-family: "georgia" , "times new roman" , serif;">silver gelatin print, Berlin, Germany</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.smb.museum/en/home.html" style="font-family: georgia, "times new roman", serif;">Staatliche Museen zu Berlin</a><span style="caret-color: rgb(120, 63, 4); font-family: "georgia" , "times new roman" , serif;">, </span><a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html" style="font-family: georgia, "times new roman", serif;">Vorderasiatisches Museum</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In Berlin the pieces were cleaned, sorted and reassembled. It took decades. Conservators were helped by the drawings and watercolors of Walter Andrae (1875 - 1956), German archeologist and architect, who took part in the Babyon excavation under Koldeway. </span></span><br />
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Walter Andrae (1875 - 1956), <i>Reconstruction of bricks with a mušhuššu-dragon from the Ishtar Gate</i>, </span><span style="font-family: "georgia" , "times new roman" , serif;">1902, watercolor and graphite on board, 46. 1 x 64.6 in. (117 x 164 cm)</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.smb.museum/en/home.html" style="font-family: georgia, "times new roman", serif;">Staatliche Museen zu Berlin</a><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span><a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html" style="font-family: georgia, "times new roman", serif;">Vorderasiatisches Museum</a><span style="font-family: "georgia" , "times new roman" , serif;">: VAK 0009</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">©</span><a href="https://www.smb.museum/en/home.html" style="font-family: georgia, "times new roman", serif;">Staatliche Museen zu Berlin</a> -<span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;"> </span><a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html" style="font-family: georgia, "times new roman", serif;">Vorderasiatisches Museum</a></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Olaf M. Teßmer</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Andrae visually documented approximate to scale what was seen in situ. His depictions detailed the brick arrangements and colors of the decorative elements and animals. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-vsGyTvvYW0EKM2JXYY9yVB4q1Q7wAzFNNNG7f5Sy2lviammOmIszp5aF6KsKs7LlLMnlbYK22DWywm79e52_yfdcwpafQy3qXIMRAzzrMti-HWcf8Gb5yBEg8bX6jvpDD0q-VeJPUE/s1600/W.Andraewatercolorwithfitters%2527marks%252813%2529PA%257E1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="707" data-original-width="1600" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-vsGyTvvYW0EKM2JXYY9yVB4q1Q7wAzFNNNG7f5Sy2lviammOmIszp5aF6KsKs7LlLMnlbYK22DWywm79e52_yfdcwpafQy3qXIMRAzzrMti-HWcf8Gb5yBEg8bX6jvpDD0q-VeJPUE/s400/W.Andraewatercolorwithfitters%2527marks%252813%2529PA%257E1.jpg" width="400" /></span></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Walter Andrae (1875 - 1956), </span><span style="font-size: x-small; text-align: justify;"><i>Partial reconstruction of the throne room façade from Nebuchadnezzar II’s Southern Palace showing fitters’ marks on bricks</i>, </span></span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small; text-align: justify;">1901, w</span><span style="font-size: x-small; text-align: justify;">atercolor on paper,</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: justify;">12.4 in. x 27.8 in. (31.6 x 70.6 cm)</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://www.orient-gesellschaft.de/">Deutsche Orient-Gesellschaft</a>, Berlin: ArDOG V.28.18</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© <a href="http://www.orient-gesellschaft.de/">Deutsche Orient-Gesellschaft</a>, Archiv; </span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Olaf M. Teßmer</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Andrae also reproduced the signs that were found on the center and each end of the top side of the bricks. He deciphered their meaning as fitters' marks indicating the brick's placement vertically and horizontally. </span><span style="font-family: "georgia" , "times new roman" , serif;">This discovery immensely </span><span style="font-family: "georgia" , "times new roman" , serif;">aided the reconstruction of the Babylon monuments. </span><span style="font-family: "georgia" , "times new roman" , serif;">Visitors are able to compare the brick markings in Andrae's watercolors on view with fitters' marks on actual bricks in nearby vitrines. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Clay, which was found everywhere, was the building material of choice. Wood and stone were not readily available. </span><span style="font-family: "georgia" , "times new roman" , serif;">The Babylonians were expert brick makers and were well known for it. The great King Darius I (r. 522 to 486 B.C.) of Persia wrote in a famous inscription, "the men who wrought the baked brick, those were Babylonians." For the ancients, the Babylonian structures with their glazed bricks were considered a work of wonder.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">A variety of clay bricks were made; they could be flat, molded, painted or glazed. </span><span style="font-family: "georgia" , "times new roman" , serif;">Fine textured clay mixed with water and strengthened with thinly cut up straw was pushed into standard square or rectangular molds to be sun dried and fired. </span><span style="font-family: "georgia" , "times new roman" , serif;">The exact methods used to make molded bricks with raised relief are not known since no molds survive. Scholars speculate that they used specialized wooden molds with a detachable fourth side. </span><span style="font-family: "georgia" , "times new roman" , serif;">The detachable side made removal of the brick easy without the possibility of injury to the relief. The wood was likely sourced from Lebanon.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVHpNJIvHS9JNZul5cMUE8Pw00fS_zOUfTr4bmTvryy3w8JRZ8WIBf0xlkOdP5NY_s1n0jmrOTEW7bSVJEB5hUw0sBmylEmSMpc2Gd1z8zDULRhEEUgwmmVjzBcFBZRwalv4tWFL0-Lo/s1600/%252810%2529+Fragmentary+brick+inscription+of+Nebuchadnezzar+II+and+impressed+with+a+dog%25E2%2580%2599s+paw+print.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1199" data-original-width="1600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVHpNJIvHS9JNZul5cMUE8Pw00fS_zOUfTr4bmTvryy3w8JRZ8WIBf0xlkOdP5NY_s1n0jmrOTEW7bSVJEB5hUw0sBmylEmSMpc2Gd1z8zDULRhEEUgwmmVjzBcFBZRwalv4tWFL0-Lo/s320/%252810%2529+Fragmentary+brick+inscription+of+Nebuchadnezzar+II+and+impressed+with+a+dog%25E2%2580%2599s+paw+print.jpg" width="320" /></span></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Fragmentary brick stamped with cuneiform inscription of Nebuchadnezzar II </i></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>and impressed with a dog’s paw print</i>, </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Neo-Babylonian Period (reign of Nebuchadnezzar II, 604–562 BCE),</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">baked clay, </span><span style="font-family: "georgia" , "times new roman" , serif;">H. 8.9 in. (22.5 cm); W. </span><span style="font-family: "georgia" , "times new roman" , serif;">11.0 in.</span><span style="font-family: "georgia" , "times new roman" , serif;">(28 cm); D. 3.4 in. (8.5 cm),</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Babylon, Iraq</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://www.orient-gesellschaft.de/">Deutsche Orient-Gesellschaft</a>, Berlin: ArDOG V.28.18</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© <a href="http://www.orient-gesellschaft.de/">Deutsche Orient-Gesellschaft</a>, Archiv; </span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Olaf M. Teßmer</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">For further understanding and information, there are six explanatory iPads in the exhibition, three in each gallery. One shows a series of 1976 photographs of brickmaking in Baghdad, Iraq which is still essential for modern Middle Eastern construction. In ancient times, millions of bricks had been laid in the sun to dry. Dogs roamed the brick drying area attested to by paw marks left on bricks made by the animal stepping on the still wet clay. A sample of this is in the show. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The other iPads inform on glassmaking, material sources of the ancient Middle East, a virtual model of the ruins, other ancient Middle Eastern buildings with glazed and molded bricks and ancient royal and workers' brick inscriptions. The last topic is particularly enlightening. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1X4Genuh8Vkf6tSXmmLh5XGtdxNDKuX5tDZ1bgeBFWG2VeQsGew3YxxmwIrf-EH42uPkZPmobcJc6wL0qCVT61d1FExMq9wxboBMWAPzEapamJzkyvNGn4ivnrv8ZVhT_xpGAjYFf94M/s1600/4NWmpGraRyqpwMYMJd4JWg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1X4Genuh8Vkf6tSXmmLh5XGtdxNDKuX5tDZ1bgeBFWG2VeQsGew3YxxmwIrf-EH42uPkZPmobcJc6wL0qCVT61d1FExMq9wxboBMWAPzEapamJzkyvNGn4ivnrv8ZVhT_xpGAjYFf94M/s320/4NWmpGraRyqpwMYMJd4JWg.jpg" width="240" /></span></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of (top) <i>Brick stamped with cuneiform inscription of Nebuchadnezzar II with alphabetic workers' inscription (zbn')</i>, </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Neo-Babylonian Period (reign of Nebuchadnezzar II, 604 - 502 BCE), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">baked clay, H. 16.1 in. (40.8 cm); W. 14.5 in. (36.8 cm); D. 4.3 in. (10.8 cm), </span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">probably Babylon, Iraq</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.britishmuseum.org/">British Museum</a>, London: 1979.1220.64</span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">(Bottom) <i>Brick fragment incised with alphabetic workers' inscription (zbn')</i>, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Neo-Babylonian Period (reign of Nebuchadnezzar II, 604 - 502 BCE), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">baked clay, H. 3.2 in. (8 cm); W. 5.5 in. (14 cm); D. 4.1 in. (10.5 cm), Babylon, Iraq </span></span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.smb.museum/en/home.html" style="font-family: georgia, "times new roman", serif;">Staatliche Museen zu Berlin</a><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span><a href="https://www.smb.museum/en/museums-institutions/vorderasiatisches-museum/home.html" style="font-family: georgia, "times new roman", serif;">Vorderasiatisches Museum</a><span style="text-align: justify;"> VA Bab 04553</span></span><br />
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; text-align: justify;"><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">at the exhibition <i>A Wonder to Behold: </i> </span></span><i style="font-family: georgia, "times new roman", serif;">Craftsmanship </i></span></span><br />
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; text-align: justify;"><i style="font-family: georgia, "times new roman", serif;">and the Creation of Babylon's Ishtar Gate</i><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;">,</span></span></span><br />
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; text-align: justify;"><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a><span style="caret-color: rgb(0, 0, 0); font-size: x-small;">'s </span><a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Institute for the Study of the Ancient World</a><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;"> (</span><a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">ISAW</a><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;">)</span></span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Traditionally, rulers had bricks marked with cuneiform inscriptions which were stamped or incised. These were commemorative messages such as the cuneiform stamp of Nebuchadnezzar II on bricks displayed in the exhibit. One from the </span><a href="https://www.britishmuseum.org/" style="text-align: center;">British Museum</a> translates, "Nebuchandnezzar, King of Babylon, who cares for the Esagila and Ezida, eldest son of Nabopolassar, King of Babylon." The King's cuneiform inscription with its wedge-shaped characters is in the Babylonian dialect of the Akkadian language, a semitic language spoken in ancient Mesopotamia. On the same clay brick there is a name incised by hand in the Aramaic alphabetic system of writing. The Aramaic language was probably spoken by most workers during the period of the building of the gate. The name may refer to an individual in charge of some part of the project such as the brickyards. Many alphabetic inscriptions of individuals are found on bricks. More research is needed to determine their function. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The exhibit makes clear that the portrayal of real and hybrid animals is of importance as the animals are meant to be seen as protectors. Examples are the <span style="text-align: center;">mušhuššu-dragon with its snake's scaly body and forked tongue, front paws of a lion and back legs talons of a bird of prey or the open-mouthed lion with its mane extending along its body like a wing. Each animal is associated with a specific god.</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"> Some 60 lions lined each side of the Processional Way facing the oncoming visitor to the city. These were not experienced by the ancients as merely decorative but rather imagery that was endowed with spiritual force. They could connect the living to the divine. </span></span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">The shine of the material, how the glaze reflected light, connected viewers to the supernatural. Under the bright Middle Eastern sun, the intense sparkle of monument walls could physically overcome beholders.</span></span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"> The materials used were considered sacred as were the representations. Those that worked on the structures were considered sacred too, as their knowledge and skills were described as coming from the gods. Clay was the substance of creation - gods made the first humans from clay. The vitreous substances like glass or glazes were as highly valued as precious or semi-precious stones or metals. They were possibly ranked even higher because they underwent </span></span><span style="font-family: "georgia" , "times new roman" , serif;">transformation.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view of</span> </span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">the exhibition <i>A Wonder to Behold: </i> </span></span><i style="color: #7f6000;">Craftsmanship </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i style="color: #7f6000;">and the Creation of Babylon's Ishtar Gate</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">,</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">November 6, 2019 - May 24, 2020</span></span></div>
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<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; text-align: justify;"><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a><span style="caret-color: rgb(0, 0, 0); font-size: x-small;">'s </span><a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Institute for the Study of the Ancient World</a><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;"> (</span><a href="https://isaw.nyu.edu/" style="font-family: georgia, "times new roman", serif;">ISAW</a><span style="caret-color: rgb(0, 0, 0); font-family: "georgia" , "times new roman" , serif;">)</span></span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">This may be a difficult concept to grasp as we prize precious and semi-precious stones and certain metals over vitreous substances. Glaze can visually look like lapis lazuli in color and luster. The term "stone" for the ancients indicated natural and artificial materials. Nebuchadnezzar II describes having the city walls' entrances "...artfully made with shining lapis lazuli baked bricks on which bulls and </span><span style="text-align: center;">mušhuššu-dragons are created.</span><span style="font-family: "georgia" , "times new roman" , serif;">" The blue glazed bricks is his </span></span><span style="font-family: "georgia" , "times new roman" , serif;">reference to lapis lazuli</span><span style="font-family: "georgia" , "times new roman" , serif;">. Copper, found in Iraq, can be used in glaze recipes for creating a blue resembling that very same stone. Lapis lazuli was not found in the Middle East, Afghanistan being the primary source at this time. In the ancients' mind, stone and glaze are conflated. </span><span style="font-family: "georgia" , "times new roman" , serif;">When cures for illnesses are specified as something the sick should wear and what it should be made up of, man-made products were on par with that of precious stones and metals for the remedy. An illustration of this, a reconstructed necklace, is in the show. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The exhibition enlightens on many facets of archeological investigations and the ancient world of Neo-Babylonia. Visitors will find much to discover and enjoy.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">On a personal note:</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">For this writer, the show brings to mind the poem <i>Ozymandias</i> by Percy Bysshe Shelley (1792–1822).</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);"><i>Ozymandias</i> by<i> </i></span></span><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Percy Bysshe Shelley (</span><span style="background-color: white; color: #222222;">1792–1822)</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>I met a traveller from an antique land</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Who said: Two vast and trunkless legs of stone</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Stand in the desert. Near them on the sand,</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Half-sunk, a shatter'd visage lies, whose frown</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>And wrinkled lip and sneer of cold command</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Tell that its sculptor well those passions read</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Which yet survive, stamp'd on these lifeless things,</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>The hand that mocked them and the heart that fed;</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>And on the pedestal these words appear:</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>'My name is Ozymandias, king of kings:</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Look on my works, ye Mighty, and despair!'</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Nothing beside remains. Round the decay</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>Of that colossal wreck, boundless and bare,</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"><i>The lone and level sands stretch far away.</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; color: #222222; font-family: "georgia" , "times new roman" , serif;">(First Published 1818)</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><i>A Wonder to Behold:</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><i>Craftsmanship and the Creation of Babylon's Ishtar Gate</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">November 6, 2019 - May 24, 2020</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><a href="http://www.nyu.edu/">New York University</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><a href="https://isaw.nyu.edu/">Institute For The Study Of the Ancient World</a> (<a href="https://isaw.nyu.edu/">ISAW</a>)</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">15 East 84th Street, </span></span><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Manhattan</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Hours:</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Wednesday - Sunday, 11:00 a.m. - 6:00 p.m.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Friday, 11:00 am - 8:00 p.m.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Closed Mondays and Tuesdays</span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-11519717391837268712019-11-29T16:53:00.003-08:002020-01-30T17:55:27.268-08:00 A Celebratory Union in Life and Art<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXvD9wqDsktAazR_P8OHhwKQMiEV4vJMMwf6vvKVSocTpDdW69E2RnpMRv3cZOTfcZEPc_w_5O2-oitkCSvsCSFj_rF2Z7PnnXEwkqFlPY9uV8pcBK6Ss9pei6oM3aNNqSPNFX9Dd5Ltc/s1600/Frankenthaler_Black+with+Shadows_1961.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1404" data-original-width="1600" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXvD9wqDsktAazR_P8OHhwKQMiEV4vJMMwf6vvKVSocTpDdW69E2RnpMRv3cZOTfcZEPc_w_5O2-oitkCSvsCSFj_rF2Z7PnnXEwkqFlPY9uV8pcBK6Ss9pei6oM3aNNqSPNFX9Dd5Ltc/s400/Frankenthaler_Black+with+Shadows_1961.sm.jpg" width="400" /></span></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Helen Frankenthaler (1928 - 2011), </span><i style="font-family: Georgia, "Times New Roman", serif;">Black with Shadows</i><span style="font-family: "georgia" , "times new roman" , serif;">, 1961,</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">0il on canvas, </span><span style="font-family: "georgia" , "times new roman" , serif;">76 x 87 in. (193 x 221 cm)</span></span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">David Shuman Collection, courtesy of <a href="https://www.yaresart.com/">Yares Art</a></span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://tompowelimaging.com/">Tom Powel Imaging</a> </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy <a href="http://www.mnuchingallery.com/">Mnuchin Gallery</a>, New York</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Good marriages bring together each partner's strengths and enrich their lives. The joint experience may create a mutual influence that could continue even after the marriage dissolves. These ideas are brought out in the exhibition </span><i style="font-family: georgia, "times new roman", serif;">The Art of Marriage: Helen Frankenthal & Robert Motherwell</i><span style="font-family: "georgia" , "times new roman" , serif;"> at the </span><a href="http://www.mnuchingallery.com/" style="font-family: georgia, "times new roman", serif;">Mnuchin Gallery</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The artists met in 1956. Motherwell was almost 43, married with two children. Frankenthaler was 28 and single. A serious relationship did not begin until a year later after Motherwell's marriage had ended. Motherwell and Frankenthaler were respected artists with their own distinctive way of making art. He was well-known, the youngest member of the First Generation of Abstract Expressionists. She, from a younger generation, was already recognized as a talented newcomer, represented by a gallery and a work acquired by the <a href="https://www.moma.org/">Museum of Modern Art</a>. They married in April, 1958. They became a golden couple with a cross-section of cultural luminaries as friends. Their New York townhouse dinners with fine food, wine and diverse company were noteworthy. Their marriage ended in 1971.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivayhSh_kUYKPDzxWvCgVmxpq8Ao8FWoO0yv477DEE5FpxO6jpAfQLnN1odgQnApI5UTzAMp6fKHeiKmDBtDK3s2a2QhpEa1nIy8u8NqtdzYMoJ-zijyEC5AeDTtX-2dSvlUlADhkroBc/s1600/Motherwell_Afternoon+in+Barcelona_1958.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1192" data-original-width="1600" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivayhSh_kUYKPDzxWvCgVmxpq8Ao8FWoO0yv477DEE5FpxO6jpAfQLnN1odgQnApI5UTzAMp6fKHeiKmDBtDK3s2a2QhpEa1nIy8u8NqtdzYMoJ-zijyEC5AeDTtX-2dSvlUlADhkroBc/s400/Motherwell_Afternoon+in+Barcelona_1958.sm.jpg" width="400" /></span></a></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Robert Motherwell (1915 - 1991), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Afternoon in Barcelona</i>, </span><span style="font-family: "georgia" , "times new roman" , serif;">1958, </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic and oil on canvas, </span><span style="font-family: "georgia" , "times new roman" , serif;">54 x 73 in. (137.2 x 185.4 cm)</span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://whitney.org/">Whitney Museum of American Art</a>, </span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">New York Gift of Robert and Jane Meyerhoff 79.35</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://tompowelimaging.com/">Tom Powel Imaging</a> </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Courtesy </span><a href="http://www.mnuchingallery.com/" style="font-family: georgia, "times new roman", serif;">Mnuchin Gallery</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The pair had come from similar affluent backgrounds. He was the son of the president of Wells Fargo Bank and she was the daughter of a New York State Supreme Court Judge. The two were highly educated, well-traveled and exceedingly knowledgeable in the history of art. Both were focused on expressing emotions through art. They were not interested in representing that which could be seen but they were rather interested in representing instinctive feelings. They achieved their common pursuit in different ways. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjOxFpbXw0VVyb0pJ3h9zptr1HSmR9QceJ25zdrXW30n12PWEEpHi5k_BChRyNwvIV7weAFaxASPNM_fJrNEDjcnC02b7RjrrXNr5RFUYunY6eDhiZ70_m-PG7W2ifgebW4da1jl5tp4/s1600/Frankenthaler_Pompeii_1965.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1191" data-original-width="1600" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjOxFpbXw0VVyb0pJ3h9zptr1HSmR9QceJ25zdrXW30n12PWEEpHi5k_BChRyNwvIV7weAFaxASPNM_fJrNEDjcnC02b7RjrrXNr5RFUYunY6eDhiZ70_m-PG7W2ifgebW4da1jl5tp4/s400/Frankenthaler_Pompeii_1965.sm.jpg" width="400" /></span></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Helen Frankenthaler (1928 - 2011), <i>Pompei</i></span><span style="font-family: "georgia" , "times new roman" , serif;">, 1965,</span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on canvas, 58 x 80 in. (147.3 x 203.2 cm)</span></span><br />
<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Private Collection</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; text-align: left;">On view in the exhibition </span><i style="color: #783f04; text-align: left;">The Art of Marriage: </i><i style="color: #783f04; text-align: left;">Helen Frankenthaler & Robert Motherwell,</i></span></div>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; text-align: left;">October 30, 2019 - December 14, 2019, </span><a href="http://www.mnuchingallery.com/" style="text-align: left;">Mnuchin Gallery</a><span style="color: #783f04;">, New York</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://tompowelimaging.com/">Tom Powel Imaging</a> </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy <a href="http://www.mnuchingallery.com/">Mnuchin Gallery</a>, New York</span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Motherwell worked in a gestural style, typically using a limited palette of earth tones and black. Frankenthaler with the whole range of colors, staining and soaking raw canvases with a variety of hues. Motherwell's forms were bold with verticals and ovals used extensively while Frankenthaler's approach was softer, open and lyrical. Motherwell worked in series with innumerable permutations to motifs while maintaining the work's basic composition. Frankenthaler responded to individual experiences, a place or light for example. If it appears that she has related works it is only that she kept on responding to a particular idea until she felt it was treated thoroughly. Frankenthaler never intended to repeat in variation a motif again and again. Motherwell excelled in collage; she used the medium only briefly. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAeRlavRju0GrVZ0whNizoKodPVMt-2I3WQx1n58HWsx497UbXCkBaplKFFXQXtKUKs0rZLt7MwhUqpV0MNajG7ttN9TPqbd4lZYTVbDRMtlrykIEEXf8-U5mX5ZDgeVNrDLKHbXX_GbY/s1600/Motherwell_Beside+the+Sea%252C+with+Black+and+White_1962.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1326" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAeRlavRju0GrVZ0whNizoKodPVMt-2I3WQx1n58HWsx497UbXCkBaplKFFXQXtKUKs0rZLt7MwhUqpV0MNajG7ttN9TPqbd4lZYTVbDRMtlrykIEEXf8-U5mX5ZDgeVNrDLKHbXX_GbY/s400/Motherwell_Beside+the+Sea%252C+with+Black+and+White_1962.jpg" width="330" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Robert Motherwell (1915 - 1991), <i>Beside the Sea, with Black and White</i></span><span style="color: #783f04;">, </span><span style="color: #783f04;">1962, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(120, 63, 4); text-align: justify;"><span style="color: #783f04; font-size: x-small;">oil and pasted paper on Strathmore paper, </span></span><span style="color: #783f04; font-size: x-small;"> </span><span style="color: #783f04; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4);">29 x 23 in. (73.7 x 58.4 cm)</span></span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4); font-family: "georgia" , "times new roman" , serif;">Private Collection</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; text-align: left;">On view in the exhibition </span><i style="color: #783f04; text-align: left;">The Art of Marriage: </i><i style="color: #783f04; text-align: left;">Helen Frankenthaler & Robert Motherwell,</i></span></div>
<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; text-align: left;">October 30, 2019 - December 14, 2019, </span><a href="http://www.mnuchingallery.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">Mnuchin Gallery</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://tompowelimaging.com/">Tom Powel Imaging</a> </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000;">Courtesy </span><a href="http://www.mnuchingallery.com/">Mnuchin Gallery</a><span style="color: #7f6000;">, New York</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">It is uncertain to what extent these two strongly individualistic artists affected each other. It may be said after their marriage, Motherwell's work became cheerful. His strokes appeared more energetic and looser. His colors broadened with the use of bright hues and tones. His 1959 oil and charcoal on canvas <i>California</i> is a good illustration of this.</span> Frankenthaler's painting became less transparent, denser with expanses of solid color. She incorporated hues associated with her husband specifically ochre and black. Take a look at her 1961 oil on canvas <i>Black with Shadows</i>. As mentioned, she explored the medium of collage after the marriage perhaps because of her husband's interest. The exhibit presents some half dozen Motherwell collages and five by Frankenthaler. The group makes for informative comparisons. Noteworthy is Frankthaler's large collage, approximately 7 x 3 1/2 feet, <i>New Year Greeting</i>, December 1959, which the artist made after the couple returned from Europe. It is on loan from a private collection as are most of the show's works - a compelling reason to see the exhibit before these pieces are returned. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFGBYkN4nKZWmOrkrvnNWBL_dLdpIkrCY3mTWPjuUupiJ4Z36fdaUJGIXUn1v5X-6wqMdzYlZJvPXrw_aoQIvSYl5BKqPNhpwt9WAtQLoJS-lcHyRkn2PiNq0ybpYvI7uqavpVIMLfTdM/s1600/Website+imageMNU_MotherwellFrankenthaler_1028196Website+photo3333.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="341" data-original-width="670" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFGBYkN4nKZWmOrkrvnNWBL_dLdpIkrCY3mTWPjuUupiJ4Z36fdaUJGIXUn1v5X-6wqMdzYlZJvPXrw_aoQIvSYl5BKqPNhpwt9WAtQLoJS-lcHyRkn2PiNq0ybpYvI7uqavpVIMLfTdM/s400/Website+imageMNU_MotherwellFrankenthaler_1028196Website+photo3333.jpg" width="400" /></span></a></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view, </span><i style="caret-color: rgb(120, 63, 4); text-align: left;">The Art of Marriage: </i><i style="caret-color: rgb(120, 63, 4); text-align: left;">Helen Frankenthaler & Robert Motherwell,</i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4); text-align: left;">October 30, 2019 - December 14, 2019, </span><a href="http://www.mnuchingallery.com/" style="text-align: left;">Mnuchin Gallery</a>, New York</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">l to r, </span><span style="color: #783f04; font-size: x-small;">Helen Frankenthaler </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">(1928 - 2011), <i>Courtyard of El Greco's House</i>, </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">1959, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">oil on canvas, </span></span><span style="text-align: justify;"><span style="color: #7f6000; font-size: x-small;">45 3/4 × 60 1/2 in. (116.2 × 153.7 cm)</span></span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection of Meredith and Cornelia Long</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">Helen Frankenthaler </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">(1928 - 2011), </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;"><i>Avebury</i>, 1972, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">acrylic on canvas, </span><span style="caret-color: rgb(127, 96, 0); text-align: justify;"><span style="color: #7f6000; font-size: x-small;">54 7/8 × 80 in. (139.4 × 203.2 cm)</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">Private Collection, St. Louis </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://www.mnuchingallery.com/" style="text-align: left;">Mnuchin Gallery</a> Web site</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">An added bonus of the exhibition are peripheral themes that arise such as Frankenthaler's use of oil versus acrylic paint on canvas. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnXIkOCjtecW7s7fNj3q-fy4Ztd6Aci27Y0-1LRxrB_RPV1EVcv8hEyg_BZugpDwQuSKlO2KQbcsw98F3_Sign13FBx64ui-bUeOISuZ6VUfBtsZp6vrwQcougfeUNiyFe6XL43LwzK8/s1600/44OAUfcMRl2Jioo%252BFfu1aA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnXIkOCjtecW7s7fNj3q-fy4Ztd6Aci27Y0-1LRxrB_RPV1EVcv8hEyg_BZugpDwQuSKlO2KQbcsw98F3_Sign13FBx64ui-bUeOISuZ6VUfBtsZp6vrwQcougfeUNiyFe6XL43LwzK8/s320/44OAUfcMRl2Jioo%252BFfu1aA.jpg" width="320" /></span></a></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Detail of </span><span style="text-align: center;">Helen Frankenthaler </span><span style="text-align: center;">(1928 - 2011), <i>Courtyard of El Greco's House</i>, </span><span style="text-align: center;">1959, </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">oil on canvas, </span></span><span style="text-align: justify;">45 3/4 × 60 1/2 in. (116.2 × 153.7 cm)</span><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;"> </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Private Collection of Meredith and Cornelia Long</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; text-align: left;">On view in the exhibition </span><i style="color: #783f04; text-align: left;">The Art of Marriage: </i><i style="color: #783f04; text-align: left;">Helen Frankenthaler & Robert Motherwell,</i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4); text-align: left;">October 30, 2019 - December 14, 2019, </span><a href="http://www.mnuchingallery.com/" style="text-align: left;">Mnuchin Gallery</a>, New York</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); font-family: "georgia" , "times new roman" , serif;">Photo: Hillary Ganton</span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Some words about these mediums: oil paint is slow drying and corrosive because of the oil utilized as binder and should be used on a prepared support, such as a primed canvas. Acrylic dries quickly, can be employed to achieve color transparencies and a watercolor semblance. Acrylics can be easily thinned using water which seeps and spreads into the raw canvas. Acrylic maintains its color; oil paint yellows over time.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8A-oCBMle-2_woTPfwMklEuN0GrioMUqWYB3d3oXrM15rTDONudSuF7yXr3T2d_qW3LtKUiqBwNEb0aRPCShotQfpatC9xhEd-uxpO1fzFK837lcKOEDi3JQtABzgWFH6stGREzKugw/s1600/cfLUVdL1RnmrV1RJ64XYDw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8A-oCBMle-2_woTPfwMklEuN0GrioMUqWYB3d3oXrM15rTDONudSuF7yXr3T2d_qW3LtKUiqBwNEb0aRPCShotQfpatC9xhEd-uxpO1fzFK837lcKOEDi3JQtABzgWFH6stGREzKugw/s320/cfLUVdL1RnmrV1RJ64XYDw.jpg" width="320" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">Detail view of Helen Frankenthaler </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">(1928 - 2011), </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;"><i>Avebury</i>, 1972, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">acrylic on canvas, </span><span style="caret-color: rgb(127, 96, 0); text-align: justify;"><span style="color: #7f6000; font-size: x-small;">54 7/8 × 80 in. (139.4 × 203.2 cm)</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: justify;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection, St. Louis</span></span></span><br />
<span style="font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"><span style="color: #783f04;">On view in the exhibition </span></span><i style="color: #783f04; font-family: Georgia, "Times New Roman", serif; text-align: left;">The Art of Marriage: </i><i style="color: #783f04; font-family: Georgia, "Times New Roman", serif; text-align: left;">Helen Frankenthaler & Robert Motherwell,</i></span><br />
<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; text-align: left;">October 30, 2019 - December 14, 2019, </span><a href="http://www.mnuchingallery.com/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Mnuchin Gallery</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: justify;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Acrylic became Frankenthaler's medium of choice. A close inspection of Frankenthaler's 1959 oil <i>Courtyard of El Greco's House</i> and her 1972 acrylic <i>Avebury</i> illustrates the end results of using these two different paints on raw canvas supports. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Motherwell's admiration for Henri Matisse (1869 - 1954), who he said was his favorite painter, is evident in several of the show's pieces. His 1969 oil and charcoal, <i>Open No. 93: In Medium Ultramarine Blue with Charcoal Line</i> brings to mind Matisse's 1914 <i>View of Notre Dame</i> in New York's <a href="https://www.moma.org/">Museum of Modern Art</a> (<a href="https://www.moma.org/">MoMA</a>). Frankenthaler recounted Motherwell claimed the chalky blue hue as his own. Matisse's 1952 works, the cut-outs and lithograph series <i>Blue Nudes </i>and <i>The</i> <i>Swimming Pool</i> cut-outs,</span><span style="font-family: "georgia" , "times new roman" , serif;"> as well as the surreal bathers of Pablo Picasso (1881 - 1973) could be the ancestors of the figurative form in Motherwell's 1962 </span><i style="font-family: georgia, "times new roman", serif;">Summertime in Italy, No. 28</i><span style="font-family: "georgia" , "times new roman" , serif;">. Motherwell's powerful red dominated </span><i style="font-family: georgia, "times new roman", serif;">The Studio </i><span style="font-family: "georgia" , "times new roman" , serif;">of 1987</span><span style="font-family: "georgia" , "times new roman" , serif;"> hawks back to the bright hues of Frankenthaler in addition to Matisse's 1911 </span><i style="font-family: georgia, "times new roman", serif;">The Red Studio</i><span style="font-family: "georgia" , "times new roman" , serif;">. The latter and <i>The Swimming Pool</i> are</span><span style="font-family: "georgia" , "times new roman" , serif;"> also in </span><a href="https://www.moma.org/" style="font-family: georgia, "times new roman", serif;">MoMA</a><span style="font-family: "georgia" , "times new roman" , serif;">.</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span> <i style="font-family: georgia, "times new roman", serif;">The Studio</i><span style="font-family: "georgia" , "times new roman" , serif;"> was finished some 16 years after the artists' divorce. A case can be made that it shows the long lived interconnection of the two painters. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS1rsTBrF7yv5PWOiN-jG-irpiM8GyLxt49j2ymong4yFjdF_dtgpXZWbw4ypo8vwdx20URZKfx_1Jv3VaxxQE8bpTGI8YvYt8JXK7S2ITUsdi6BkpYzXy_g8vajFNHVONEM2jNALZSGo/s1600/AOM_Installation+view_14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="951" data-original-width="1600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS1rsTBrF7yv5PWOiN-jG-irpiM8GyLxt49j2ymong4yFjdF_dtgpXZWbw4ypo8vwdx20URZKfx_1Jv3VaxxQE8bpTGI8YvYt8JXK7S2ITUsdi6BkpYzXy_g8vajFNHVONEM2jNALZSGo/s400/AOM_Installation+view_14.jpg" width="400" /></span></a></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view, </span><i style="caret-color: rgb(120, 63, 4); text-align: left;">The Art of Marriage: </i><i style="caret-color: rgb(120, 63, 4); text-align: left;">Helen Frankenthaler & Robert Motherwell,</i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4); text-align: left;">October 30, 2019 - December 14, 2019, </span><a href="http://www.mnuchingallery.com/" style="text-align: left;">Mnuchin Gallery</a>, New York</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">l to r, </span><span style="color: #783f04; font-size: x-small;">Helen Frankenthaler </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">(1928 - 2011), <i>Blue Reach</i>, 1978,</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: xx-small;"> acrylic on canvas, </span><span style="caret-color: rgb(127, 96, 0); color: #7f6000;">71 × 177 1/2 in. (180.3 × 450.9 cm)</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000;">Private Collection</span></span><br />
<span style="caret-color: rgb(120, 63, 4); color: #783f04;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Robert Motherwell (1915 - 1991), <i>The Studio</i>, 1987,</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4);">arylic and charcoal on canvas, 60 × 72 in. (152.4 × 182.9 cm)</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(120, 63, 4);">Private Collection</span></span><br />
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://tompowelimaging.com/">Tom Powel Imaging</a> </span><br />
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Courtesy </span><a href="http://www.mnuchingallery.com/" style="font-family: Georgia, "Times New Roman", serif;">Mnuchin Gallery</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Frankenthaler's 1978 <i>Blue Reach</i> seems to acknowledge Motherwell by using his "claimed" blue and wide forceful areas of color. <i>The Studio</i> and <i>Blue Reach</i>, installed adjacent to each other, form a touching ending to an exhibit which explores the period Frankenthaler and Motherwell spent together as wife and husband. The union had ended but the aftereffects continued. </span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><i>The Art of Marriage</i></span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><i>Helen Frankenthaler & Robert Motherwell</i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">October 30, 2019 - December 14, 2019</span></div>
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<a href="http://www.mnuchingallery.com/" style="font-family: Georgia, "Times New Roman", serif;">Mnuchin Gallery</a></div>
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<span style="color: #783f04;">45 East 78th Street, Manhattan</span></div>
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<span style="color: #783f04;">Gallery Hours:</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Tuesday through Saturday, 10:00 a.m. to 6:00 p.m.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-16299285827230849012019-10-24T16:29:00.001-07:002019-11-19T16:00:43.206-08:00 Color and Emotion Define an Artist and an Age<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSH88JbTuh4kBQ6fPeehopnuCsZMF_cPKham8Se7btiMAnNc83MazDb0I-gASNNKtqIOWSnKY_F7pQf1ERLrfeJa6zlJOjhFhLenWpjjChyphenhyphenpnGjg92ieVInqVSTm8imdOyfbN6tnRcMk0/s1600/8.Ernst+Ludwig+Kirchner%252C+Berlin+Street+Scene%252C+1913-14.+Neue+Galerie+New+York+and+Private+Collection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1080" data-original-width="810" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSH88JbTuh4kBQ6fPeehopnuCsZMF_cPKham8Se7btiMAnNc83MazDb0I-gASNNKtqIOWSnKY_F7pQf1ERLrfeJa6zlJOjhFhLenWpjjChyphenhyphenpnGjg92ieVInqVSTm8imdOyfbN6tnRcMk0/s400/8.Ernst+Ludwig+Kirchner%252C+Berlin+Street+Scene%252C+1913-14.+Neue+Galerie+New+York+and+Private+Collection.jpg" width="300" /></span></a></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Ernst Ludwig Kirchner (1880-1938), <i>Berlin Street Scene</i>, 1913-14,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, <span style="text-align: left;"> 47 5⁄8 x 37 3⁄8 in. (</span><span style="text-align: left;">121 x 95 cm)</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.neuegalerie.org/">Neue Galerie New York</a> and Private Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of <a href="https://www.neuegalerie.org/">Neue Galerie New York</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">If an artist's work and life could encapsulate a period, the artist would be Ernst Ludwig Kirchner (1880 - 1938). This is best presented in the exhibition </span><i style="font-family: georgia, "times new roman", serif;">Ernst Ludwig Kirchner</i><span style="font-family: "georgia" , "times new roman" , serif;"> at the <a href="https://www.neuegalerie.org/">Neue Galerie New York</a>. Over </span><span style="font-family: "georgia" , "times new roman" , serif;">90 paintings, works on paper, sketchbooks, photographs, tapestries and a sculpture</span><span style="font-family: "georgia" , "times new roman" , serif;"> are organized into five sections. The first four cover major periods in the artist's life. These are Dresden (1905-11), Berlin (1911-14), the War Years (1914-18) and Davos (1918-38). The fifth section is devoted to the artist's prints. Kirchner's</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> experiments and originality in woodcuts and monotypes single him out as a master printmaker. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The </span><a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a><span style="font-family: "georgia" , "times new roman" , serif;">'s </span><span style="font-family: "georgia" , "times new roman" , serif;">curators, Jill Lloyd, distinguished Expressionism scholar and Janis Staggs, Director of Curatorial and Manager of Publications for the museum, as well as the exhibition designer Peter de Kimpe, have put together an exemplary survey which is enriched by the use of wall colors related to the artist's palette. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb4qElfKtPl2y6mslFDJhx7kIMslxfi4NODvwnaQDiOmCd3gQk_Ymy4L7w8JWRkIqD5mbFBOmcJ0JbK_CMJCQuE7WxpaAF5v8H4j_DxO8GfYEQd3vttrupblZRcF-8-yGnLDeMB0xYelw/s1600/cri_000000321905-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb4qElfKtPl2y6mslFDJhx7kIMslxfi4NODvwnaQDiOmCd3gQk_Ymy4L7w8JWRkIqD5mbFBOmcJ0JbK_CMJCQuE7WxpaAF5v8H4j_DxO8GfYEQd3vttrupblZRcF-8-yGnLDeMB0xYelw/s400/cri_000000321905-2.jpg" width="300" /></span></a></div>
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<span style="color: #0b5394;"><span style="color: #134f5c; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">E</span><span style="color: #134f5c; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">rnst Ludwig Kirchner (1880-1938), <i>Street, Berlin</i>, 1913,</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, <span style="text-align: left;"> 47 1/2 x 35 7/8 in. (120.6 x 91.1 cm)</span></span></div>
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<span style="color: #134f5c; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;"><a href="https://www.moma.org/" style="text-align: justify;">Museum of Modern Art</a>, New York </span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: </span><a href="https://www.moma.org/" style="text-align: justify;">Museum of Modern Art</a> Website</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">There are many treats in the show not the least of which is the pairing of the </span><a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a>'s <span style="font-family: "georgia" , "times new roman" , serif;"><i>Berlin Street Scene</i> to the painting of the same subject from the <a href="https://www.moma.org/">Museum of Modern Art</a> (<a href="https://www.moma.org/">MoMA</a>). The two works have not been seen together since the <a href="https://www.moma.org/">MoMA</a>'s 2008 exhibition </span><i style="font-family: georgia, "times new roman", serif;">Kirchner and the Berlin Street</i><span style="font-family: "georgia" , "times new roman" , serif;">. The paintings generate more of an emotional response</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> against the green colored</span><span style="font-family: "georgia" , "times new roman" , serif;"> wall at the </span><a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a> <span style="font-family: "georgia" , "times new roman" , serif;">than the pale gray background that they had at the <a href="https://www.moma.org/">MoMA</a>. The walls in the </span></span><a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a> exhibit's<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> Berlin room are green and pink which pick up the dominant colors in the two street scene canvases. </span></span><span style="font-family: "georgia" , "times new roman" , serif;">The two paintings were separated by the much larger work, </span><i style="font-family: georgia, "times new roman", serif;">Potsdamen Platz</i><span style="font-family: "georgia" , "times new roman" , serif;"> in the </span><a href="https://www.moma.org/" style="font-family: georgia, "times new roman", serif;">MoMA</a><span style="font-family: "georgia" , "times new roman" , serif;">'s installation. Here they </span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">are hung next to one another which makes for an easy comparison. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The Berlin street scenes are considered the highlights of the artist's career. He had moved from Dresden to Berlin in 1911. At the time, Berlin was the capital and largest city in Germany as well as the third largest city in Europe. Kirchner set upon recording what it was like to experience living in a metropolis. The crowded streets illuminated by electric lights fascinated him and were captured in the paintings' compressed, accordion-like composition. Fashionable prostitutes mingle with top-hatted prospective clients. Their colorful garb contrasts with dark-suited men. Streets tilt upward and fan out at the top of the canvas toward the edges. Figures appear to be streaming down into the viewer's space. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In the <a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a> painting the cigarette smoking man at the right may be a self-portrait because Kirchner portrayed himself often with a cigarette. The man in the foreground with his back to the viewer may be another version of the cigarette smoking man. The gentleman at the right in the <a href="https://www.moma.org/">MoMA</a> painting looks down at a lit shop window. He may be seeing the items for sale or the reflections of the coquettes behind him. Bold colors abound. They define Kirchner's work throughout his career. He </span><span style="font-family: "georgia" , "times new roman" , serif;">was the supreme colorist and called himself “Farbenmensch” (color man) and considered the use of color his art's distinguishing characteristic. Modernity and contemporary life were his focus. The out-in-the-open prostitutes were just another aspect of the urban environment. Prostitution was thought of differently from the way we think of it today. The occupation was not censured. </span><span style="font-family: "georgia" , "times new roman" , serif;">Prostitutes were appreciated and looked upon as liberated women who maintained their independence. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">There are three sketchbooks in the exhibit. One each placed in the Dresden, Berlin and Davos sections. </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">All the sketchbooks have been digitalized allowing visitors to see each and every book page. The electronic versions are displayed next to the actual books. This makes for a delightful journey of discovery, relating the drawings to the works on view. Don't</span><span style="font-family: "georgia" , "times new roman" , serif;"> miss swiping through them. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The sketchbook next to the two Berlin street paintings is </span><span style="font-family: "georgia" , "times new roman" , serif;">opened at a drawing of the head of a woman wearing a hat surrounded by cursory drawn figures, </span></span><i style="font-family: georgia, "times new roman", serif;">Sketchbook 28, Fol. 21</i><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">. The woman closely resembles the full-lipped strumpet dressed in red in the </span></span><a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a>'s street painting. <span style="font-family: "georgia" , "times new roman" , serif;">The book contains more sketches of figures, streets and buildings. A series of some 20 drawings connected to the cityscape in the 1912 painting <i>Red Elisabeth Canal Bank (Canal with Bridge)</i>, also in the Berlin room, attests to Kirchner's absorption with this scene. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LAmJyNAFKVXeNaFvLPSDr2G7EazAhJZI6-puJYQXATkTp5i5fz9N8_W6IRPf8oK_40eF6hE2Emdcgl78JjOW5vX_KtsbeCvYi8Pu13sE3Q5VxwM0azI7bHnD0OC6mAewCcNUzD12LvI/s1600/1.+Ernst+Ludwig+Kirchner%252C+Tightrope+Walk%252C+1908-10.+Neue+Galerie+New+York+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LAmJyNAFKVXeNaFvLPSDr2G7EazAhJZI6-puJYQXATkTp5i5fz9N8_W6IRPf8oK_40eF6hE2Emdcgl78JjOW5vX_KtsbeCvYi8Pu13sE3Q5VxwM0azI7bHnD0OC6mAewCcNUzD12LvI/s400/1.+Ernst+Ludwig+Kirchner%252C+Tightrope+Walk%252C+1908-10.+Neue+Galerie+New+York+copy.jpg" width="400" /></span></a></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Ernst Ludwig Kirchner (1880-1938), <i>Tightrope Walk</i>, 1908 - 10,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, <span style="text-align: left;"> 47 1⁄4 x 58 5⁄8 in. (120 x 149 cm</span><span style="text-align: left;">)</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.neuegalerie.org/">Neue Galerie New York</a></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of <a href="https://www.neuegalerie.org/">Neue Galerie New York</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">In 1901 Kirchner began studying architecture in college but his interest lay in painting. Around 1903 he was working on his first paintings. He took in what his contemporaries were doing while embracing his artistic inheritance. When looking at Kirchner's work, one can see the effects of Post-impressionist artists such as Paul Cézanne (1839 - 1906), Paul Gauguin (1848 - 1903), Vincent van Gogh (1853 - 1890), </span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">the Fauvists, especially </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Henri Matisse (1869 - 1954) and the Norwegian </span><span style="font-family: "georgia" , "times new roman" , serif;">Edvard Munch (1863 - 1944). Of the older artists, </span><span style="font-family: "georgia" , "times new roman" , serif;">Albrecht Dürer (1471–1528) and Rembrandt van Rijn (1606 - 1669) were his favorites. </span><i style="font-family: georgia, "times new roman", serif;">Tightrope Walk</i><span style="font-family: "georgia" , "times new roman" , serif;">, an early canvas, illustrates his ability to take from others, transform what he has learned and move ahead to make something uniquely his own. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">He was co-founder of the artist group Die </span><span style="font-family: "georgia" , "times new roman" , serif;">Brücke (The Bridge), formed in Dresden in 1905. Kirchner and his fellow group members sought a new morality in painting and in life. They wanted to break away from middle class social norms, freeing German art from the prevalent academic style and bridging</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> the past - Germany's artistic history - to the future in an expressive form of painting.</span><span style="font-family: "georgia" , "times new roman" , serif;"> The group sought to shock viewers into feeling an intense emotion through color and pictorial distortion. Their lives were equally unorthodox advocating open sexual freedom and nudity. The artists' girlfriends posed as models frequently in the nude. Depictions of unclothed women convey a frank seductive sensuality.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiPF09KAmieKciLvfqzBnalhBfFqoMyFjeyDbrZ5Nv6t4s09cerU2zMiQKyeCd0OTgLfXZGbcq3wPD8e-sgknDLKZMdFJDkiKTdMy0i3D582wSHTPPIPOzyx4IVvK9FXVMq90N0muHNOg/s1600/5.+Ernst+Ludwig+Kirchner%252C+Standing+Girl%252C+Caryatid%252C+1909-10.+Neue+Galerie+New+York+and+Private+Collection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1080" data-original-width="793" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiPF09KAmieKciLvfqzBnalhBfFqoMyFjeyDbrZ5Nv6t4s09cerU2zMiQKyeCd0OTgLfXZGbcq3wPD8e-sgknDLKZMdFJDkiKTdMy0i3D582wSHTPPIPOzyx4IVvK9FXVMq90N0muHNOg/s400/5.+Ernst+Ludwig+Kirchner%252C+Standing+Girl%252C+Caryatid%252C+1909-10.+Neue+Galerie+New+York+and+Private+Collection.jpg" width="292" /></span></a></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Ernst Ludwig Kirchner (1880-1938), <i>Standing Girl, Caryatid</i>, 1909 - 10,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">carved and painted wood, <span style="text-align: left;"> 17 1⁄8 in. (43.5 cm)</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.neuegalerie.org/">Neue Galerie New York</a> and Private Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of <a href="https://www.neuegalerie.org/">Neue Galerie New York</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Kirchner began to sculpt in wood in 1909. The only sculpture in the show, <i>Standing Girl, Caryatid</i>,<i> </i>is a study in voluptuous eroticism. The carving demonstrates Kirchner's appreciation of African art, folk art and Gauguin's work. He also designed a poster for a Gauguin exhibition in Dresden in 191o. </span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The artist felt alienated and alone during his Berlin years. </span><span style="font-family: "georgia" , "times new roman" , serif;">Die </span><span style="font-family: "georgia" , "times new roman" , serif;">Brücke broke up in 1913. Discord broke out among nations and was leading up to World War I. Germany entered into the conflict in August 1914. Afraid of active duty at the front, Kirchner volunteered for the mounted artillery. In September 1915, while in training, Kirchner had a nervous and physical breakdown. He was admitted to a sanatorium for treatment. This marked the beginning of three years of recovery in and out of sanatoriums. He sought help for his depression and dependence on alcohol, morphine and sleeping pills. </span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Ernst Ludwig Kirchner (1880-1938), <i>White House in Sertig Valley</i>, 1926<i>,</i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="color: #134f5c; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, <span style="text-align: left;"> 35 1⁄4 x 46 3⁄4 in. (</span></span><span style="font-size: x-small; text-align: left;">89.5 x 111.1 cm)</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Collection <a href="https://www.neuberger.org/">Neuberger Museum of Art</a>,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.purchase.edu/">Purchase College</a>, <a href="https://www.suny.edu/">State University of New York</a>,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Gift from the Dina and Alexander E. Racolin Collection </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Jim Frank</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of <a href="https://www.neuegalerie.org/">Neue Galerie New York</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Kirchner visited Davos, Switzerland, for the first time in 1917. He remained under medical care there. </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">The air, light and Alpine scenery purportedly had health-inducing qualities.</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Davos becomes his primary residence for the rest of his life. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Inspired by the environment, Kirchner painted sublime landscapes, took up the designing of textiles, two of which are in the exhibit, and continued to make prints, carvings and photographs. The latter he had taken up in 1909, the only Expressionist artist to do so. He never stopped taking pictures and exploring the medium throughout his life. Some of his photographs are reproduced in the exhibit such as his self portrait in uniform and views of his Davos homes.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The artist called his late painting manner, his "tapestry style" where broad areas of color interlaced to create forms. No doubt this style related to his involvement with tapestry making. His first collaborated effort took place in 1922. In total 24 tapestries were produced using his designs. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Kirchner had become a highly successful artist with</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> numerous exhibits throughout Germany, Switzerland, Europe and the United States. These</span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> showcases included the 1913 New York Armory show, the German Pavilion in the 1928 Venice Biennale and the </span></span><a href="https://www.moma.org/" style="font-family: georgia, "times new roman", serif;">Museum of Modern Art</a><span style="font-family: "georgia" , "times new roman" , serif;">'s 1931 </span><i style="font-family: georgia, "times new roman", serif;">German Painting and Sculpture</i><span style="font-family: "georgia" , "times new roman" , serif;"> exhibition. Kirchner retrospectives took place, the largest in 1933 in Bern, Switzerland. The </span><a href="https://www.dia.org/" style="font-family: georgia, "times new roman", serif;">Detroit Institute of Arts</a><span style="font-family: "georgia" , "times new roman" , serif;"> mounted a solo exhibit of his work in 1937 which then traveled to a gallery in New York. Meanwhile, the political situation worsened in Germany. The Nazis labeled his art degenerate and removed more than 600 works from German museums. Over 30 of his compositions were included in the </span><i style="font-family: georgia, "times new roman", serif;">Degenerate Art</i><span style="font-family: "georgia" , "times new roman" , serif;"> show held in Munich in 1937. Many of the seized pieces were destroyed. In the same year the artist was expelled from the prestigious Prussian Academy of Arts. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In March 1938 Germany annexed Austria and troops were stationed at the Swiss border near Davos. Apparently the stress of world events was too much for him. The artist fatally shot himself on June 15, 1938. Kirchner was 58 years old. His life and art witnessed major upheavals in the socio-political and artistic realms. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Much appreciation to the </span><a href="https://www.neuegalerie.org/" style="font-family: georgia, "times new roman", serif;">Neue Galerie</a><span style="font-family: "georgia" , "times new roman" , serif;"> for making the depth and breadth of Kirchner's accomplishments accessible and through them the events of the early twentieth century. </span><br />
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<i><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Ernest Ludwig Kirchner</span></i></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">October 3, 2019 - January 13, 2020</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><a href="https://www.neuegalerie.org/">Neue Galerie New York</a></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">1048 Fifth Avenue (at 86th Street), New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Hours:</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Thursday through Monday, 11:00 a.m. to 6:00 p.m.</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Closed Tuesday and Wednesday</span></span><br />
<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">First Fridays, 5:00 p.m. to 8:00 p.m.</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">The museum is open late on the first Friday of each month.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-4042194435566224272019-09-30T13:57:00.000-07:002019-11-13T13:55:27.783-08:00 The Polarities of Richard Serra <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjLe-LrwIzFPMFuAgum4qNIxV3AeMnbSjJWOPMR1yZGMhkpD3NvBmEyvNcaln2hqkyyPV3EEGnnbHx2wkkawV12UMlmkJ5hM8lMtmj3LIXrP1qH6EnuJ7rUoeA1QTdzbAacDK6ok-KO5g/s1600/ABGnIy7HRSGS%25250XrzjGWMQ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjLe-LrwIzFPMFuAgum4qNIxV3AeMnbSjJWOPMR1yZGMhkpD3NvBmEyvNcaln2hqkyyPV3EEGnnbHx2wkkawV12UMlmkJ5hM8lMtmj3LIXrP1qH6EnuJ7rUoeA1QTdzbAacDK6ok-KO5g/s320/ABGnIy7HRSGS%25250XrzjGWMQ.jpg" width="320" /></span></a></div>
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Installation view of</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ), </span><i style="color: #4c1130;">Reverse Curve</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 2005/19,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">corten steel, </span><span style="font-family: "georgia" , "times new roman" , serif;">two plates,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Overall: 13' 1/2" x 99' 9" x 19' 7" (4 x 30.4 x 6 m)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Plates: 2" (5 cm) thick, </span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">at the exhibition "Reverse Curve," </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 522 West 21st Street, New York, </span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">September 17, 2019 - February 1, 2020</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span><br />
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<span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ) has been challenging one's perception of objects in space for over fifty years. Through his sculpture, this octogenarian </span></span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">addresses questions such as what it means to look left or right or around convexity or concavity. He deals with the properties of the material involving effects of weight and how varying scales of solids displace space differently in the same place. Methodology and results incorporate contrasts. The man-made is combined with nature, heaviness is turned into lightness and things appear and disappear. His monumental sculpture has been associated with Minimalism and Process Art. Serra's work however is unique. </span></span><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">Three </span><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">Gagosian</a><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"> galleries presently offer the opportunity to engage with Serra in the exhibitions </span><i style="font-family: georgia, "times new roman", serif; text-align: left;">Reverse Curve</i><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">, </span><i style="font-family: georgia, "times new roman", serif; text-align: left;">Forged Rounds</i><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"> and </span><i style="font-family: georgia, "times new roman", serif; text-align: left;">Triptychs and Diptychs</i><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">.</span><br />
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ), <i>Nine</i></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 2019,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">forged steel, nine rounds</span><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">7' x 6' 4 3/4" diam. (213.4 x 194.9 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">6' 6" x 6' 7 3/4" diam. (198.1 x 202.6 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">6' x 6' 11" diam (182.9 x 210.8 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">5' 6" x 7' 2" diam. (167.6 x 218.4 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">5' x 7' 7" diam. (152.4 x 231.1 cm) </span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">4' 6" x 8' diam (137.2 x 243.8 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">4' x 8' 6" diam. (121.9 x 259.1 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">3' 6 1/2" x 9' diam. (108 x 274.3 cm)</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">3' 2 1/4" x 9' 6" diam. (97.2 x 289.6 cm)</span></span><br />
<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> at the exhibition "<i>Forged Rounds</i>,"</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 555 West 24th Street, New York, </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - December 7, 2019</span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The <i>Forged Rounds</i> show displays 4 new works. Together there are 21 forged steel round or cylindrical drums of varying diameters and heights, weighing 50 tons each. They are divided among 4 rooms in diverse combinations: nine rounds, six rounds in two groups, four rounds in two inverted stacks and two rounds that are barely contained in their allocated area. The round's heft was dictated by the 50 ton weight limitation set by the Port Authority of New York and New Jersey for crossing over the George Washington Bridge. Serra's pieces are produced in Germany foundries. The round pieces of forged steel are made in Wetzlar, Germany and the corten steel ones are fabricated in Burbach, Germany. They are then shipped to Port Newark, New Jersey where they get trucked into Manhattan. If they weighed more than 50 tons, they could not be transported over the bridge and would not get to the gallery. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7V3P0KWDWSH1I3QWxK9j5UylzCFDoW1e6mESMwE8gTRnvLZA91eWpyLyWNrbq5yq-YcYk4sF2JsbKHOHysEY9af_wi7atyKYZqd0lX9aV4p6PylHmwTn4YuCBiWqoGfrACICSugwXmsY/s1600/HrQobSp3T7SOHtRmnbLYtg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7V3P0KWDWSH1I3QWxK9j5UylzCFDoW1e6mESMwE8gTRnvLZA91eWpyLyWNrbq5yq-YcYk4sF2JsbKHOHysEY9af_wi7atyKYZqd0lX9aV4p6PylHmwTn4YuCBiWqoGfrACICSugwXmsY/s320/HrQobSp3T7SOHtRmnbLYtg.jpg" width="320" /></span></a></div>
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ), <i>Channel</i></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 2019,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">forged steel, two rounds</span><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="color: #4c1130; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Each 48" x 102" dia</span></span></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">m. (121.9 x 259 cm)</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">at the exhibition "</span><i style="color: #4c1130;">Forged Rounds</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">,"</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 555 West 24th Street, New York, </span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - December 7, 2019</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Hillary Ganton </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;"><span style="text-align: justify;">The configuration and placement of each work trigger contrasting reactions. In the smallest room installed with </span><i style="text-align: justify;">Channel</i><span style="text-align: justify;">, the space seems confining as if the air itself were constricted. Each round is flush against one wall leaving navigation between them tight. Although the same size rounds, 48" x 102", appear 4 times again, 2 rounds in 2 other pieces, </span><i style="text-align: justify;">Combined and Separated</i><span style="text-align: justify;"> and </span><i style="text-align: justify;">Inverted</i><span style="text-align: justify;">, the </span><i style="text-align: justify;">Channel</i><span style="text-align: justify;"> rounds in their setting give the impression of being much larger and heavier. </span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrnG1bOpn2xDTGST21RoxTvGzK01YXjcQah7hyphenhyphenyUpJBHzE7UqtqcKle-nCuRl0c0JXy6t3AGHN3PqmRdIIPWREfS4UZTAzo-GxoyQjchL79owxEHhYSbe7ZORJQFLfXFhXNc780VvqQQ/s1600/PTpDVMXLRia0ATrl5uLXvA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrnG1bOpn2xDTGST21RoxTvGzK01YXjcQah7hyphenhyphenyUpJBHzE7UqtqcKle-nCuRl0c0JXy6t3AGHN3PqmRdIIPWREfS4UZTAzo-GxoyQjchL79owxEHhYSbe7ZORJQFLfXFhXNc780VvqQQ/s320/PTpDVMXLRia0ATrl5uLXvA.jpg" width="320" /></a></span></div>
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of </span></span></span><br />
<span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Richard Serra (1938 - ), <i>Combined and Separated</i>, 2019, </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">forged steel, six rounds</span><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, in two groups</span></span></div>
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<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 78" x 79 3/4" diam. (198 x 202.6 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 72" x 83" diam. (182.9 x 210.8 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 48" x 102" diam. (121.9 x 259.1 cm),</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">at the exhibition "</span><i style="color: #4c1130;">Forged Rounds</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">,"</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 555 West 24th Street, New York, </span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - December 7, 2019</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Hillary Ganton </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The other pieces allow visitors to move in and around and through the arrangements. Elements materialize and vanish depending on the viewer's chosen route. Formations change accordingly - six components may visually become two. This is distinctly evident in </span><i style="font-family: georgia, "times new roman", serif;">Combined and Separated</i><span style="font-family: "georgia" , "times new roman" , serif;"> and </span><i style="font-family: georgia, "times new roman", serif;">Inverted</i><span style="font-family: "georgia" , "times new roman" , serif;">. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbA0-r-LeSGPEdk6WtsiPQa_QirJid27GXYFSn4w2p3ddtafKL5BpAtym9Cey0b2_D85oPYv-ySm3yKSVwpsgzvOsI_W5_8JX4XGYoFgpuyem4B57Xqb8Rs7i_3QSMthuOAhN_bsp8Us/s1600/crm71K5LSgC71d%252BlhMLnkw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbA0-r-LeSGPEdk6WtsiPQa_QirJid27GXYFSn4w2p3ddtafKL5BpAtym9Cey0b2_D85oPYv-ySm3yKSVwpsgzvOsI_W5_8JX4XGYoFgpuyem4B57Xqb8Rs7i_3QSMthuOAhN_bsp8Us/s320/crm71K5LSgC71d%252BlhMLnkw.jpg" width="240" /></span></a></div>
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of </span></span></span><br />
<span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Richard Serra (1938 - ), <i>Inverted</i>, 2019,</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130;">forged steel, four rounds</span><span style="color: #4c1130;">, in two inverted stacks</span></span></div>
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<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 48" x 102" diam. (121.9 x 259.1 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 54" x 96" diam. (137.1 x 243.8 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Each stack 102" x 102" diam. (259 x 259 cm),</span></span><br />
<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">at the exhibition "<i>Forged Rounds</i>,"</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 555 West 24th Street, New York,</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;"> September 17, 2019 - December 7, 2019</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Hillary Ganton </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Inverted</i> is particularly inviting for circulation. Differing viewpoints of the divergent stacks point out dissimilarities in their appearance. Although both have bulk and weight, the inversion with the larger round on top looks squatter and less stable than the one with the smaller round atop. The latter appears to adhere more to the properties of gravity. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRcebTY7ZQOs53xUAgdH1X82xmveqVWRy-BLVB30advf1gbCoY1zzG4pNndTXUuAk6XrzoYlqKU9BxLnM7asbKzh-d4imh4ScWL0-2C4MFxRXP1Hda0O9XaOO_CoIwKPCbm1CqWBBR3uM/s1600/1ViG3bsaQs%252BKyAonDT8aFw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRcebTY7ZQOs53xUAgdH1X82xmveqVWRy-BLVB30advf1gbCoY1zzG4pNndTXUuAk6XrzoYlqKU9BxLnM7asbKzh-d4imh4ScWL0-2C4MFxRXP1Hda0O9XaOO_CoIwKPCbm1CqWBBR3uM/s320/1ViG3bsaQs%252BKyAonDT8aFw.jpg" width="320" /></span></a></div>
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of </span></span></span><br />
<span style="font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ),<i> Inverted</i>, 2019,</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">forged steel, four rounds</span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, in two inverted stacks</span></span></div>
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<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 48" x 102" diam. (121.9 x 259.1 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 54" x 96" diam. (137.1 x 243.8 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Each stack 102" x 102" diam. (259 x 259 cm)</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif;">at the exhibition </span></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"> "</span><i style="color: #4c1130;">Forged Rounds</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">,"</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 555 West 24th Street, New York, </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - December 7, 2019</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Hillary Ganton </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Serra's work calls forth a desire to touch. Visitors are commonly seen placing their hands on the forged steel surface as if to confirm its substance. Guards do not seem to mind. Physical contact is also engendered by the sculptures' intricately textured finishes in contrast to their rugged hugeness. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPIC4RISAZncs0D4IIfKio2HRE85Xnkg3VRpwwP5DiX1EJyojwbTaGHKO7i86R-6jdDNGsvfC4T07bOpBlfHYh7C3_UZBIPh_NpwAFdU3WUSyics3W9SFo7CsXEPaGfaEYUIrhlqsSvJ0/s1600/cqzJCcPlTP6TbcDbTtMnmQ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPIC4RISAZncs0D4IIfKio2HRE85Xnkg3VRpwwP5DiX1EJyojwbTaGHKO7i86R-6jdDNGsvfC4T07bOpBlfHYh7C3_UZBIPh_NpwAFdU3WUSyics3W9SFo7CsXEPaGfaEYUIrhlqsSvJ0/s320/cqzJCcPlTP6TbcDbTtMnmQ.jpg" width="240" /></a></span></div>
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<span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Richard Serra (1938 - ), <i>Combined and Separated</i>, 2019, </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">forged steel, six rounds</span><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, in two groups</span></span></div>
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<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 78" x 79 3/4" diam. (198 x 202.6 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 72" x 83" diam. (182.9 x 210.8 cm)</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Two, each 48" x 102" diam. (121.9 x 259.1 cm),</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">at the exhibition "</span><i style="color: #4c1130;">Forged Rounds</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">,"</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="caret-color: rgb(76, 17, 48); color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 555 West 24th Street, New York, </span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - December 7, 2019</span></span><br />
<span style="color: #4c1130; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Hillary Ganton </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The artist uses steel in a way like no one before. This structural and fabricated material is an alloy of iron and carbon. Forged steel involves working with the solid form of the alloy by heating and hammering. </span><span style="font-family: "georgia" , "times new roman" , serif;">Surface results depend on the way steel is cooled after it is formed as well as its exposure to weather. The artist has some control over the outcome. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Reverse Curve</i> is made of corten steel which has additional alloying components mixed in with the iron and carbon. This makes the steel stronger and corrosion resistant. It is characterized by a rusty, orange patina caused by weathering. In the case of <i>Reverse</i> <i>Curve,</i> one side of the metal was unprotected when shipped. On this side, the elements especially sun, wind and rain produced an effect akin to a Color Field painting. Thus, nature contributed a rich fall-like coloration and a rhythmic striation along this side's full length. Man-made and natural processes have collaborated to make art. </span></span><br />
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYCdyBKBEMFJJDgl4WKKyxb2v3I-dpQtSXtBmfI-hN-xOnB-ro56hBwsi8b2wYCW_daFFr9LqXROnGl6zInia-GR4qUcnybujdXYTUD0BpMiaTAOrw82aF-gNz7eULPAS3mOSEGtbE8w/s1600/fullsizeoutput_8a9.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1437" data-original-width="1600" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYCdyBKBEMFJJDgl4WKKyxb2v3I-dpQtSXtBmfI-hN-xOnB-ro56hBwsi8b2wYCW_daFFr9LqXROnGl6zInia-GR4qUcnybujdXYTUD0BpMiaTAOrw82aF-gNz7eULPAS3mOSEGtbE8w/s320/fullsizeoutput_8a9.jpeg" width="320" /></a></span></div>
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<span style="font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Installation view of</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ), </span><i style="color: #4c1130;">Reverse Curve</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 2005/19,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">corten steel, </span><span style="font-family: "georgia" , "times new roman" , serif;">two plates,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Overall: 13' 1/2" x 99' 9" x 19' 7" (4 x 30.4 x 6 m)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Plates: 2" (5 cm) thick, </span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">at the exhibition "Reverse Curve," </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 522 West 21st Street, New York, </span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">September 17, 2019 - February 1, 2020</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The lyrical lightness of <i>Reverse</i> <i>Curve</i> belies its approximately 60 ton weight - about 120,000 pounds. This work highlights Serra's use of free standing objects. It is made up of 2 plates together creating an object close to 100 feet long. Nothing is bolted together or to the ground. Where the floor is uneven, light seeps through segments of the sculpture's lower edge. It also brings up the question of emotional effects. Walking about and through some of Serra's sculptures may elicit contradictory feelings. A tilt toward the viewer (a concavity) creates the anxiety that the work may fall on you. In opposition, a segment bending away from the viewer (a convexity), creates a sense of comfort as if the piece can protect you from dangers. Rounds can seem like megaliths brought over from some prehistoric site and induce awe. Although Serra said that emotional responses were not his intention, he added that if his work had that affect, it was great but "Don't blame me." </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dpb7kAFge0lhbbQ3yOKpjqZEpQharmGPrKN5c-r8qmwQ3yC8t7aVT9dp1zPIILwVtXWWf5bS4cGMnXRU58fUUVKldfM0fAjPqvTLGpT44za2mZNYz90C0-8ZxUMaaT_mNKjWzDQjxOg/s1600/BNcVDKmFQzmfS0KANxTp%252Bw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dpb7kAFge0lhbbQ3yOKpjqZEpQharmGPrKN5c-r8qmwQ3yC8t7aVT9dp1zPIILwVtXWWf5bS4cGMnXRU58fUUVKldfM0fAjPqvTLGpT44za2mZNYz90C0-8ZxUMaaT_mNKjWzDQjxOg/s320/BNcVDKmFQzmfS0KANxTp%252Bw.jpg" width="320" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Richard Serra (1938 - ), <i>Diptych #5</i></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 2019,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">paintstick, etching ink, and silica on handmade paper,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">47 3/4" x 63 1/4" (121.3 x 160.7 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">at the exhibition "Triptychs and Diptychs," </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 980 Madison Avenue, New York, </span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">September 16, 2019 - November 2, 2019</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Serra's drawings are independent of his sculptures. They are not designs for three-dimensional pieces where models are used for working out ideas. His drawings may be based on existing sculptures but are not used in the preparation of them. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In drawing, Serra explores the representation of weight and space in two-dimensions and considers the question of what the process of drawing is about that is making marks on a page. He has drawn since childhood and drawing remains an almost daily practice. He says drawing for him "...is like a language. It's a way to think." In fact, he was accepted to graduate school at the <a href="https://www.art.yale.edu/program">Yale School of Art</a> with a submission of 12 drawings after majoring in English literature as an undergraduate. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">At <a href="https://gagosian.com/" style="text-align: left;">Gagosian</a>'s Madison Avenue gallery, the exhibit <i style="text-align: left;">Triptychs and Diptychs</i><span style="text-align: left;"> presents 20 of the artist</span>'s 2019 drawings. They make clear Serra's habit of making up his own tools to conceive his inventions. He had been working at a print shop in Los Angeles making a print and thought of making a drawing using etching ink and a roller like in the printing process. In the <i>Diptychs</i> and <i>Triptychs</i> he made a drawing with paintstick - the tubes of which had been melted then formed into bricks for ease of application. He then used a roller to apply ink then silica over the paintstick drawing which produced a thick, textured layer of black. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQufNmrPI9R2TneMNa9U1qmQkdbk3glypNPzerv-kzBrR5t7W7av6LcD37wLmYEafAxyuDiEB77TwlrbbUWK2_ZCsz6SFSMbObQYtVjTh0CPJF8hikV3ctN9QYK-VGCC2ipFOm59G0b7g/s1600/KB87cBWpSVmYyIxUI5vIhg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQufNmrPI9R2TneMNa9U1qmQkdbk3glypNPzerv-kzBrR5t7W7av6LcD37wLmYEafAxyuDiEB77TwlrbbUWK2_ZCsz6SFSMbObQYtVjTh0CPJF8hikV3ctN9QYK-VGCC2ipFOm59G0b7g/s320/KB87cBWpSVmYyIxUI5vIhg.jpg" width="320" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Detail of Richard Serra (1938 - ), <i>Diptych #5</i></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 2019,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">paintstick, etching ink, and silica on handmade paper,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">47 3/4" x 63 1/4" (121.3 x 160.7 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">at the exhibition "Triptychs and Diptychs," </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://gagosian.com/" style="font-family: georgia, "times new roman", serif;">Gagosian</a><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">, 980 Madison Avenue, New York, </span></span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">September 16, 2019 - November 2, 2019</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">He lets the process of creation show. Smudges, spatters, finger marks and holes from where the handmade paper was tacked to the wall are not removed. The deliberate and accidental fuse. </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Black is Serra's color of choice. </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">He sees black and white as the written medium we grew up with. Moreover, black is used in structure and form which holds his interest. </span><span style="font-family: "georgia" , "times new roman" , serif;">Black absorbs light as opposed to reflecting it. Because of this property, Serra says that black has a different weight </span><span style="font-family: "georgia" , "times new roman" , serif;">than colors such as green or yellow that reflect light. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Although space may be the overriding subject matter of all of Serra's art, so is the individual viewing. </span><br />
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<i style="font-family: georgia, "times new roman", serif;"><span style="color: #741b47;">Reverse Curve </span></i></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - February 1, 2020</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;"><a href="https://gagosian.com/">Gagosian</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;">522 West 21st Street, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;"><i>Forged Rounds</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;">September 17, 2019 - December 7, 2019</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;"><a href="https://gagosian.com/">Gagosian</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); color: #741b47; font-family: "georgia" , "times new roman" , serif;">555 West 24th Street, New York</span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-52190190328608085182019-08-22T15:37:00.000-07:002019-10-24T16:28:07.500-07:00 Why Leonardo and Rembrandt Still Matter Today Part II<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvktqO0vLPfmEuhN31Au6ZA8b_QUh80kmfEYgDx_CLuY7BMTndGIDWeBCdUDPdQMU2_mmAIrOnsDrgJy3xxoQPI8bY5OtBBAylzWzehHOyUDMObkS3w_H7SzTGgv9RgCq9i9ZnB63GRS4/s1600/TFC_Rembrandt_19061097_2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1231" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvktqO0vLPfmEuhN31Au6ZA8b_QUh80kmfEYgDx_CLuY7BMTndGIDWeBCdUDPdQMU2_mmAIrOnsDrgJy3xxoQPI8bY5OtBBAylzWzehHOyUDMObkS3w_H7SzTGgv9RgCq9i9ZnB63GRS4/s400/TFC_Rembrandt_19061097_2000.jpg" width="306" /></span></a></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmensz00n van Rijn (1606 - 1669), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Self-Portrait</i>, 1658,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 52 5/8 x 40 7/8 in. (133.67 x 103.82 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.frick.org/">The Frick Collection</a>, New York</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Michael Bodycomb</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">This <a href="http://artwithhillary.blogspot.com/2019/08/">August 2019 ArtWithHillary</a> blog post concentrates on </span><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmenszoon van Rijn (1606-1669)</span><span style="font-family: "georgia" , "times new roman" , serif;">; the <a href="http://artwithhillary.blogspot.com/2019/07/why-leonardo-and-rembrandt-still-matter.html">ArtWithHillary July 2019</a> blog post focused on </span><span style="font-family: "georgia" , "times new roman" , serif;">Leonardo da Vinci (1452-1519)</span><span style="font-family: "georgia" , "times new roman" , serif;">.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The year 2019 draws attention to the artists Rembrandt van Rijn and Leonardo da Vinci since it marks the 350th anniversary of Rembrandt's death and the 500th anniversary of Leonardo's. These artists continue to be meaningful after hundreds of years which attests to their talents and the appeal of the work they left behind. For a discussion of Leonardo, see <a href="http://artwithhillary.blogspot.com/2019/07/why-leonardo-and-rembrandt-matter.html">ArtwithHillary July 2019</a>. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt, painter, draughtsman and printmaker, endowed his art with a deep sense of what it means to be a sentient being. He captured life in all its aspects rendering portraits, historical narratives, biblical scenes and landscapes with a compelling realism. Rembrandt communicates through the manipulation of paint</span><span style="font-family: "georgia" , "times new roman" , serif;"> the importance of feelings, relationships and the character of individuals. For all who care about these things, Rembrandt matters.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Self-portraits, etched, drawn and painted, occupied the artist all his life. They amount to about 70 works - approximately 10% of his entire output. Among them are some 40 paintings. The question arises as to why so many? By analyzing his own face and thus his own self, he was able to understand the innermost characteristics of others who sat before him.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt's largest and, many hold, his greatest self-portrait is in the <a href="https://www.frick.org/">Frick Collection</a>, New York. </span><span style="font-family: "georgia" , "times new roman" , serif;">Seated in a wooden armchair with thighs apart, the artist's figure almost completely fills the lower pictorial space. His upright posture is not purely frontal. His body is turned slightly toward the right. He wears a costume made up of a collarless yellow-pleated robe over a white shirt. An ornamental scarf is draped about his neck along the sides of the robe's neckline. A red sash wound twice around his waist ends in what has been identified as a dried pomegranate pendant. In his left hand he holds a silver-knobbed jointed rattan cane. On his head is a large black beret whose broad brim casts a shadow on the painter's forehead. A fur cape hung from his shoulders completes his outfit. Rembrandt looks straight out of the picture plane with an authoritative gaze. </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmensz00n van Rijn (1606 - 1669), Detail of </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Self-Portrait</i>, 1658,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 52 5/8 x 40 7/8 in. (133.67 x 103.82 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.frick.org/">The Frick Collection</a>, New York</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt shows himself with sagging, blotchy skin and prominent age lines.Verisimilitude</span><span style="font-family: "georgia" , "times new roman" , serif;"> is achieved through dabs and drizzles of paint, glazes and layers of pigment that at times appear sculptural. He could turn his brush around and use the point of his handle to gain desired effects. A multiplicity of tones achieve a striking naturalism. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1FdgEzcAOlLwH36OYzENQwmuP82ZqrW4sycmrhGnhJjZUz0lLVW75Lvm21iR3B1SwbUX3maOA3kF05okZewpr0iYNJ3R5MkLAhDnhnBVOUk4hwJZs7iJpKC4qvFFOVxduX77t81mPljE/s1600/Rembrandt+detailARTSTOR_103_41822003038773-3Rembrandt+self-portrait+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="745" data-original-width="761" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1FdgEzcAOlLwH36OYzENQwmuP82ZqrW4sycmrhGnhJjZUz0lLVW75Lvm21iR3B1SwbUX3maOA3kF05okZewpr0iYNJ3R5MkLAhDnhnBVOUk4hwJZs7iJpKC4qvFFOVxduX77t81mPljE/s320/Rembrandt+detailARTSTOR_103_41822003038773-3Rembrandt+self-portrait+detail.jpg" width="320" /></span></a></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmensz00n van Rijn (1606 - 1669), Detail of </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Self-Portrait</i>, 1658,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 52 5/8 x 40 7/8 in. (133.67 x 103.82 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.frick.org/">The Frick Collection</a>, New York</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The composition is triangular with highlights such as the specks of light in the artist's pupils, on his nose and the silver tip of the cane. Horizontal and diagonal lines such as the lower part of the red sash and the shadow cast by the cane on the back of Rembrandt's left hand animate the canvas. This includes the slight turn of the artist's body. His hands, the tools of his trade, seem unusually large. His right hand is more highly delineated than the left. Thickness and thinness of the paint create a pulsating, life-like effect. The means of painting are brought to the surface and the hand of the painter in the act of creation stands out.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih5s_bK3-Qh5Y6AgOtCO2YXy5pYeRuZK-GS5PPCsW2VjGYprAl9nH1I3KtvMxwNdG3v_qdbomRfYAPzzzaBeZfgLY31nKqdbi6X9tvie-cd-8_Q-BcxCs7eyi3u9cpy1M9lGey3HFjXGU/s1600/fullsizeoutput_838.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="688" data-original-width="499" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih5s_bK3-Qh5Y6AgOtCO2YXy5pYeRuZK-GS5PPCsW2VjGYprAl9nH1I3KtvMxwNdG3v_qdbomRfYAPzzzaBeZfgLY31nKqdbi6X9tvie-cd-8_Q-BcxCs7eyi3u9cpy1M9lGey3HFjXGU/s400/fullsizeoutput_838.jpeg" width="290" /></span></a></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmensz00n van Rijn (1606 - 1669), Detail of </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Self-Portrait</i>, 1658,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 52 5/8 x 40 7/8 in. (133.67 x 103.82 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.frick.org/">The Frick Collection</a>, New York</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Michael Bodycomb</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Some iconographic points: The painter's garments are similar to the clothing of the Jupiter figure, king of the gods, in the painting </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Philemon and Baucis</i>, <a href="https://www.nga.gov/">National Gallery of Art</a>, Washington, D.C., signed and dated the same year as the </span></span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a> <span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">self-portrait. It was Rembrandt's habit not to depict his characters in </span></span><span style="font-family: "georgia" , "times new roman" , serif;">contemporary garb but rather to paint them in antique-like dress with items possibly taken from his own costume collection. The rattan cane and pomegranate allude to abundance and riches - an imported wood and fruit not indigenous to Europe. The cane also suggests a painter's maulstick, a stick which supports the hand holding the paintbrush. Employing these attributes along with the fur cape implies the artist's success. The seated position with legs in front and thighs 1 to 2 feet apart is a pose of power, strength and confidence. Rembrandt's posture, cane, held like a royal scepter, his large beret crowning his head and clothing make the painter appear like a monarch. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The oil is signed and dated 1658 on the front of the chair's left arm, beneath Rembrandt's left wrist. Rembrandt was 52 years old, an advanced age considering the male life expectancy at this time was about 40. This may, however, be distorted because of the high mortality rate for children. The period around 1658 was an unfortunate period for the artist. He had seen all his worldly possessions auctioned off to pay his creditors and had to move out of his large house into a rented residence in another part of town. There was more than financial woe. His beloved wife, Saskia van Uylenburg (1612 -1642) who he married in 1634 died 8 years later at the age of 30 leaving Rembrandt with a 16 month old son Titus (1641 - 1668). The couple's three other children had died in infancy. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Geertje Dircx ((c. 1610 - 1615 - c. 1656) was hired as the child's nanny. She soon became Rembrandt's mistress. Geertje was apparently very fond of Titus for she made a will leaving him her property. Rembrandt gave Geertje some of Saskia's jewelry which did not go down well with his deceased wife's family. By 1649 Rembrandt had switched his affection from Geertje to a young housemaid in his employ, </span>Hendrickje Stoffels (1626 – 1663). Hendrickje probably joined his staff about 1647. Rembrandt, Geertje and Hendrickje were all likely living under the same roof for a period. Geertje did not move out until 1649. She quarreled with Rembrandt about financial support. She sued him for "breach of promise" that is she had slept with Rembrandt who, Geertje claimed, had promised to marry her. Even if the artist wanted to marry, he would not, because Saskia's will determined that if he remarried, his share of her estate would go to one of her sisters. This was not a meager sum. Rembrandt had offered Geertje a stipend before the lawsuit but the nanny did not think the offer adequate. She ultimately won a court settlement with a promise not to change her will in favor of Titus and not to sell any belongings Rembrandt had given her, some of which she had pawned to have means to live on. A year later, she was showing unstable behavior. Rembrandt along with, it appears, some of Geertje's family members and neighbors, tried to have her sent to a house of correction, more of an asylum for the mentally ill. She was committed foaling 12 years but after 5 years a friend intervened on her behalf and she was released in 1655. She took up her cause against Rembrandt once more suing him for wrongful imprisonment. Geertje may have been ill by now and passed away about 1656. She was listed among Rembrandt's many creditors the same year. The painter owed her some of the promised maintenance allowance. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt was a notorious spendthrift. He had, as they say, married well for Saskia's family came from a higher status than Rembrandt's. By the time of their marriage, Rembrandt was a celebrated painter. He had moved from Leiden, the city of his birth, to the commercially thriving city of Amsterdam. He had lots of commissions. The wealthy lined up to have him paint their portraits. In 1639 Rembrandt and Saskia moved into an expensive town house in the better part of the city. Rembrandt needed to borrow money from the seller to obtain the home and still owed a major part of the debt when he was forced to declare bankruptcy in 1656. Rembrandt made much money but he spent more. In fact, relatives of Saskia had accused the couple of squandering Saskia's inheritance from her parents. Rembrandt's collecting habits were wide-ranging and costly. He purchased prints, drawings, paintings, costumes and more. His worldly possessions were sold at auction in 1657 and his home auctioned a year later. Even so, the sales did not yield enough funds to pay off his debts. However, the records of these transactions allow us to know a great deal about what Rembrandt owned. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Hendrickje and Titus formed a company in 1660 to trade in Rembrandt's art. The painter in effect became an employee of his lover and son. This protected him from creditors as well as allowing him to continue to market his work. The painter's guild had passed a ruling that prohibited any painter who filed for bankruptcy from selling his art and operating independently. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">As if monetary issues were not enough, in 1654, his common law wife Hendrickje was brought up on charges of "fornication with Rembrandt..." before the Council of the Reformed Church. At that point she was pregnant with a daughter by Rembrandt, Cornelia (1654 - 1684). She admitted "unwedded cohabitation" with the painter and was admonished. As punishment, Hendrickje was banned from receiving communion. Actually, documents indicate that after 1655 Rembrandt could have married without losing Saskia's inheritance. This had to do with Titus turning 14 and legally being able to make a will. Rembrandt had Titus make him his heir and in so doing ensured Saskia's legacy. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">A change of taste in painting styles in the mid-century may have had negative consequences on Rembrandt's income. A manner of painting called <i>fijnschilder</i> came into favor. These works were usually small in format, highly detailed and smoothly finished. They were antithetical to Rembrandt's rough, tactile mode. Also, the classical style of the seventeenth-century French court captured its share of the art market. Although Rembrandt's saleability may have declined, he was esteemed and regarded as the great painter. As testament to the artist's continued high regard, in 1667 when Cosimo III de'Medici (1642 - 1723), soon to be Grand Duke of Tuscany (1671), visited Amsterdam, he made a point of meeting with Rembrandt. Cosimo's compatriots called him <i>Rembrandt pittore famoso</i>. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">More sadness came to the artist. Hendrickje died in 1662 most likely from plague. Titus married in 1668 but died some 8 months later during another episode of the plague. Titus' posthumous daughter was born in the early part of the following year. Rembrandt was left to live with Cornelia and an old housekeeper. He passed away a year after his son.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Spending some time before the </span></span></span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a> <span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">self-portrait, I fell into conversation with a woman next to me who seemed equally enthralled with the Rembrandt work. She was an artist from Canberra, Australia. She told me it was this Rembrandt self-portrait that she saw when she was 10 years old that made her want to become a painter. </span></span>The self-portrait fascinated her and she felt showed her how great paintings were made. For her, Rembrandt made clear his compositional format, handling of paint and highlights. We chatted, marveling at particular passages of the oil such as the way Rembrandt chose to draw attention to his eyes by making the shadow cast by the brim of the beret stop just above the portrayed eyes. Thus, the glint of the pupils catches the spectator's attention and links to other highlights in the work. We stepped back away from the canvas to better appreciate the painting's three-dimensionality. More talk ensued. The more we looked, the more we saw as the artist's painting made manifest the intangible qualities of the man.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt's and Leonardo's genius live on. Leonardo astounds with his unquenchable inquiring mind and Rembrandt with his scrutiny of the human soul. Please visit the Rembrandt self-portrait at the <a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick Collection</a> and the Leonardo <i style="color: #4c1130; text-align: left;">St. Jerome </i>at the <a href="https://www.metmuseum.org/" style="text-align: left;">Metropolitan Museum of Art</a>.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"><i>Leonardo da Vinci's St. Jerome</i></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">The <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com1tag:blogger.com,1999:blog-6872123300517890731.post-33079173934711663742019-07-23T15:58:00.000-07:002019-09-09T16:52:40.554-07:00 Why Leonardo and Rembrandt Still Matter Today Part I<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Leonardo da Vinci (1452-1519), <i>Saint Jerome Praying in the Wilderness</i>, </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">begun ca. 1482-1485, reworked later by the artist, unfinished,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil and tempera on walnut, 40.5 x 29 1/4 in. (103 x 74 cm) </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Vatican City, <a href="http://www.museivaticani.va/content/museivaticani/en.html">Musei Vaticani</a>, Monumenti e Gallerie Pontificie</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: Courtesy of the <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The year 2019 marks the 500th anniversary of the death of </span><span style="font-family: "georgia" , "times new roman" , serif;">Leonardo da Vinci </span><span style="font-family: "georgia" , "times new roman" , serif;">(1452-1519) </span><span style="font-family: "georgia" , "times new roman" , serif;">and the 350th anniversary of the death of </span><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmenszoon van Rijn (1606-1669)</span><span style="font-family: "georgia" , "times new roman" , serif;">. </span><span style="font-family: "georgia" , "times new roman" , serif;">That both men are revered some hundreds of years after their passing attests to their achievements.*</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">One, Leonardo, was a polymath and genius. He was not only a person who knew about many different subjects but also excelled in them. Painting, sculpture, architecture, anatomy, math, science and botany were just some of his fields of inquiry. He seemed to have possessed </span><span style="font-family: "georgia" , "times new roman" , serif;">infinite curiosity and inventiveness. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The other, Rembrandt, painter, draughtsman and printmaker, endowed his art with a deep sense of the living, capturing life in all its aspects. He rendered portraits, historical narratives, biblical scenes and landscapes with a preternatural realism. No human emotion escaped his scrutiny nor was not painted, drawn or etched by him. His contemporaries considered him the foremost painter of their time. He left a body of work that conveys what it means to be a sentient being.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The July 2019 ArtWithHillary blog post focuses on </span><span style="font-family: "georgia" , "times new roman" , serif;">Leonardo</span><span style="font-family: "georgia" , "times new roman" , serif;">; the August blog post will concentrate on </span><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;">The </span><a href="https://www.metmuseum.org/" style="text-align: left;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;"> commemorates Leonardo's quincentenary with the exhibition </span><i style="text-align: left;">Leonardo da Vinci's St. Jerome</i><span style="text-align: left;"> organized by Dr. Carmen C. Bambach, Curator </span><span style="text-align: left;"> in the museum's Department of Drawings and Prints. Dr. Bambach is a Leonardo da Vinci specialist whose four-volume publication, <i>Leonardo da Vinci Rediscovered</i> was released in the summer 2019. The exhibit features the artist's unfinished painting</span><span style="text-align: left;"> <i>Saint Jerome Praying in the Wilderness</i> lent from the </span><a href="http://www.museivaticani.va/content/museivaticani/en.html" style="text-align: center;">Vatican Museums</a>. The work represents a penitent Jerome kneeling before a cave-like setting with his right arm outstretched to the outer left edge of the panel. In his right hand, he holds a stone. It appears as if he were just about to beat himself in an act of religious discipline in penance. He looks up toward a crucifix in the panel's upper-right corner - seen in profile is a sketched cross with the Christ figure next to which is a church. The body and tail of the saint's faithful lion take up the work's lower part. A landscape, which is the only part of the painting rendered in color, fills the painting's upper-left corner. </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Leonardo da Vinci (1452-1519), Detail of <i>Saint Jerome Praying in the Wilderness</i>, </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">begun ca. 1482-1485, reworked later by the artist, unfinished,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil and tempera on walnut, 40.5 x 29 1/4 in. (103 x 74 cm) </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Vatican City, <a href="http://www.museivaticani.va/content/museivaticani/en.html">Musei Vaticani</a>, Monumenti e Gallerie Pontificie</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Saint Jerome (347-420) was a fourth-century-early fifth-century priest, cardinal, theologian, historian, scholar, teacher and ascetic who is known for translating the Bible into Latin, the Vulgate Bible still in use today. His writings included teachings on how to live a moral life with much focus on female devoutness and spiritual manner of living. He worked for Pope Damasus I (ca. 305-384; papacy 366-384) in Rome. He advised and taught a group of educated women on leading a monastic life. Allegations that he had an improper relationship with one of these women led to the loss of his position. Afterward, he traveled to various holy places, retiring to a cave near Bethlehem to live the remainder of his life. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In a letter to one of his female disciples, </span><span style="font-family: "georgia" , "times new roman" , serif;">Saint Eustochium (ca. 368- ca. 419 or 420), Jerome described the tortures and temptations that he endured for Christ while doing penance in the desert. Some visions aroused in him concupiscence which he countered with fasts and days and nights of beating his chest till his spirit was restored. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">As for his loyal lion, legend has it that a lion came to the monastery where Jerome lived. His brethren ran away when they saw the beast but Jerome called them back to take care of the lion which had a thorn in its paw. Jerome took out the thorn and cured the lion's wound. </span><span style="font-family: "georgia" , "times new roman" , serif;">Thereafter, the lion remained with the saint and is often depicted with him.</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Leonardo da Vinci (1452-1519), Detail of <i>Saint Jerome Praying in the Wilderness</i>, </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">begun ca. 1482-1485, reworked later by the artist, unfinished,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil and tempera on walnut, 40.5 x 29 1/4 in. (103 x 74 cm) </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Vatican City, <a href="http://www.museivaticani.va/content/museivaticani/en.html">Musei Vaticani</a>, Monumenti e Gallerie Pontificie</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The </span><i style="font-family: georgia, "times new roman", serif;">Saint Jerome</i><span style="font-family: "georgia" , "times new roman" , serif;"> is not signed, but scholarly consensus attributes the work to Leonardo. Detailed investigation of the panel's surface revealed the artist's fingerprints especially recognizable in the painting's upper-right landscape. Leonardo used his fingers to spread pigments giving the area a hazy effect. At one point, probably in the early nineteenth century, the saint's head was sawn out and removed. Perhaps the owner felt it was more marketable than the incomplete whole. The two parts were found separately and reunited; the perimeter of the rectangular cut is discernible. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130;">Leonardo da Vinci (1452-1519), Detail of </span><i style="color: #4c1130;">Saint Jerome Praying in the Wilderness</i><span style="color: #4c1130;">, </span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">begun ca. 1482-1485, reworked later by the artist, unfinished,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil and tempera on walnut, 40.5 x 29 1/4 in. (103 x 74 cm) </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Vatican City, <a href="http://www.museivaticani.va/content/museivaticani/en.html">Musei Vaticani</a>, Monumenti e Gallerie Pontificie</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Why or for whom Leonardo painted the work is unknown. It may have been commissioned as a private devotional image. The person who ordered the painting may have become frustrated with the artist's notorious lateness in completing projects and cancelled the order.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">What is known is that the painting remained with Leonardo who continued to work on it until his death. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The panel is assigned to the painter's mid-career when he moved to Milan from his native Florence. The picture is painted on walnut, a wood which Leonardo did not use until his Milan stay, previously employing poplar for his paintings' supports. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Leonardo left his estate to his devoted pupil Francesco Melzi (1491-1570) and, it is believed, paintings to his student Andrea Salai (1480-1524). There are, however, no records of either inheriting the <i>Saint Jerome</i>. After Leonardo's death, the painting's history is lost until the mid-eighteenth century when it came into the possession of the Swiss artist Angelica Kauffmann (1741-1807) who was then living in Rome. Its next account follows her death. Tradition has it that the work was found separately in two parts in two different shops by the French cardinal and diplomat Joseph Fesch (1763-1839), an uncle of Napoleon who had appointed him ambassador to Rome in 1803. The painting became part of the <a href="http://www.museivaticani.va/content/museivaticani/en/collezioni.html">Vatican Collections</a> </span>in 1856. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YaFdUHdPCd4i3MkIt4sqDpfMtzl5p7ZvtznveT438J1hmDGEDuC1GZKI4-hH4eEzqRUWPGW3FytcI09YmVM4EN25HrKqFfO2EfgJBwACAkYiBVEqdWJgeyRk5_yRub5cApsTGnBkvV4/s1600/Artstor+Leonardo+St.+Jerome+AWSS35953_35953_31695023-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="749" data-original-width="780" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YaFdUHdPCd4i3MkIt4sqDpfMtzl5p7ZvtznveT438J1hmDGEDuC1GZKI4-hH4eEzqRUWPGW3FytcI09YmVM4EN25HrKqFfO2EfgJBwACAkYiBVEqdWJgeyRk5_yRub5cApsTGnBkvV4/s320/Artstor+Leonardo+St.+Jerome+AWSS35953_35953_31695023-5.jpg" width="320" /></span></a></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Leonardo da Vinci (1452-1519), Detail of <i>Saint Jerome Praying in the Wilderness</i>, </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">begun ca. 1482-1485, reworked later by the artist, unfinished,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil and tempera on walnut, 40.5 x 29 1/4 in. (103 x 74 cm) </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Vatican City, <a href="http://www.museivaticani.va/content/museivaticani/en.html">Musei Vaticani</a>, Monumenti e Gallerie Pontificie</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: <a href="https://www.artstor.org/">Artstor</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Representations of Saint Jerome usually portray him in his study engaged in theological writings or in the desert kneeling in prayer before a crucifix. If he holds a stone, it is typically held in his hand which is down at his side or on his chest. Physical movement is minimal e</span><span style="font-family: "georgia" , "times new roman" , serif;">ven if the arm holding the stone is raised, it is not outstretched to pack the maximum wallop on his chest. </span><span style="font-family: "georgia" , "times new roman" , serif;">Leonardo's </span><i style="font-family: georgia, "times new roman", serif;">Saint Jerome</i><span style="font-family: "georgia" , "times new roman" , serif;"> in contrast contains motion. The saint is in the act of a physical action - about to strike his chest - and, an inward emotional exertion as indicated by his beseeching facial expression. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The brilliance of Leonardo's art is the ability to render simultaneously and seamlessly two distinct reactions. The saint's body conveys the outward act of self-flagellation while his face informs of his inner emotive repentance. Leonardo couples the means of atonement with mental agony. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Some more points about the panel: The sketch of the church in the upper-right may relate to church designs that Leonardo was working on or a reference to the monastery near Bethlehem where Jerome had stayed. The proportions of the saint's body reflect the artist's anatomical and proportional investigations. The saint's head is similar to a head of Saint Jerome made in clay by the painter, sculptor and goldsmith Andrea del Verrocchio (1435-1488) with whom Leonardo apprenticed. The sculpture is now lost but known through copies and a painting of Saint Jerome by Verrocchio in the <a href="https://www.uffizi.it/palazzo-pitti/galleria-palatina">Galleria Palatina</a>, Palazzo Pitti, Florence. The three-dimensionality of Leonardo's <i>St. Jerome</i> figure suggests it was based on the Verrocchio sculptural prototype. The cave setting and upper-left landscape link the work to Leonardo's two versions of <i>The Virgin of the Rocks</i>, one </span><span style="font-family: "georgia" , "times new roman" , serif;">in the </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.louvre.fr/">Musée du Louvre</a>, Paris</span></span><span style="font-family: "georgia" , "times new roman" , serif;">; the other </span><span style="font-family: "georgia" , "times new roman" , serif;">in the </span><a href="https://www.nationalgallery.org.uk/" style="font-family: georgia, "times new roman", serif;">National Gallery</a><span style="font-family: "georgia" , "times new roman" , serif;">, London</span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">.</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8PmYB3WofReERzVkfm-XH8LJwf-YTqviIJkAd5NUtD00Vc7EH7hd5enrXf5Qt87Mv_buZGSSS1a3bwyAcMWTglUdAwQOnaqmDNAFghd_rX03Db5b1U7Vrn-rNRztB5nLbKsHqZAFFzQ/s1600/TFC_Rembrandt_19061097_2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8PmYB3WofReERzVkfm-XH8LJwf-YTqviIJkAd5NUtD00Vc7EH7hd5enrXf5Qt87Mv_buZGSSS1a3bwyAcMWTglUdAwQOnaqmDNAFghd_rX03Db5b1U7Vrn-rNRztB5nLbKsHqZAFFzQ/s1600/TFC_Rembrandt_19061097_2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1231" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj8PmYB3WofReERzVkfm-XH8LJwf-YTqviIJkAd5NUtD00Vc7EH7hd5enrXf5Qt87Mv_buZGSSS1a3bwyAcMWTglUdAwQOnaqmDNAFghd_rX03Db5b1U7Vrn-rNRztB5nLbKsHqZAFFzQ/s400/TFC_Rembrandt_19061097_2000.jpg" width="307" /></a></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Rembrandt Harmensz00n van Rijn (1606 - 1669), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Self-Portrait</i>, 1658,</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 52 5/8 x 40 7/8 in. (133.67 x 103.82 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.frick.org/">The Frick Collection</a>, New York</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Michael Bodycomb</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;">More to come about Rembrandt in the <a href="http://artwithhillary.blogspot.com/2019/08/">August 2019 ArtWithHillary</a>.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(76, 17, 48); font-family: "georgia" , "times new roman" , serif;"><span style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;">*The <a href="http://artwithhillary.blogspot.com/2019/07/">July 2019 ArtWithHillary</a> blog post focuses on </span></span><span style="text-align: justify;">Leonardo</span><span style="text-align: justify;">; the August blog post will concentrate on </span><span style="text-align: justify;">Rembrandt</span><span style="text-align: justify;">.</span></span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"><i>Leonardo da Vinci's St. Jerome</i></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">July 15, 2019 - October 6, 2019</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">The <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">1000 Fifth Avenue, Manhattan</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Open Seven Days a Week</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Sunday through Thursday 10 a.m. - 5:30 p.m.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Friday and Saturday 10 a.m. - 9 p.m.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Closed Thanksgiving Day, December 25, January 1, and the first Monday in May. </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">The<a href="https://www.frick.org/"> Frick Collection</a></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">1 East 70th Street, Manhattan</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Tuesday through Saturday, </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">10:00 a.m. - 6:00 p.m.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Sundays, 11:00 a.m. - 5:00 p.m.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Closed Mondays and holidays.</span><br />
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">First Fridays: </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">on the first Friday of the month</span><br />
<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"> </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">(except January and September) </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">the museum is open until 9:00 p.m. </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">Check <a href="https://www.frick.org/">The Frick Collection</a> Web site for holiday and limited hours schedule.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-55075311942099498422019-06-19T15:02:00.001-07:002019-08-01T06:59:03.148-07:00 Slowing People Down<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbYW3iyz8XyhvHbjrpZgOSVIK7hRX90Xl8rfmlYaMuSziKDT6JFQzYEErPjbGv4SoR2m-3qGOMe80mOEX1iAmFo068oW_imEKn9c-6Zsib2PBUdkLEwL5mCtnXi5GN6FzZNdMTVFzwBbo/s1600/Dining+Room+%2528view+03%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1198" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbYW3iyz8XyhvHbjrpZgOSVIK7hRX90Xl8rfmlYaMuSziKDT6JFQzYEErPjbGv4SoR2m-3qGOMe80mOEX1iAmFo068oW_imEKn9c-6Zsib2PBUdkLEwL5mCtnXi5GN6FzZNdMTVFzwBbo/s400/Dining+Room+%2528view+03%2529.jpg" width="298" /></span></a></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Edmund de Waal (1964 - ), <i>on living in an old country I</i> (one of a set), 2019, </span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">porcelain, steel, gold, alabaster, aluminum, and plexiglass, </span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">23 5/8 × 35 7/16 × 12 5/8 in. (65.09 x 90.01 x 32.07 cm), </span></span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">on view in the Dining Room of <a href="https://www.frick.org/">The Frick Collection</a> </span></span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">in the exhibition <i>Elective Affinities: Edmund de Waal at <a href="https://www.frick.org/">The Frick Collection</a></i>, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">May 30 - November 17, 2019</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© Edmund de Waal. Courtesy the artist and <a href="https://www.frick.org/">The Frick Collection</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: Christopher Burke</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The British artist and writer Edmund de Waal (1964 - ) is probably best known for his successful memoir <i>The Hare with Amber Eyes: a Hidden Inheritance</i>. He is, however, an acclaimed ceramicist creating fine pottery typically in porcelain with celadon glazes. His latest work has shifted away from individual wares to a presentation of groups of vessels, containers and box-like elements made from porcelain and other materials. He calls these installations.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">De Waal has created such works for historic collections such as <a href="https://www.chatsworth.org/">Chatsworth House</a>, Derbyshire, England and the <a href="https://www.vam.ac.uk/">Victoria and Albert Museum</a> in London. For these installations, he takes into account the particular collection, the building where it is housed, the room or gallery space, the light and the objects where his art will be placed. His work enters into a conversation with their environment. They cause viewers to pause and engender moments of reflection. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The artist's invitation to make works expressly for <a href="https://www.frick.org/">The Frick Collection</a> </span><span style="font-family: "georgia" , "times new roman" , serif;">mark his first site-specific installations outside of Europe. These installations, nine in all, are now on view at the </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a> in the exhibition, <span style="text-align: left;"><i>Elective Affinities: Edmund de Waal at </i></span></span></span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;"><i>The Frick Collection</i></a><i>.</i><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">When de Waal speaks about Henry Clay Frick (1849 - 1919) he compares what the industrialist had accomplished to alchemy. Frick made wealth out of steel, forming the U. S. Steel Corporation, and turned wealth into art. </span><span style="font-family: "georgia" , "times new roman" , serif;"> De Waal performs a sort of alchemy too. He takes clay and transforms it into porcelain which the artist refers to as "white gold." Although porcelain is by far the artist's favorite medium, valued for its durability and delicacy, he also works with gold, steel, alabaster, aluminum and plexiglass. </span><span style="font-family: "georgia" , "times new roman" , serif;">The artist employed steel in all the </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a> <span style="font-family: "georgia" , "times new roman" , serif;">installations because of its association with Frick. De Waal's artworks are </span><span style="font-family: "georgia" , "times new roman" , serif;">of a quiet and unobtrusive nature.</span> They can be easily overlooked yet once noticed, they are intriguing. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The artist had spent five months at the museum thinking about his installations. He chose locations near paintings that had particular meaning for him. In the </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a><span style="font-family: "georgia" , "times new roman" , serif;"> Dining Room filled with 18th-century aristocratic portraiture, de Waal created two pieces, </span><i style="font-family: georgia, "times new roman", serif;">on living in an old country I & II</i><span style="font-family: "georgia" , "times new roman" , serif;">. These he placed on the marble tops of pier tables beneath adjacent portraits by Thomas Gainsborough (1727 - 1788) of </span><i style="font-family: georgia, "times new roman", serif;">Mrs. Peter William Baker</i><span style="font-family: "georgia" , "times new roman" , serif;">, 1781 and </span><i style="font-family: georgia, "times new roman", serif;">The Hon. Frances Duncombe</i><span style="font-family: "georgia" , "times new roman" , serif;">, c. 1777. Frick acquired them in 1917 and 1911 respectively.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">The installation <i>on living in an old country I & II</i> consists of rectangle receptacles of white-painted steel and thin sheets of white and golden porcelain within a white-framed vitrine. In the exhibition's catalogue, </span><span style="font-family: "georgia" , "times new roman" , serif;">Charlotte Vignon, the curator of the show and the </span><span style="font-family: "georgia" , "times new roman" , serif;">Curator of Decorative Arts at the </span></span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a><span style="font-family: "georgia" , "times new roman" , serif;">, notes that</span><span style="font-family: "georgia" , "times new roman" , serif;"> t</span><span style="font-family: "georgia" , "times new roman" , serif;">he thin ceramic sheets that lean on the white-painted steel receptacles give the appearance of book pages supported by closed books. All elements rest in vitrines which have bases of thick plexiglass partially covered by a fine alabaster tablet. Gold components pick up the gilt frames of Gainsborough's canvases while the book-like pieces reflect the paintings' rectangular shape and vertical orientation. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Viewed from above and sideways, the marble of the tables' tops is seen through the clear installations' plinths. Thus, the swirls and veins of the grayish-colored marble become part of the artwork. Bending down, looking ahead through the plexiglass the room's decorative walls enter into the composition. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In each vitrine, broken fragments of white porcelain with words on them and gold shards are placed in a small box. The words are from the poems of Emily Dickinson (1830 - 1886) that the artist wrote on porcelain prior to breakage. He chose Dickinson, he had explained,</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">because of the strength of her poetry which could stand up to a "...Gainsborough girl." The whole evokes a sense of books, writing, creating and collecting. </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">De Waal called the Dining Room an "... extraordinary fantasy of the English country house...." For him, it signified entitlement, ownership and, he said, "...it makes me want to break things." </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">Although evoking the 18th century, the furnishings were made by a prominent English decorator about 1913 - 14. This included the console tables on which de Waal's works sit.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Vz1DnyLwZfzrQ0O9JdidAVf0wFfuS_Uzz4gNgNHTeOohnPTULsp-DY08tPl4F1VhbOlYTKY-l1Pya2oqp3dvS-Utw7FZ4Ozo_A7hl_KieeIv0XgPbjMPu71tMNZGRdtekSuayXF3kTc/s1600/West+Vestibule+%2528view+01%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Vz1DnyLwZfzrQ0O9JdidAVf0wFfuS_Uzz4gNgNHTeOohnPTULsp-DY08tPl4F1VhbOlYTKY-l1Pya2oqp3dvS-Utw7FZ4Ozo_A7hl_KieeIv0XgPbjMPu71tMNZGRdtekSuayXF3kTc/s400/West+Vestibule+%2528view+01%2529.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Edmund de Waal (1964 - ), <i>steel light I-V</i>, 2019, </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">porcelain, steel, and gold, </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">14 3/16 × 6 5/16 × 7 1/16 in. (36.04 x 16.03 x 17.94 cm),</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(230, 145, 56); color: #e69138; font-family: "georgia" , "times new roman" , serif;">on view in the West Vestibule of </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">The Frick Collection</a><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;"> </span></span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">in the exhibition <i>Elective Affinities: Edmund de Waal at <a href="https://www.frick.org/">The Frick Collection</a></i>, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">May 30 - November 17, 2019</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© Edmund de Waal. Courtesy the artist and <a href="https://www.frick.org/">The Frick Collection</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: Christopher Burke</span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">The light-filled West Vestibule is hung with <i>The Four Seasons</i>, a series of paintings by François Boucher (1703–1770). They were made for Madame de Pompadour (1721 - 1764), the official mistress of Louis XV of France (1710 - 1774), in 1755. Frick acquired them in 1916. </span></span><i style="font-family: georgia, "times new roman", serif;">Autumn</i><span style="font-family: "georgia" , "times new roman" , serif;"> and </span><i style="font-family: georgia, "times new roman", serif;">Winter</i><span style="font-family: "georgia" , "times new roman" , serif;"> flank an ornate commode, c. 1710, with later alterations, attributed to André-Charles Boulle (1642–1732), the illustrious French cabinetmaker known for his inlay craftsmanship. This chest of drawers, purchased in 1915, is the platform for de Waal's set of five sculptures, </span><i style="font-family: georgia, "times new roman", serif;">steel light I-V</i><span style="font-family: "georgia" , "times new roman" , serif;">. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">These are heavy works of steel, porcelain and gold. They are the only </span></span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a><span style="font-family: "georgia" , "times new roman" , serif;"> installation without an enclosing vitrine. Containers and flat components are colored in blacks, grays, gray-blues and gold. As natural light comes through the western glass door leading to the </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a><span style="font-family: "georgia" , "times new roman" , serif;">'s Central Park facing</span><span style="font-family: "georgia" , "times new roman" , serif;"> garden, the installation's forms, tints and textures appear to change. Black here is never true black. Cylinder-formed porcelain vessels, each differentiated and individualized, and steel strips, some gilded, are set on black steel square blocks. The strips, cut to a sixteenth of an inch, lean against the vase-like containers that seem to await some floral arrangement from the nearby garden. De </span><span style="font-family: "georgia" , "times new roman" , serif;">Waal's work holds its own and draws viewers to the substantial gilt bronze decorated commode and the Boucher oils with their golden frames.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHEMxeAed8nblK5rYgdbY8U-zd0ij_2oyzMb24OfVxgwfQwPBscAu8Sd-Y1Un_PtfPLWrxRbHJMOVTeq_eVsAbjTJ9LHobuVkDVY-4QiEERlCZhYsFzbPVThf9mSc_ecofLl7m8gEAqs/s1600/Fragonard+Roon+%2528view+02+-without+chair%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHEMxeAed8nblK5rYgdbY8U-zd0ij_2oyzMb24OfVxgwfQwPBscAu8Sd-Y1Un_PtfPLWrxRbHJMOVTeq_eVsAbjTJ9LHobuVkDVY-4QiEERlCZhYsFzbPVThf9mSc_ecofLl7m8gEAqs/s400/Fragonard+Roon+%2528view+02+-without+chair%2529.jpg" width="300" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Edmund de Waal (1964 - ), </span><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(230, 145, 56);"><i>on an archaic torso of Apollo</i>, 2019, </span></span></span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(230, 145, 56); font-family: "georgia" , "times new roman" , serif;">porcelain, steel, gold, alabaster, aluminum, and plexiglass, </span></span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(230, 145, 56); font-family: "georgia" , "times new roman" , serif;">22 7/16 × 17 5/16 × 11 13/16 in. (56.99 x 43.97 x 30.00 cm)</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(230, 145, 56); color: #e69138; font-family: "georgia" , "times new roman" , serif;">on view in the Fragonard Room of </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">The Frick Collection</a><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;"> </span></span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">in the exhibition <i>Elective Affinities: Edmund de Waal at <a href="https://www.frick.org/">The Frick Collection</a></i>, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">May 30 - November 17, 2019</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© Edmund de Waal. Courtesy the artist and <a href="https://www.frick.org/">The Frick Collection</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: Christopher Burke</span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">The </span></span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a>'s<span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">Fragonard Room is named after the painter </span><span style="font-family: "georgia" , "times new roman" , serif;">Jean-Honoré Fragonard (1732 - 1806) whose </span><span style="font-family: "georgia" , "times new roman" , serif;">series of paintings <i>The</i> <i>Progress of Love</i></span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">now adorn the room's walls. <i>The Pursuit</i>, <i>The Meeting</i>, <i>The Lover Crowned</i> and <i>Love Letters</i> (1771 - 72), were made for Madame du Barry (1743 - 1793), the last mistress of Louis XV. She had rejected them for some unknown reason. T</span><span style="font-family: "georgia" , "times new roman" , serif;">wenty years later, Fragonard</span><span style="font-family: "georgia" , "times new roman" , serif;"> installed the turned-down panels along with additional ones </span><span style="font-family: "georgia" , "times new roman" , serif;">in a cousin's villa in southern France. Frick purchased all the paintings in 1915. </span><span style="font-family: "georgia" , "times new roman" , serif;">They form a delightful setting for the room's furnishings which include furniture embellished with a variety of woods, marble and gilded sculptural mounts as well as Sèvres and Chinese porcelains, objects of gilt-bronze and an eighteenth-century clock by Jean-Baptiste Lepaute, the clockmaker of King Louis XVI </span><span style="font-family: "georgia" , "times new roman" , serif;">(1754 - 1793),</span><span style="font-family: "georgia" , "times new roman" , serif;"> with terra-cotta sculptures by the prominent Prix de Rome winning sculptor </span><span style="font-family: "georgia" , "times new roman" , serif;">Clodion (French, 1738–1814). </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">De Waal responded to the room with the installation, </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><i>on an archaic torso of Apollo</i>. This is</span><span style="font-family: "georgia" , "times new roman" , serif;"> his first ever golden vitrine, a gilded steel frame which rests on a deep plexiglass plinth. </span><span style="font-family: "georgia" , "times new roman" , serif;">Inside there are two stacks of celadon porcelain bowls, one with three and the other with two dishes. The stacks are set on two white-colored steel pedestals. Shards of gold are settled in the top bowl of the lower two-dish stack. T</span><span style="font-family: "georgia" , "times new roman" , serif;">he higher rectangular base of the three-dish stack contains pieces of porcelain which can be seen only from a side view of the installation. The five bowls could, perhaps, refer to the five main paintings of the room: the four du Barry paintings mentioned above and </span><i style="font-family: georgia, "times new roman", serif;">Reverie</i><span style="font-family: "georgia" , "times new roman" , serif;">. The porcelain bowls, one on top of another, also suggest a kind of intimacy, a sort of cuddling reflecting the paintings' love theme. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The artist placed the installation on the marble top of a grand mahogany commode attributed to Jean-Henri Riesener (German, 1734–1806). Riesener was a renowned cabinetmaker in Paris during the Louis XVI period. He was cabinetmaker to the king and a favorite of Marie Antoinette (1755 - 1793), wife of King Louis XVI and the last queen of France before the revolution. The commode was probably made to exhibit collections of precious porcelain or lacquer. Crowning Riesener's work is the central superbly sculptured gilt-bronze head of Apollo surrounded by laurel leaves and sun rays. The installation's coloring and clear base through which can be seen, here again, the marble surface of the furniture beneath and the wall beyond, makes the piece appear to float and vanish into its surroundings. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfsKMXx0l4dkkU7j5Ue7Y4XZSw3vF9J_0ke0AbO75wbL9jXSCdgoCQhbIr_7uz1-hCmg_H-OlwU8qplvm_y12SDEYU6S-OuKgCfXED2rN3WV4aRh8mKhyvph-BMN9Kcg0fNuSDtJDnawQ/s1600/West+Gallery+%2528view+01%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfsKMXx0l4dkkU7j5Ue7Y4XZSw3vF9J_0ke0AbO75wbL9jXSCdgoCQhbIr_7uz1-hCmg_H-OlwU8qplvm_y12SDEYU6S-OuKgCfXED2rN3WV4aRh8mKhyvph-BMN9Kcg0fNuSDtJDnawQ/s400/West+Gallery+%2528view+01%2529.jpg" width="300" /></a></span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Edmund de Waal (1964 - ), <i>noontime and dawntime</i>, 2019, </span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">porcelain, steel, and plexiglass,</span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 33 7/16 × 65 3/4 × 18 7/8 in. (84.93 x 167.00 x 47.94 cm)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(230, 145, 56);">Far table: </span></span><i style="color: #e69138;">from darkness to darkness</i><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">, 2019, </span></span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">porcelain, steel, and plexiglass,</span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 33 7/16 × 65 3/4 × 18 7/8 in. (84.93 x 167.00 x 47.94 cm)</span><br />
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">on view in the West Gallery of <a href="https://www.frick.org/">The Frick Collection</a>,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">in the exhibition <i>Elective Affinities: Edmund de Waal at <a href="https://www.frick.org/">The Frick Collection</a></i>, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">May 30 - November 17, 2019.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© Edmund de Waal. Courtesy the artist and <a href="https://www.frick.org/">The Frick Collection</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: Christopher Burke</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">
<span style="font-family: "georgia" , "times new roman" , serif;">The West Gallery contains Spanish, Dutch and Flemish Old Master paintings, Renaissance furniture and </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">bronze sculptures</span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> of the sixteenth- through eighteenth-centuries. Of much importance for de Waal is <i>The Forge</i> (c. 1817), by Francisco José de Goya y Lucientes (1746–1828). It shows three laborers working around an anvil on a red-hot piece of metal. The sturdy, muscular smith with his back to viewers raises his sledgehammer above his head. He is just about to bring it down on the molten metal sheet held in place with tongs by the worker opposite him. T</span>he image brings back the theme of steel and the meaning it holds in the context of the </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a><span style="font-family: "georgia" , "times new roman" , serif;">. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The artist related that you could hear the hammer coming down on the metal creating a forceful, rhythmic aural experience. He said it set up the repetitive beat of his installations. </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">De Waal explains that he listens to music all the time. He talks about the interest he has in the sounds of the different materials he uses saying "...porcelain does sound incredibly beautiful as does steel...." </span></span><span style="font-family: "georgia" , "times new roman" , serif;">He described something akin to a form of synesthesia. </span><span style="font-family: "georgia" , "times new roman" , serif;">When he is in different rooms filled with art, the room or specific works will conjure up particular musical pieces. In the West Gallery, de Waal said he heard in his mind, among other music, the <i>Goldberg Variations </i>(1741) by Johann Sebastian Bach (1685 - 1750). </span></span><br />
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Edmund de Waal (1964 - ), <i>from darkness to darkness</i>, 2019, </span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">porcelain, steel, and plexiglass,</span><br />
<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 33 7/16 × 65 3/4 × 18 7/8 in. (84.93 x 167.00 x 47.94 cm)</span><br />
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">on view in the West Gallery of <a href="https://www.frick.org/">The Frick Collection</a>,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">in the exhibition <i>Elective Affinities: Edmund de Waal at <a href="https://www.frick.org/">The Frick Collection</a></i>, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">May 30 - November 17, 2019.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">© Edmund de Waal. Courtesy the artist and <a href="https://www.frick.org/">The Frick Collection</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #e69138; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Photo: Christopher Burke</span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">De Waal made two installations for the West Gallery, <i>from darkness to darkness</i> (near the west end of the room) and <i>noontime and dawntime</i> (near the east end of the room). He installed them on two grand Renaissance-style tables across the room from one another. They works dominated by black steel with some components in black porcelain, relate to the tones of the art in the gallery. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">Elements in the vitrines vary in height and width. Read from left to right or right to left, they create an up and down movement of a certain pace and, as such, may be seen as some form of three-dimensional musical notation. Depending on the angle of sight, the glass of the vitrines reflects the viewer and surroundings or appears to disappear. </span><span style="font-family: "georgia" , "times new roman" , serif;">When it is reflective, the surroundings and viewers become part of the artworks. When it is not visible, the black metal frame sets the installations' steel and porcelain pieces apart and outlines artworks within the gallery. It becomes another framework to view the </span><a href="https://www.frick.org/" style="font-family: georgia, "times new roman", serif;">Frick</a> <span style="font-family: "georgia" , "times new roman" , serif;">collection. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">De Waal's installations will </span>slow you down as you connect them with the objects on view, the rooms, the lighting and space. This slowing down while observing is exactly the artist's intention.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Note: Please do not forget to pick up the free exhibition guide available at the admission and information desks.</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;"><i>Elective Affinities: Edmund de Waal at <a href="https://www.frick.org/">The Frick Collection</a></i></span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">May 30 - November 17, 2019</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;"><a href="https://www.frick.org/">The Frick Collection</a></span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">1 East 70th Street, Manhattan</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">Tuesday through Saturday, </span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">10:00 a.m. to 6:00 p.m.</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">Sundays, 11:00 a.m. to 5:00 p.m.</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">First Fridays: </span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">On the first Friday of the month</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">(except January and September)</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">the museum is open until 9:00 p.m. </span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">Closed Mondays and holidays.</span></div>
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<span style="color: #e69138; font-family: "georgia" , "times new roman" , serif;">Check <a href="https://www.frick.org/">The Frick Collection</a> Web site for holiday and limited hours schedule.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-4649639508622178432019-05-29T13:36:00.006-07:002019-06-15T10:44:13.613-07:00 Identity Politics Infringing On Art<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Advertisement for the online art auction February 2006 </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">to aid victims of the </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">October 2005 Kashmir earthquake</span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">. </span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image on the advertisement is the painting by M.F. Husain (1915 - 2011), </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Bharat Mata</i> (<i>Mother India</i>), 2004, oil on canvas.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.hindujagruti.org/">Hindu Janajagruti Samiti</a> Web site </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Are religious, cultural and gender identities influencing the art scene? <span style="font-family: "georgia" , "times new roman" , serif;">A look at the case of the renowned Indian artist Maqbool Fida Husain (1915 - 2011), known as M.F. Husain,</span> <span style="font-family: "georgia" , "times new roman" , serif;">might help put these issues into perspective. (For more on M.F. Husain, see </span><a href="http://artwithhillary.blogspot.com/2019/04/" style="font-family: Georgia, "Times New Roman", serif;">ArtWithHillary April 2019</a><span style="font-family: "georgia" , "times new roman" , serif;">). </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Husain left India in 2006 in self-imposed exile. His exhibitions had been vandalized, his home and person threatened. Hostility and controversy had followed the artist since the mid-1970s because of his support and reverence for the then Prime Minister Indira Gandhi. Gandhi had been convicted of election violations before she declared a state of emergency </span><span style="font-family: "georgia" , "times new roman" , serif;">that lasted from 1975 - 1977 and Husain's unwavering admiration for her caused him much condemnation. Things began to heat up in the late 1990s when certain paintings provoked the wrath of the political right. </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">M.F. Husain (1915 - 2011),</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> <i>Hindu goddess Saraswati</i></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.indiatoday.in/"> India Today </a>Web site </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In the 1990s, Husain paintings of Hindu gods and goddesses in the nude began to stir up criticism. Among the works cited as being obscene were images of the goddess of wisdom, Saraswati; Lakshmi, the goddess of wealth and well-being with the head of Ganesha, god of beginnings and remover of obstacles; the warrior goddess Durga with a tiger; and, a variety of scenes with Hanuman, one of the main characters in the Indian ancient epic the Ramayana, who was known as the Lord of Celibacy and who had perfect control of his senses. These were works created in the 1970s but denounced some 20 years later.</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">M.F. Husain (1915 - 2011),</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Hanuman across from Ravana with Sita sitting on his thigh </span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.indiatoday.in/"> India Today </a>Web site </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Many of the problematic works that caused hostility were the artist's depictions of scenes and figures from a cycle based on the Ramayana that he began in 1968. An example is one in which Hanuman is shown confronting Ravana who had kidnapped Rama's wife Sita. In the Husain depiction, Sita appears seated on Ravana's thigh. All three figures are nude. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">What finally precipitated Husain's exile was the extreme antagonism raised by his painting <i>Bharat Mata</i> (<i>Mother India</i>) which was used in an advertisement for an online art auction organized to benefit victims of the devastating October 2005 earthquake in Kashmir. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;"> </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">M.F. Husain (1915 - 2011), </span><i style="color: #4c1130;">Bharat Mata</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"> </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">(</span><i style="color: #4c1130;">Mother India</i><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">),</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 2004, oil on canvas.</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="http://wcdf-france.com/">wcdf-france</a>Web site </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In the painting, an unclothed female is positioned in the shape of a map of India. Across her body are the names of various Indian states. Her flowing hair becomes the Himalaya's peaks and valleys behind which a sun rises or sets on the horizon. Overlapping the woman's outstretched left arm is a spoked wheel, a reference to the Ashoka Chakra*, emblem of India and depicted on the nation's flag. On the water, to the right, a </span><span style="font-family: "georgia" , "times new roman" , serif;">seated figure sits in the lotus pose of meditation. To the left, a sloop with black, red and orange sails, moves toward the painting's edge. The orange sail, white horizontal lines on the greenish water may allude to the colors of India's national flag.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">What outraged Husain's </span><span style="font-family: "georgia" , "times new roman" , serif;">opponents was the portrayal of Mother India, the traditional personification of the nation as a mother goddess, in the nude. There were protests against the work by right-wing individuals and groups in various parts of the country. Husain claimed he had never titled the work <i>Bharat Mata</i> (<i>Mother India</i>). He had sold the painting the year it was made in 2004 to a private collector and, at that time, the work was untitled. The artist issued an apology as he did not intend to offend and had the painting pulled from the auction. His 2006 press release concerning the <i>Bharat</i> <i>Mata</i> painting stated, "Whatever I have painted, I have done with complete conviction and in the process if I have hurt anyone's feelings, I apologize."</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">By the time of this controversy, the political climate of India had drastically changed from the nation's origins. India and Pakistan were formed in 1947 by the partition of British India. Although each country was dominated by a religious group, Hindus in India and Muslims in Pakistan, India was established as a secular democracy. In the heady early period of independence, thoughts of a country united in diversity held sway. Many non-Hindus chose to remain in the new nation as did Husain who was a Muslim. The artist always believed in nonreligious nationalism, a form of citizenship that transcends religions. He said, "I paint not as a Muslim but as an Indian." The Hindu myths and religion were, for him, his own heritage. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">India's constitution emphasizes equality of all, embracing Western values. For some 40 years, the nation was ruled by the secular Congress Party but gradually Hindu nationalism grew as right-wing Hindus pushed for an increasingly Hindu dominated state. This, of course, has culminated in the recent re-election of Prime Minister Narendra Modi who is committed to giving Hindus, the religious majority, more power. Thus, as a Muslim whose paintings often portray Hindu myths, gods, goddesses and other beings, Husain became a target for Hindu nationalists. He was described as "...a Muslim trespassing on Hindu symbolic ground." Critics claimed his religious identity restricted his access to Hindu iconography and it was a sacrilege for Husain to borrow subjects from Hindu epics and depict goddesses in the nude. The artist's fame and fortune may have contributed to his censure. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">India's long history - both literary and artistic - encompasses many manifestations of the divine and semi-divine in nude or half-clothed states. Gestures and postures of a sexual nature are common. Female and male sculptures and temple decorations often are rendered with explicit delineation of the sexes. In paintings and sculptures one finds clear representations of the nude form which, in the case of women, include the rima vulvae. Ancient texts, such as the Kama Sutra, which is based on love coupled with moral responsibility, reflect the Hindu belief in fulfillment of the senses as one of the four main goals in life. The imagery of what in the West may be called erotic and sexual permeates Hindu iconography and tradition. Such was Husain's milieu. He absorbed Indian culture and conventions and took from it for his work. Husain said, "You cannot reinvent the wheel - your individuality, your creative eye lies in what you pick." </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The <i>Bharat Mata</i> (<i>Mother India</i>) painting elicited 5 criminal lawsuits filed in various parts of India against the artist. The Supreme Court of India consolidated and transferred the suits and legal proceedings to the trial court of New Delhi in December 2006. The complaints involved punishable violations of 4 sections of the Indian Penal Code which concerned distribution of obscene materials, obscene acts, expressions that intend to hurt religious sentiments and defamation of the national emblems or names. The latter was a reference to the painting's inclusion of an Ashoka Chatra. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The Delhi High Court completely exonerated the artist from all legal accusations in 2008. In the decision, the Court remarked, "It is very unfortunate that works of any artist today who have tried to play around with nudity have come under scrutiny....Criminal justice system should not be used as an easy recourse to ventilate against a creative act." As for the work scandalizing the public, the judges ironically asked if the complainants were not scandalized "...by the large number of photographs of erotic sculptures which are in circulation....None gets scandalized looking at sculptures." Painting, they stated, "...is an art like sculptures." In the decision, the Court emphasized values of liberty, equality and fraternity requiring tolerance of other views. With respect to the Ashoka Chatra, the Court concluded its placement in the painting did not show disrespect. The Court upheld the right to free speech and freedom of expression.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Husain never returned to India. Although the courts ruled in his favor, adversaries continued to work against him. In 2015, on the occasion of the artist's 100 birth anniversary, a right-wing Hindu group tried to stop the exhibition, “<a href="http://www.aicongallery.com/attachment/en/569f77d9cfaf347f2d8b4568/News/57c1fa6ac8db50b356a123f2">Husain at Hundred</a>,” September 17 - October 24, 2015, at the <a href="http://www.aicongallery.com/">Aicon Gallery</a> in New York City. Even after his death, hostilities continue.</span></span><br />
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Dana Schutz (1976 - ), <i>Open Casket</i>, 2016,</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 38.98 x 53,15 in. (99 x 135 cm)</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Collection of the artist</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.spikeartmagazine.com/en">Spike Art Magazine</a> Web site</span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of <a href="http://www.petzel.com/">Petzel</a>, New York</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The Husain controversy had echoes in the 2017 protest of a painting that was shown in the <a href="https://whitney.org/">Whitney Museum of American Art</a>'s <a href="https://whitney.org/exhibitions/2017-biennial">2017 Biennial</a>. The work in question was <i>Open Casket, </i>an oil on canvas by the white, American artist Dana Schutz (1976 -). The painting depicted Emmett Till's maimed body in his casket and was based on a photograph of Till that was widely circulated at the time of his funeral. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Till was a 14-year-old Chicagoan African-American who had been visiting his great-uncle in Money, Mississippi in August of 1955. He and some boys went to a grocery store to buy candy. The owners were a white couple. The wife was 21 years old and was alone in the store. There are various versions of what happened but after the boys left, she accused Till of flirting with her which, in the South for a black male, had severe consequences. When the husband found out what was purported to have taken place, he and his half-brother set out to find Till. They kidnapped him, pistol-whipped and shot him, then weighted his body and threw him into a river. Till was found. His mutilated face was unrecognizable. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Till's body was returned to Chicago. His mother insisted upon an open-casket funeral because she said, "There was just no way I could describe what was in that box. No way. And I just wanted the world to see." Till's racially motivated murder attracted national attention. The story and Till's photograph was featured in newspapers all over the world and aroused discussions about racial relations, segregation, law enforcement and more. Thousands attended his funeral. </span><span style="font-family: "georgia" , "times new roman" , serif;">The woman accuser subsequently rescinded her statements saying she had lied about Till's advances and had given false testimony.</span></span><br />
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of the <a href="https://www.whitney.org/">Whitney Museum of American Art</a>'s <a href="https://whitney.org/exhibitions/2017-biennial">2017 Biennial</a>, </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">March 17–June 11, 2017, </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">artist Parker Bright with "Black Death Spectacle" T-shirt </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">in front of </span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"><i>Open Casket, </i></span><span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;">2016 painting by Dana Schutz (1976 -).</span></span></div>
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<span style="color: #4c1130; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Scott W. H. Young, via</span><span style="font-size: x-small;"> <a href="https://twitter.com/">Twitter</a>, <a href="https://www.artsy.net/">Artsy</a> Web site</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The Schutz painting of Emmett Till in his coffin caused an uproar among some of the black community who felt a white woman had no business taking on the subject matter belonging to them. At the <a href="https://whitney.org/exhibitions/2017-biennial">Whitney Biennial</a>, Parker Bright (c.1993 - ), a black artist, stood in front of the painting for 2 days wearing a T-shirt with the words "Black Death Spectacle." The black artist and writer Hannah Black (1981 - ) wrote in an open letter to the </span><a href="https://www.whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney</a> that it <span style="font-family: "georgia" , "times new roman" , serif;">"...was not appropriate for a White artist to transmute Black suffering....</span><span style="font-family: "georgia" , "times new roman" , serif;">The subject matter is not Schutz’s; white free speech and white creative freedom have been founded on the constraint of others, and are not natural rights.” </span><span style="font-family: "georgia" , "times new roman" , serif;">She along with others called for the painting to be destroyed. Parker and his supporters wanted it removed from the </span><a href="https://whitney.org/exhibitions/2017-biennial" style="font-family: georgia, "times new roman", serif;">Whitney Biennial</a><span style="font-family: "georgia" , "times new roman" , serif;">. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Schutz said she was motivated to paint the subject by her feelings as a mother. She couldn't fathom the idea of a child being murdered like this and could not imagine what Till's mother went through. The artist put out a statement in which she said, "I don't know what it is like to be black in America, but I do know what it is like to be a mother....The thought of anything happening to your child is beyond comprehension." </span><span style="font-family: "georgia" , "times new roman" , serif;">The </span><a href="https://www.whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney</a><span style="font-family: "georgia" , "times new roman" , serif;"> curators did not remove the painting.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The Schutz painting and Husain's work has a chilling effect on those who value the free exchange of ideas. Questions arise. Are certain subjects owned by certain groups? Can someone who is not Jewish comment on the Holocaust? Can Christian painters be the only artists entitled to paint Christian themes? In an interview, Bright was asked if he thought there was a way that a white artist could recreate the image of Emmett Till that he would accept? He answered no. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">*The Ashoka Chakra is the 24 spoked wheel that appeared on many edicts issued by the Maurya Dynasty emperor Ashoka who reigned from c. 268 to 232 BC and advanced the spread of Buddhism throughout India.</span><br />
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com1tag:blogger.com,1999:blog-6872123300517890731.post-81347752574854881692019-04-19T15:04:00.004-07:002019-10-24T14:29:43.230-07:00 "Lightning" - M.F. Husain, The Picasso Of India<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On wall: M.F. Husain (1915 - 2011), <i>Lightning</i>, 1975,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In the painting entitled <i>Lightning</i>, a rush of 10 white horses moves right to left across an expanse of blues, greens and purple ground. The pack advances from darkness to light ending at a half circle of red in which rears a baby horse beneath a nuclear symbol. A variety of details punctuate the background. </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On wall: M.F. Husain (1915 - 2011), <i>Lightning</i>, 1975,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The work is 10 feet high and </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">60 feet long</span><span style="font-family: "georgia" , "times new roman" , serif;">, consisting of 12 panels each 10 by 5 feet. The artist is Maqbool Fida Husain (1915 - 2011), known as M.F. Husain. He has been called the "Picasso of India." </span><i style="font-family: Georgia, "Times New Roman", serif;">Lightning</i><span style="font-family: "georgia" , "times new roman" , serif;"> is</span><span style="font-family: "georgia" , "times new roman" , serif;"> one of two of the artist's largest paintings. When it was purchased in 2002 by the collectors and art dealers Marguerite and Kent Charugundla, it was Husain's largest work. The painting was first shown publicly in the United States in New York at the owners' <a href="http://www.tamarindart.com/">Tamarind Art</a> Gallery in 2003. It caused a sensation stimulating interest in the collecting of modern Indian art. Since then, <i>Lightning</i> has not been on public view </span><span style="font-family: "georgia" , "times new roman" , serif;">until the current exhibition <i>M.F. Husain:</i> <i>Art and the Nation</i> at the </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Husain spoke of the work, “This is one of my most significant paintings. The horses in <i>Lightning</i> have sheer energy in minimum of lines. They say that when there is lightning in the sky white horses are cutting across the spaces."</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">When the Charugundlas bought <i>Lightning</i>, the panels had been in storage for some twenty years in the artist's home in F</span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">aridabad, India, a city less than an hours drive from New Delhi. The canvases had to be cleaned which was accomplished in a hotel lobby due to their size and space availability. It was made in 1975 as a backdrop for Prime Minister Indira Gandhi's Congress Party political rally that took place in the Shivaji Park, Bombay, India, the city now known as Mumbai. After the rally, </span></span><span style="text-align: left;">Husain kept the work until 2002, lending it only once in the 1980s </span><span style="text-align: left;">as the background for an Indian theater group. The painting is recognized as one of Husain's masterpieces combining his extreme artistry with allusions to important political events of that time. </span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On wall: M.F. Husain (1915 - 2011), <i>Lightning</i>, 1975,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Husain was not only a painter but also a printmaker and film director. He was born in Pandharpur, in the state of Maharashta, India, the son of an accountant. The family moved to Indore early on where the artist spent most of his youth. Although he briefly studied at college and took some art classes, Husain was basically self-taught. In 1936 he moved from the provinces to Mumbai, the capital of Maharashta, to pursue his artistic career. Without financial resources, he painted billboard film industry advertisements and designed and crafted children's furniture and toys for a toy company while working on his own paintings when he could. His break came in 1947, the year of India's independence, when he won an award at the prominent <a href="http://bombayartsociety.org/">Bombay Art Society</a>. This led to critical acclaim. In the 1950s and 1960s, he traveled extensively having solo exhibitions in major cities all over the world. He was the special invitee along with Pablo Picasso (1881 - 1973) to the 1971 São Paulo Art Biennial, the second oldest art biennial in the world. This accolade attested to the considerable international esteem Husain had achieved by the early 1970s.</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On wall: M.F. Husain (1915 - 2011), <i>Lightning</i>, 1975,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">His art is influenced by a wide variety of artistic movements and artists. For example, he particularly liked the </span><span style="font-family: "georgia" , "times new roman" , serif;">full-bodied supple figures of </span><span style="font-family: "georgia" , "times new roman" , serif;">Gupta sculpture, a style developed during the Gupta Empire period from the 4th to the 6th century and the 10th- and 11th-century erotic sculptures of the temples at </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Khajuraho </span></span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"> Chhatarpur, Madhya Pradesh</span></span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">, India. </span></span></span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">He spent much time sketching the sculptures while on a visit to the complex. He also went to Madras, the city now called Chennai, to see and study the famed bronzes of the Chola period, </span></span><span style="text-align: left;">9th - 13th-century,</span><span style="text-align: left;"> in the </span><a href="http://www.govtmuseumchennai.org/museum/" style="text-align: left;">Government Museum</a><span style="text-align: left;">.<span style="font-family: "georgia" , "times new roman" , serif;"> All these ancient Indian artworks are characterized by their sinuous lines and strong sense of </span></span><span style="font-family: "georgia" , "times new roman" , serif;"> movement.</span></span></div>
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<span style="text-align: justify;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Attributed to the Master of the Early Rasamanjari,</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Devi in the Form of Bhadrakali Adored by the Gods, </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">folio from a dispersed Tantric Devi series</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">India, Punjab Hills, kingdom of Basohli, ca. 1660-70,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">opaque watercolor, gold, silver and beetle-wing cases on paper,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> 7 x 6 9/16 in. (17.8 x 16.7 cm)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Promised Gift of Steven Kossak, The Kronos Collections</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of the </span><a href="https://www.metmuseum.org/" style="font-family: Georgia, "Times New Roman", serif;">Metropolitan Museum of Art</a><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">As for Indian painting, Husain favored the 17th- to 18th-century Basohli school of Pahari miniatures. Their vivid mostly primary colors placed one next to the other vitalize the painting surface.* </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Xu Beihong (1895 - 1953), </span><i style="font-family: georgia, "times new roman", serif;">Galloping Horse</i><span style="font-family: "georgia" , "times new roman" , serif;">, 1944, hanging scroll</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">ink and light color on paper, Image: 24.5 x 19.8 in. (62.3 x 50.3 cm)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Scroll: 73.8 x 30.6 in. (187.5 x 77.6 cm)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.artgallery.nsw.gov.au/">Art Gallery of NSW</a>, Sidney, Australia Web site</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In the early 1950s, horses became a favorite subject of the artist. Husain's horses have several sources. One is the horse of the martyred grandson of the Prophet Muhammad. Husain would have witnessed many processions on the holiday honoring his death which included a horse symbolic of his historical one. Other sources are the battle scenes with horses as described in the ancient Indian epics Mahabharata and the Ramayana. He was also influenced by Tang pottery horses which the artist traveled to China to study and the equestrian sculptures of the Italian artist </span>Marino Marini (1901-1980) which he saw on a trip to Italy.</span><span style="font-family: "georgia" , "times new roman" , serif;"> Most significantly, in 1951 in Beijing, Husain met the </span><span style="font-family: "georgia" , "times new roman" , serif;">Chinese artist Xu Beihong (1895 - 1953) and became familiar with Xu's celebrated ink paintings of horses. Xu had exhibited in Southeast Asia including India where he met, among other prominent persons, Mahtma Gandhi (1865 - 1948). Following the encounter with Xu, </span><span style="font-family: "georgia" , "times new roman" , serif;">Husain's art reflected the bold ink lines of the Chinese master. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">In 1947, after India's independence, a diverse group of artists formed the <i>Progressive Artists'</i> <i>Group</i> in Bombay. This association sought a new modern art for a new India that incorporated the artistic heritage of their country and the modern art movements of Europe and America. The artists, Hindus, Muslims and Catholics, came from different social and cultural backgrounds. The group's work expressed the new nation's principles of the separation of the state from religious institutions, heterogeneity, unity and internationalism. </span><span style="font-family: "georgia" , "times new roman" , serif;">Husain was one of its founding members. His belief in an India of secular nationalism never wavered. </span></span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On wall: M.F. Husain (1915 - 2011), <i>Lightning</i>, 1975,</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><i>Lightning</i> praised the achievements of Indira Gandhi (1917 - 1984), the 3rd Prime Minister of India. It was part of a series of paintings Husain made for her. She w</span><span style="font-family: "georgia" , "times new roman" , serif;">as the daughter of India's 1st Prime Minister, Jawaharlal Nehru (1889 - 1964) who advocated modernistic design and architecture which he thought was effective in forming the nation's progress. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Husain's mural was not commissioned but rather made as a contribution to Gandhi's rally to highlight the country's achievements. The artist</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> said once he started the work he did not stop till it was finished and was exhausted at the end</span><span style="font-family: "georgia" , "times new roman" , serif;">.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">1975 was a troubled year for India. Gandhi had declared a state of emergency which lasted till 1977. The Emergency, as this period of controversy was called, established a rule by decree: elections were suspended and civil liberties curtailed. The causes given were internal and external threats to the state. Looking forward, </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Indira Gandhi would be entering her 11th year in power which, according to Husain, accounts for the 11 horses in </span><i style="font-family: georgia, "times new roman", serif;">Lightning</i><span style="font-family: "georgia" , "times new roman" , serif;">. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The panels are read from right to left as in the writing of Urdu, a language spoken in Northern India and Pakistan which Husain knew. Among the painted horses are visual references to India's development. A large stalk of wheat dominates the second panel from the right. Wheat, a worldwide food staple, is the traditional symbol of fertility and abundance. Here it is a reminder of</span><span style="font-family: "georgia" , "times new roman" , serif;"> the country's Green Revolution which was an effort to make India agriculturally independent by introducing new hybrids of wheat that grew faster and more extensively than the wheat previously farmed.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Moving left is a red tank and a field gun along with other parts of defense artillery. These are meant to indicate India's military strength and the nation's ability to protect itself. They also evoke the country's recent victory in 1971 over Pakistan in the war that led to the establishment of the independent nation of Bangladesh. The tank, stated Husain, "....symbolizes the struggle for freedom..." </span><span style="font-family: "georgia" , "times new roman" , serif;">Next comes an industrial worker in overalls holding in his raised right arm two wrenches, one with an open end fit and the other an adjustable type, and an axe. This is a reference to India's industrialization where goods manufactured were stamped "Made in India." To the left of the worker, seated under a horse, is a woman with two small children and a red triangle. Although a woman with children denotes motherhood, this configuration represents the country's push towards birth control. The Red Triangle became a symbol of family planning and contraception services. The sign was invented by an assistant commissioner to the Indian family planning program in 1969. The triangle symbol however goes back to the ancient world and has many meanings, among them the allusion to femininity and masculinity depending on the triangle's position. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="color: #0b5394; text-align: center;">Section/Detail panel of </span><span style="color: #0b5394; text-align: center;">M.F. Husain (1915 - 2011), </span><i style="color: #0b5394; text-align: center;">Lightning</i><span style="color: #0b5394; text-align: center;">, 1975,</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m), </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Exhibit: <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"> Photo: </span></span><span style="caret-color: rgb(11, 83, 148); color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of <a href="http://www.tamarindart.com/">Tamarind Art</a></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">A large hand in a gesture of blessing rises from the back of the horse sheltering the woman and children. Indian hand gestures, mudras, are an important part of the country's long-established system of symbolism. Meanings attached to hand positions are understood as a way of communicating a concept. A case in point is the Open Hand Monument in Chandigarth, India, the planned city designed by Le Corbusier who was contracted by Prime Minister Nehru in 1950 to create a new modern city that stood for India's future for the administration of the county. The Open Hand was made to be an emblem of peace and reconciliation. In <i>Lightning</i>, Husain painted a </span><span style="font-family: "georgia" , "times new roman" , serif;">hand with three fingers raised and two fingers, the fourth and fifth digits, bent. This position of the fingers is used in the Christian blessing and the making of the sign of the cross. In images of the Christ as Savior of the World, </span><i style="font-family: georgia, "times new roman", serif;">Salvator Mundi</i><span style="font-family: "georgia" , "times new roman" , serif;">, the Christ figure has his hand in this configuration. </span><span style="font-family: "georgia" , "times new roman" , serif;"> Perhaps Husain is alluding to Gandhi as a savior of the country. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The mural's final panel at the left, has a nuclear sign above a baby horse contained in a red circle half of which is cut off by the canvas's end. The red circle, likened to a forceful sun, holds nuclear power which at the time, was sought by India to provide electrical energy for its cities. India began its nuclear program in 1967 and conducted its first nuclear test in 1974. </span></span><br />
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation order of <i>Lightning</i> panels in the Tamarind Gallery 2003 exhibition.</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.asianart.com/">Asian art, Oriental art, Asian antiques and Arts of Asia</a> Web site</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Husain stipulated in the sale of the painting that the panels should never be exhibited in the same order. The variety of display, explained Husain, would stimulate new insights into his art. In the work's first showing at the <a href="http://www.tamarindart.com/">Tamarind</a> Gallery, the panels were not in the narrative arrangement as they appear currently at the </span></span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society</a>.<span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi090jsO6gCi0B37bgUwqviGngFHYWXBmOIGpoh8YPjCP_OJ13gCURWtZrAYa0REegdGVAHin9oX0nouVHoXQbJVEe3W4EyMjP9kG-f1TtuzkLjSBglL9zdxA5Dqy10WTMejvRihtZSd2Y/s1600/HpDSOWeAQMCVAKGZwgta%252Bg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi090jsO6gCi0B37bgUwqviGngFHYWXBmOIGpoh8YPjCP_OJ13gCURWtZrAYa0REegdGVAHin9oX0nouVHoXQbJVEe3W4EyMjP9kG-f1TtuzkLjSBglL9zdxA5Dqy10WTMejvRihtZSd2Y/s320/HpDSOWeAQMCVAKGZwgta%252Bg.jpg" width="240" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(11, 83, 148); color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Detail of panel</span><span style="caret-color: rgb(11, 83, 148); color: #0b5394; font-family: "georgia" , "times new roman" , serif;"> </span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">in </span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">M.F. Husain (1915 - 2011), </span><i style="color: #0b5394;">Lightning</i><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">, 1975,</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m), </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Exhibit: <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The owner, Mr. </span><span style="font-family: "georgia" , "times new roman" , serif;">Charugundla, had asked Husain to sign each of the panels on their back. He also had the artist sign and date another panel on the front. The original signature and date were on the last panel in the narrative order at the far left, the one with the baby horse and nuclear symbol. Mr. Charugundla said since the mural was quite long, he wanted another signature and date placed near the middle of the work so viewers would know who had painted it. Husain obliged and signed and dated the 6th panel from the far left, the one with a horse's bowed head and neck encircling a yellow patch. The horse seems now to bend in respect to the painter's signature. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigAOSCiABPdUdBIodTc1ftJMyq1ot7f_V7UyUBHRj2znGsp7FTAwtZxnQXPJRt1GGkStPqwEcNHf3VJcGeyJCZDsmRSyXnMf35V6xpKXcVB13-77nY7a1VLDy6m8KCqmsy28N1k57Phro/s1600/GizdNKmATnqlQdFkwF1smw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigAOSCiABPdUdBIodTc1ftJMyq1ot7f_V7UyUBHRj2znGsp7FTAwtZxnQXPJRt1GGkStPqwEcNHf3VJcGeyJCZDsmRSyXnMf35V6xpKXcVB13-77nY7a1VLDy6m8KCqmsy28N1k57Phro/s320/GizdNKmATnqlQdFkwF1smw.jpg" width="320" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Detail of panel in </span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">M.F. Husain (1915 - 2011), </span><i style="color: #0b5394;">Lightning</i><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">, 1975,</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 10 x 60 ft. (3 x 18 m), </span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Marguerite and Kent Charugundla Collection</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Exhibit: <i style="text-align: left;">M.F. Husain: Art and the Nation, </i></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">March 20, 2019 - August 4, 2019, </span><a href="https://asiasociety.org/museum" style="text-align: left;">Asia Society Museum</a>, New York</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Whatever the panel order, the painting retains the </span><span style="font-family: "georgia" , "times new roman" , serif;">the power and excitement of Picasso's </span><i style="font-family: georgia, "times new roman", serif;">Guernica</i><span style="font-family: "georgia" , "times new roman" , serif;"> and the grace and colors of the dance paintings by Henri Matisse (1869 - 1954). Meaningful and compelling, <i>Lightning</i> is not to be missed. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">*<i>Seeing the Divine: Pahari Painting in North India</i>, an exhibition of Indian miniature painting, is currently on view at the <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">through December 22, 2019</span><span style="font-family: "georgia" , "times new roman" , serif;">.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i style="color: #0b5394;">M.F. Husain: Art and the Nation</i></span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">March 20, 2019 - August 4, 2019</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><a href="https://asiasociety.org/museum">Asia Society Museum</a></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">725 Park Avenue, Manhattan</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Hours:</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Monday - Sunday 11:00 am - 6:00 pm</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Friday 11:00 am - 9:00 pm (mid-September - June)</span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Closed Mondays and major holidays.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com1tag:blogger.com,1999:blog-6872123300517890731.post-18967100525960467872019-03-18T15:33:00.000-07:002019-03-21T16:15:44.553-07:00 What If? The Life And Work of Fritz Ascher Part II<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Fritz Ascher (1893 - 1970), <i>Sunset</i>/<i>Untergehende Sonne</i></span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">, </span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">c. 1960, </span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, </span></div>
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<span style="caret-color: rgb(180, 95, 6); color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">49.2 × 50 in. (125 × 126 cm)</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of the <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">This is Part II of the blog post on the exhibition <i style="font-family: georgia, "times new roman", serif;">Fritz Ascher: Expressionist</i><span style="font-family: "georgia" , "times new roman" , serif;"> at </span><a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;"><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 238); color: #551a8b;">New York University</span></a><span style="font-family: "georgia" , "times new roman" , serif;">'s </span><span style="color: #551a8b; font-family: "georgia" , "times new roman" , serif;"><a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a>.</span><span style="font-family: "georgia" , "times new roman" , serif;"> Please see <a href="http://artwithhillary.blogspot.com/2019/02/">ArtWithHillary, February 2019</a> for Part I.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">From 1942 until the end of the war in 1945, Fritz Ascher (1893 - 1970) was hidden from the Nazis by Martha Grassman (1881 - 1971). Her home was in Grunewald, a famous forest area of Berlin noted for its pine and oak trees. In the late nineteenth century, Grunewald became an upper class enclave of mansions. The houses were separated from one another by large plots of land. Thus, when the Nazis took over some of the villas during the war, nearby homes were concealed by heavy forestation which accounts for one reason Ascher remained undiscovered. </span><br />
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fritz Ascher (1893 - 1970), </span></span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(180, 95, 6);"><i>Hunting Castle Grunewald</i>/</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Jagdschloss Grunewald</i><span style="font-family: -webkit-standard;">, c. 1963,</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(180, 95, 6);">white gouache over black ink </span></span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">and watercolor on paper<span style="font-family: -webkit-standard;">, </span></span></span></span><br />
<span style="caret-color: rgb(180, 95, 6); color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">20.3 × 17.7 in. (51.5 × 45 cm)</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of the <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Berlin was heavily bombed in 1945. On April 25, 1945, three days before the Americans liberated Berlin, air raids destroyed most of Ascher's artwork left with friends.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;"><b>Edward Munch</b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Dream has often touched</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">your Being.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">As dusking and dawning</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Of what comes to pass.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">As beautiful gracefulness of a Stillness, in which it glimmers, Yet disappears.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">In which you linger, Sunken down you push on, trust and distant things</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">are reconciled.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">(Poems Vol. 4, p. 150 (157), no. 213)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In hiding Ascher could not paint or draw. He turned to writing poetry. </span><span style="font-family: "georgia" , "times new roman" , serif;">A typescript selection of thirty-one of his poems, in German and English translation, is available to visitors near the video display. Ascher's</span><span style="font-family: "georgia" , "times new roman" , serif;"> subjects range from salutations to his artistic heroes like Beethoven or Munch (see above), thoughts on loved ones and nature. They</span><span style="font-family: "georgia" , "times new roman" , serif;"> reveal an extraordinary spirit which finds joy and wonder in the world. </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;"><b>Song of Love </b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Love flowers,</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">extending and eternal.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Always I feel</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">myself excited</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">by all the changes</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">by all the paths,</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">always</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">I feel myself aglow with passion.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Whether surging</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">with fulfillment,</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">showing my</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">yearning bestilled – </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Whether the end of woe - . </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Love flowers so.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Extended –</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">it was eternal.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-kerning: none;">(Poems Vol. 2, undated (ca. 1942–45), p. 223, no. 395)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Now in his fifties, his post-war life narrowed. No longer the socially expansive being of his youth, Ascher remained in his studio nearly a recluse.</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> He took long walks in the nearby Grunewald forest alone or with his girlfriend, who lived across the street. </span><span style="font-family: "georgia" , "times new roman" , serif;">Friendly but never seeking to widen his personal or artistic contacts, he worked.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQtBbIA6SO6bAkgH6Xxzy5uu6Ts0072NK07DcBfo7pQNYvFxdX2Hgabl2MVRcb3dSAEWctAqWntBtU_8S26iRiKrGJYG_gqj-SmVgZAOhYXoBmO5u4uTWz-xNDT7IpDZAk8bEYF1xqo3Y/s1600/LR_Ascher_LandscapewithTrees_1960_+green+%2528c%2529BiancaStock.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1070" data-original-width="1220" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQtBbIA6SO6bAkgH6Xxzy5uu6Ts0072NK07DcBfo7pQNYvFxdX2Hgabl2MVRcb3dSAEWctAqWntBtU_8S26iRiKrGJYG_gqj-SmVgZAOhYXoBmO5u4uTWz-xNDT7IpDZAk8bEYF1xqo3Y/s400/LR_Ascher_LandscapewithTrees_1960_+green+%2528c%2529BiancaStock.jpg" width="400" /></a></div>
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<span style="color: #b45f06; font-family: "georgia"; font-size: x-small;">Fritz Ascher (1893 - 1970), </span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Landscape with Trees</i>/</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Hügelige Landschaft mit Bäumen</i><i style="font-family: georgia;">, c. 1960</i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 27.6 × 31.5 in. (70 × 80 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stoc</span></div>
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<span style="font-size: x-small;"><a href="https://fritzaschersociety.org/" style="font-family: georgia, "times new roman", serif;">Fritz Ascher Society</a><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif;"> Web site</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">He was not interested in exhibiting, selling or teaching art, turning down a teaching appointment at the Art Academy in Berlin. He had a successful show in 1946 and one in 1947. After that, it was not until 1969 that the famous art dealer Rudolph Springer persuaded him to exhibit twenty-one paintings at his gallery. </span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">After the war, he first worked on his earlier canvases that had survived. </span><span style="font-family: "georgia" , "times new roman" , serif;">He would add impressionistic strokes - colorful confetti-like spots that almost obscure the original image. </span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNH7pWl9GRppXm3tY78nMB34tAWnqp1AD2KH-G5Ut4suBfjfHFyxiPEl7jysywruD9Hq00xRcVm22k6CW0sQPtPFOdcSXCsv3lFgvcMZirzPa_vo1HsbjsTrMQ8ynfJek2Gnoepvr5N-0/s1600/Kat20_FritzAscher_Beethoven_1924_Oiloncanvas_38.5x47in_97.5x119cm_Privatecollection_PhotoMalcolmVaronNewYorkP2R2-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1338" data-original-width="1600" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNH7pWl9GRppXm3tY78nMB34tAWnqp1AD2KH-G5Ut4suBfjfHFyxiPEl7jysywruD9Hq00xRcVm22k6CW0sQPtPFOdcSXCsv3lFgvcMZirzPa_vo1HsbjsTrMQ8ynfJek2Gnoepvr5N-0/s400/Kat20_FritzAscher_Beethoven_1924_Oiloncanvas_38.5x47in_97.5x119cm_Privatecollection_PhotoMalcolmVaronNewYorkP2R2-1.jpg" width="400" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Fritz Ascher (1893 - 1970), <i>Beethoven, 1924/1945</i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: -webkit-standard;">oil on canvas, </span></span></span><span style="color: #b45f06; font-size: x-small;">38.5 × 47 in. (97.5 × 119 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(180, 95, 6); font-family: "georgia" , "times new roman" , serif;"><a href="https://fritzaschersociety.org/">Fritz Ascher Society</a> Web site</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">He sold his ration cards to purchase art supplies. Now nature replaced figurative representations. Sunsets, sunrises, meadows, woodlands, flowers and trees dominated his work. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzv11RaicYi6DP5MQrFmxnp7ecMWHjSj4OYmyDgHBGT-gptJRhHevS9lqFEiTbFDE6X8S50hts-KYiAFj7SZ9zMaNzJLFn0fMlrCaxnL9ctNXpxSfecs7UblgHCnVwMyBjTLrL2E-dfeA/s1600/Kat94_FritzAscher_Sunset_Sonnenuntergang_ca1960_Oiloncanvas_49.2x49.2in_125x125cm_Versoinscribed_FAscherSonnenuntergang_Privatecollection_PhotoMalcolmVaronNewYorkP28R2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1580" data-original-width="1600" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzv11RaicYi6DP5MQrFmxnp7ecMWHjSj4OYmyDgHBGT-gptJRhHevS9lqFEiTbFDE6X8S50hts-KYiAFj7SZ9zMaNzJLFn0fMlrCaxnL9ctNXpxSfecs7UblgHCnVwMyBjTLrL2E-dfeA/s400/Kat94_FritzAscher_Sunset_Sonnenuntergang_ca1960_Oiloncanvas_49.2x49.2in_125x125cm_Versoinscribed_FAscherSonnenuntergang_Privatecollection_PhotoMalcolmVaronNewYorkP28R2.jpg" width="400" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Fritz Ascher (1893 - 1970), <i>Sunset</i>/<i>Sonnenuntergang</i><i>, c. 1960</i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 49.2</span><span style="color: #b45f06; font-size: x-small;"> × 50 in. (125 × 126 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://fritzaschersociety.org/">Fritz Ascher Society</a> Web site</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In Ascher's c. 1960 <i>Sunset</i>/<i>Sonnenuntergang</i>, bold brushstrokes mingle with painterly drips. The drips fall in every direction indicating the artist turned the still-wet canvas around while painting, creating a highly charged landscape that burst with expression. </span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition<i> Fritz Ascher: Expressionist</i>, </span></div>
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<span style="font-size: x-small;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">January 9 - April 6, 2019, </span><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif; text-align: justify;">Grey Art Gallery</a>, <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif; text-align: justify;">New York University</a></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">l. <i>Two Trees</i> / <i>Zwei Bäume</i>, c. 1963, </span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">white gouache over black ink and watercolor on paper,</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">21.5 x 17.8 in. (54.6 x 45 cm), Private collection</span></div>
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<span style="font-size: x-small;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">r. </span><span style="caret-color: rgb(180, 95, 6); color: #b45f06; font-family: "georgia" , "times new roman" , serif;"><i>Two Trees </i>/ <i>Zwei Bäume</i>, c. 1963, black ink and watercolor on paper,</span></span></div>
<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">26 × 17.8 in. (66 × 45 cm), Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-size: 16px;"><br /></span><span style="font-size: 16px;">Oils, gouaches and watercolors of thick-trunked mature trees and thin-trunked saplings come alive with anthropomorphic characterization. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYh7D0GHU1meu-eNN0Wy4cNNviDTIL0zOmjh6tWuqgHVt0cF-JGhIaLUrs_Ltj1q7UFkZEu3-vV-a7NIJ3suHW806gU5UxPQWrQZQSOSgVXtkkAEkw5fGXGrXI1MuYvz-yRdT2EQxrI_c/s1600/LR_Ascher_TreesinHillyLandscape_1968_%2528c%2529BiancaStock.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1071" data-original-width="1233" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYh7D0GHU1meu-eNN0Wy4cNNviDTIL0zOmjh6tWuqgHVt0cF-JGhIaLUrs_Ltj1q7UFkZEu3-vV-a7NIJ3suHW806gU5UxPQWrQZQSOSgVXtkkAEkw5fGXGrXI1MuYvz-yRdT2EQxrI_c/s400/LR_Ascher_TreesinHillyLandscape_1968_%2528c%2529BiancaStock.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fritz Ascher (1893 - 1970), </span></span></span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(180, 95, 6);"><i>Trees in Hilly Landscape</i>/</span></span><br />
<span style="font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="caret-color: rgb(180, 95, 6);"><i>Bäume in Hügeliger Landschaft</i></span></span></span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif;">, 1968,</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(180, 95, 6);">white gouache over black ink </span></span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">and watercolor on paper<span style="font-family: -webkit-standard;">, </span></span></span></span><br />
<span style="caret-color: rgb(180, 95, 6); color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">27.6 × 31.5 in. (70 × 80 cm)</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span><br />
<span style="font-size: x-small;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Courtesy of </span><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif; text-align: justify;">Grey Art Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The <i>Trees in</i></span><i style="font-family: georgia, "times new roman", serif;"> Hilly Landscape</i><span style="font-family: "georgia" , "times new roman" , serif;">/</span><i style="font-family: georgia, "times new roman", serif;">Bäume in Hügeliger Landschaft</i><span style="font-family: "georgia" , "times new roman" , serif;">, 1968, Ascher's last known dated work which is the final work in the </span><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Grey Art Gallery</a><span style="font-family: "georgia" , "times new roman" , serif;"> exhibition, depicts four trees - three on left side of the canvas and one on the right. Between them is a patch of greens and yellows delineating the rise of a small hill above which is a blue-and-white sky. As opposed to earlier woodland oils where the trees conceal any clearing, this late work's center opens up to light. The following undated poem takes up the same motif. </span></div>
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<span style="font-kerning: none;"><b><span style="font-family: "georgia" , "times new roman" , serif;">Sun-Speckled Wood </span></b></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Through its mystery<br />
The light gilds –<br />
In the glimmer, warm gleaming </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Glittering.<br />
And everything living<br />
Was doubly singing. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">There where it fondles kissingly –<br />
: a Love gushes up Without equal. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">(Poems Vol. 1, undated, p. 92)</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Ascher died on March 26, 1970. He was buried in a municipal cemetery in southwestern Berlin. Martha passed away the following year on January 24 and was buried next to him. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Please do not miss this show.</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif;">
<span style="font-kerning: none;"><i>Fritz Ascher: Expressionist</i></span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">January 9 - April 6, 2019</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: 16px;"><a href="https://greyartgallery.nyu.edu/" style="font-size: 16px;">Grey Art Gallery</a></span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: 16px; text-align: justify;"><a href="https://www.nyu.edu/" style="font-size: 16px; text-align: justify;">New York University</a></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">100 Washington Square East, Manhattan</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Hours:</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Tuesdays, Thursdays, Fridays: 11:00 am – 6:00 pm</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Wednesdays: 11:00 am – 8:00 pm</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Saturdays: 11:00 am – 5:00 pm</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Closed Sundays and Mondays. </span></div>
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<span style="-webkit-text-stroke-width: initial; color: #b45f06; font-family: "georgia" , "times new roman" , serif;">Also closed Memorial Day Weekend, and Independence Day, Thanksgiving Weekend, Christmas Day and New Year's Day.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-65279311128370068022019-02-28T18:29:00.001-08:002019-03-27T15:14:35.992-07:00 What If? The Life And Work of Fritz Ascher Part I<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuQ2TblxH2Pu3RwP8mpHUftseg-qmn-i6Pn1vbUes2o0l-B-pGPCFLp2Z6FTU6CSmHmiJPL8uulXhru9BO3f2Kr740TF8KeVYMq5mNQQu6PkACJGb4hjog-S7CIfPr1bE2p7B3BUwUaXk/s1600/LR_Ascher_Sunset_1960_%2528c%2529BiancaStock.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1080" data-original-width="1069" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuQ2TblxH2Pu3RwP8mpHUftseg-qmn-i6Pn1vbUes2o0l-B-pGPCFLp2Z6FTU6CSmHmiJPL8uulXhru9BO3f2Kr740TF8KeVYMq5mNQQu6PkACJGb4hjog-S7CIfPr1bE2p7B3BUwUaXk/s400/LR_Ascher_Sunset_1960_%2528c%2529BiancaStock.jpg" width="395" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fritz Ascher (1893 - 1970), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Untergehende Sonne</i> (<i>Sunset</i>), c. 1960,</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on canvas, </span><span style="font-family: "georgia" , "times new roman" , serif;">49.2 × 50 in.</span><span style="font-family: "georgia" , "times new roman" , serif;"> (</span><span style="font-family: "georgia" , "times new roman" , serif;"> 125 × 126 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of the <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;"><span style="font-stretch: normal; line-height: normal; text-align: justify;"><br /></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;"><span style="font-stretch: normal; line-height: normal; text-align: justify;">T</span><span style="text-align: justify;">he current exhibition <i>Fritz Ascher: Expressionist</i> at <a href="https://www.nyu.edu/"><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 238); color: #551a8b;">New York University</span></a>'s <span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 238); color: #551a8b;"><a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> </span></span></span><span style="font-size: 16px;">is artistically impressive and historically important.</span><span style="font-size: 16px;"> Accordingly, ArtWithHillary February 2019 and ArtWithHillary March 2019 are devoted to an account of the show.</span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;">The artist Fritz Ascher (1893 - 1970) suffered through a horrific period of time from 1933 through 1945 in which he was prohibited from producing art. No one will leave the exhibit without thinking what if the artist had not been denied the freedom to work for twelve years - a period that impacted profoundly the rest of his life. </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px; text-align: center;"><span style="text-align: justify;"><br /></span></span>
<span style="font-size: 16px; text-align: center;"><span style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;">Tha</span><span style="font-family: "georgia" , "times new roman" , serif;">nks to the efforts of the show's curator Rachel Stern, Director and CEO of the <a href="https://fritzaschersociety.org/">Fritz Ascher Society for Persecuted, Ostracized and Banned Art, Inc.</a>, New York, the work of the relatively unknown Ascher has come to light. There was an exhibition of Ascher's works on paper at the <a href="https://nyss.org/">New York Studio School of Drawing, Painting & Sculpture</a> in 2017, however, the</span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;"> </span><span style="color: #551a8b; font-size: 16px;"><a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> </span><span style="font-size: 16px;">presents his first solo retrospective in America. On view are twenty-three paintings, forty-two works on paper, two sketchbooks and documents relating to the artist's persecution and personal life. In addition, an informative twenty-two minute biographical video runs continuously. </span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;">Ascher was born to a Jewish couple in Berlin in 1893. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;">He was the oldest child and only son. He had two younger sisters. His father was a dentist who invented a tooth enamel which he successful sold through his company. The family was well-off. In 1901, his father left the Jewish faith and had his children baptized Protestant. The reason for this is unclear but antisemitism and assimilation may well have been on the elder Ascher's mind. Both his daughters married non-Jews. The father recognized his son's talent when he was very young and took him to study with </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;">Max Liebermann (1847 - 1935), </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;">the most influential and avant-garde painter in Berlin at that time. Liebermann was the leader of the Berlin Secession, an artist group opposed to the conservative art establishment. They championed Impressionism, Post-Impressionism and other modern art movements. Liebermann recommended Ascher, then sixteen years old, to the innovative Art Academy </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;">in Könisberg. </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;">Ascher spent three years there (1909 - 1912) then returned to Berlin where he worked</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px;"> as a professional artist exhibiting in solo and group shows. He also continued his art studies with leading painters such as Lovis Corinth (1858 - 1925) whose work combined Impressionism and Expressionism. In addition, Asher took classes at the highly-respected Lessing University in Berlin. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;"><br /></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;">German Expressionism, Cubism and Fauvism and other modern art movements had an influence on Ascher. What remained of his library showed his knowledge of old masters with books on Leonardo da Vinci (1452 - 1519), Michelangelo (1475 - 1564), Rembrandt (1606 - 1669) and others. Ascher's interests in</span><span style="font-size: 16px;"> classical music, opera, theater and literature were reflected in his artwork. He was a painter, poet, and composer. He also made prints.</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;"><br /></span><span style="font-size: 16px;">Ascher was an active participant in the Berlin art scene. To expand his social and artistic circles, he traveled. In 1914, Asher went to Oslo to visit the Norwegian painter Edvard Munch (1863 - 1944) who he much admired. He was in Munich between 1919 and 1920 where the Der Blaue Reiter, an informal artist association, had been formed by Wassily Kandisky (1866 - 1944) and other artists like Franz Marc (1880 - 1916) in 1911. The movement advocated a lyrical, abstract style of German Expressionism. </span></span><span style="font-size: 16px;">This was in contrast to the earlier art group, </span><span style="font-size: 16px;">Die Brücke, which began in Dresden in 1905. Founding members included Ernst Ludwig Kirchner (1880–1938), Karl Schmidt-Rottluff (1884–1976) and Erich Heckel (1883–1970). They </span><span style="font-size: 16px;">promoted a form of Expressionism with distorted figurative imagery. </span><span style="font-size: 16px;">Munich was also the home of the modern art school established by Hans Hofmann (1880 - 1966) in 1915.</span><span style="font-size: 16px;"> </span><span style="font-size: 16px;">Hoffmann had lived in Paris between 1904 and 1914 and had first hand experience with all the trailblazer artists such as Pablo Picasso (1881 - 1973), Henri Matisse (1869 - 1954), and Robert Delaunay (1885 - 1941).</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjth1EwbgJfUtcZLK8AQYbqarKL6L-djRz-OpsjxLDxfBYPAqAFYWG-64Tge6qcyNAhJisaOJey4m4BIJMtIp43Zo37QNAnZH1RcREOmzrHeQYWIjTSvKHmKYpTCJ9UIyqqb0XvefwXmw/s1600/C9LnLIij.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1340" data-original-width="1064" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjth1EwbgJfUtcZLK8AQYbqarKL6L-djRz-OpsjxLDxfBYPAqAFYWG-64Tge6qcyNAhJisaOJey4m4BIJMtIp43Zo37QNAnZH1RcREOmzrHeQYWIjTSvKHmKYpTCJ9UIyqqb0XvefwXmw/s400/C9LnLIij.jpeg" width="317" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fritz Ascher (1893 - 1970), <i>Der Vereinsamte</i> (<i>Loner</i>), c. 1914</span><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on canvas, 47 1/4 x 37 1/4 in. </span><span style="font-family: "georgia" , "times new roman" , serif;">(</span><span style="font-family: "georgia" , "times new roman" , serif;"> 120 × 94.6 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif;">Courtesy of the </span><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Grey Art Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;"><br /></span><span style="font-size: 16px;"><i>Der Vereinsamte</i> (<i>Loner</i>) of 1914 demonstrates the abilities of the young artist.</span><span style="font-size: 16px;"> </span><span style="font-size: 16px;">A lone male nude stands against a turbulent background.</span><span style="font-size: 16px;"> </span><span style="font-size: 16px;">The figure looks downcast as if he carried the burden of the world. He may be remorseful about something. His </span><span style="font-size: 16px;">muscular body appears to be able to withstand whatever presses upon it. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByA1Q5DvWKl8FnP8Rb2HLJ_NpWE_DZ7ks7kNeR8Faezju5Bjv5fh4EBX5c6I-KzCMMa6ORr9PVS4li6M8TsDqcvqCP4zvKFNpTBnNFqqdoL6rhJ_g1RVEzERYuIftA1z8LEx5QHvF8cQ/s1600/gGY8KP01.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="178" data-original-width="178" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhByA1Q5DvWKl8FnP8Rb2HLJ_NpWE_DZ7ks7kNeR8Faezju5Bjv5fh4EBX5c6I-KzCMMa6ORr9PVS4li6M8TsDqcvqCP4zvKFNpTBnNFqqdoL6rhJ_g1RVEzERYuIftA1z8LEx5QHvF8cQ/s400/gGY8KP01.jpeg" width="400" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fritz Ascher (1893 - 1970), <i>Golgotha</i>, 1915</span><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on canvas, 53 3/8 x 69 in. </span><span style="font-family: "georgia" , "times new roman" , serif;">(</span><span style="font-family: "georgia" , "times new roman" , serif;"> 135.6 × 175.3 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #b45f06;">Courtesy of the </span><a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;">Still in his early twenties, Ascher painted <i>Golgotha</i>, a highlight of the exhibit. </span><span style="font-size: 16px; text-align: center;">Golgotha, also known as Calvary, is the hill outside the walls of Jerusalem where Jesus was crucified along with two convicted thieves. </span><span style="font-size: 16px; text-align: center;">The painter</span><span style="font-size: 16px; text-align: center;"> focused on the crowds surrounding the event.</span><span style="font-size: 16px; text-align: center;"> Christ</span><span style="font-size: 16px; text-align: center;"> and the thieves</span><span style="font-size: 16px; text-align: center;"> </span><span style="font-size: 16px; text-align: center;">are in shadow in the background positioned against the upper edge of the canvas. </span><span style="font-size: 16px; text-align: center;">Although placed before a brilliant sky, they can easily be overlooked.</span><span style="font-size: 16px; text-align: center;"> </span><span style="font-size: 16px; text-align: center;">In traditional Crucifixion scenes, the holy figures are prominent and not the anonymous bystanders. </span><span style="font-size: 16px; text-align: center;">In Ascher's canvas, in the middle ground on the right,</span><span style="font-size: 16px; text-align: center;"> </span><span style="font-size: 16px; text-align: center;">a soldier on horseback holding a spear appears to be pushing the crowd away. Some foreground figures are depicted as if about to flee out of the picture into the spectator's space.</span><span style="font-size: 16px; text-align: center;"> </span><span style="font-size: 16px; text-align: center;">These unnamed witnesses wear colorful robes and have the facial characteristics associated with Northern European portrayals of Jews - an unflattering stereotype.</span><span style="font-size: 16px; text-align: center;"> </span><span style="font-size: 16px; text-align: center;">The work's meaning is uncertain. Perhaps, as one scholar suggested, the artist was commenting on religion as some type of theater or entertainment for the masses.</span><span style="font-size: 16px; text-align: center;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjlflb2b52J2TG15YZVCKZXlbvWpMwO8-PJB1t0w5eCZbpQ6_0boY0jAbHBiKm19Qu_XyGDHG06QBv8DC6AruTs9D8GStLwA7jExO2EWkiyD_QRWZweIUkm5gxw2aXPdbH6eNaNid8jBs/s1600/LR_20190115_Ascher_212-960x638.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="638" data-original-width="960" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjlflb2b52J2TG15YZVCKZXlbvWpMwO8-PJB1t0w5eCZbpQ6_0boY0jAbHBiKm19Qu_XyGDHG06QBv8DC6AruTs9D8GStLwA7jExO2EWkiyD_QRWZweIUkm5gxw2aXPdbH6eNaNid8jBs/s400/LR_20190115_Ascher_212-960x638.jpg" width="400" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view of exhibition<i> Fritz Ascher: Expressionist</i>, </span></span><br />
<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">January 9 - April 6, 2019,</span></span><br />
<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #551a8b; font-family: "georgia" , "times new roman" , serif; text-align: justify;"><a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a></span></span></span><br />
<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #551a8b; font-family: "georgia" , "times new roman" , serif; text-align: justify;"><a href="https://www.nyu.edu/" style="text-align: justify;">New York University</a></span></span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Nicolas Papananias</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif;"><span style="font-size: x-small;">Grey Art Gallery</span></a><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> Web site</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;">From one point in the gallery, viewers can take in four extraordinary paintings: <i>Loner</i> (c. 1914), <i>Kneeling Male Nude</i> (c. 1914), <i>Golgotha</i> (1915) and <i>Der Gequält</i> (<i>The Tortured)</i> (1920s). The latter work is an unusual depiction of Saint Sebastian. </span></span><span style="font-size: 16px; text-align: center;">Sebastian was a Christian who was sentenced to death by the Roman emperor because of his faith. He was shot with arrows and left for dead. Irene, a pious widow, nursed him back to health. Saint Sebastian imagery typically portrays the saint tied to a tree, his body shot with arrows or the saint is seen being attended to by Irene. In Ascher's painting, Sebastian, standing unattached to anything, is constrained by a binding rope which his torturers continue to tighten. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUxz6nR3vK38NjjlIlsmi4vtAYY4YoAyCWIcsMh5se36mImKuSfzg0V8JbgzxdMo18gOjSIAnyTsIwF_7r-LdlgTzDUj0CYuNAWfFRJJs8MYBjOVlAggmVQDEvYzYozoOsrPuesb8gy5c/s1600/Kat42_FritzAscher_MoonNight_Mondnacht_ca1918_Oiloncanvas_39x30in_98.5x75.5cm_Versoinscribed_FAscherMondnacht_Privatecollection_PhotoMalcolmVaronNewYork8R2-800x1037-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1037" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUxz6nR3vK38NjjlIlsmi4vtAYY4YoAyCWIcsMh5se36mImKuSfzg0V8JbgzxdMo18gOjSIAnyTsIwF_7r-LdlgTzDUj0CYuNAWfFRJJs8MYBjOVlAggmVQDEvYzYozoOsrPuesb8gy5c/s400/Kat42_FritzAscher_MoonNight_Mondnacht_ca1918_Oiloncanvas_39x30in_98.5x75.5cm_Versoinscribed_FAscherMondnacht_Privatecollection_PhotoMalcolmVaronNewYork8R2-800x1037-2.jpg" width="307" /></span></a></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Fritz Ascher (1893 - 1970), <i>Mondnacht</i> (<i>Moonlit Night</i>), c. 1918</span><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on canvas, 39 x 30 in. (98.5 x 75.5 cm)</span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private collection</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Malcolm Varon. © Bianca Stock</span><br />
<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://fritzaschersociety.org/">Fritz Ascher Society</a> </span><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Web site</span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-size: 16px;">Not to be missed is </span><i style="font-size: 16px;">Mondnacht</i><span style="font-size: 16px;"> (</span><i style="font-size: 16px;">Moonlit Night</i><span style="font-size: 16px;">). This </span><span style="font-size: 16px;">c. 1918 canvas, in the same room as </span><i style="font-size: 16px;">The Tortured</i><span style="font-size: 16px;">, </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-size: 16px;"><span style="font-family: "georgia" , "times new roman" , serif;">approaches pure abstraction</span></span><span style="font-size: 16px;">.</span><span style="font-size: 16px;"> </span><span style="font-size: 16px;">Vibrant colors coupled with charged brushstrokes create a compelling composition that makes its subject almost unrecognizable. Furthermore, figurative representation dominated Ascher's work during this period making landscapes the exception.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">Ascher was not a participant in World War I (1914 - 1918) but would have been affected like everyone else. Things turned on him with the rise of the Nazis. With the Nazi Party in power and Hitler as Chancellor of Germany, citizens had their civil liberties revoked after the burning of the Reichstag (Parliament) on February 27, 1933. Modern art was deemed an insult to Germany and labeled "degenerate art." Although baptized, Ascher was identified as a Jewish degenerate artist and was not allowed to produce, exhibit or sell his art. From then on he constantly moved from one place to another to avoid persecution. On the night of November 9 - 10, 1938, known as <i>Kristallnach</i>t, the Night of Broken Glass, Hitler unleashed a rain of terror on the Jews, attacking them and their buildings, stores and synagogues. Ascher along with some three thousand Jewish men was sent to the Sachsenhausen Concentration Camp, the principal concentration camp for the Berlin area. He was released on December 23 due to the efforts of a lawyer friend. Almost immediately after that, Ascher was imprisoned in the Potsdam jail where he spent five months until the same attorney friend gained his release on May 15, 1939. Ascher intended to get out of Germany by a ship going to Shanghai but was required to settle some inheritance issue related to his mother's estate and was not allowed to leave the country. Both his parents were deceased. His father died in 1922 and his mother on October 17, 1938. </span></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">Forced to remain in Germany, Ascher moved into a Jewish boarding house and was required to report to the local police three times a week and to their headquarters once a month. In 1941, as a Jew, he was forced to wear the Yellow Star. In 1942 his name appeared on a deportation list. The chief constable warned him about his fate and he sought the help of </span></span></span><span style="font-size: 16px; text-align: center;">Martha Grassmann (1881 - 1971), </span><span style="font-size: 16px; text-align: center;">his attorney friend's mother. Martha was twelve years his senior and had been a friend of his mother. The artist had known her and her son since they came to his studio to see his paintings in 1928. Martha, whose son had died of tuberculosis in 1941, agreed to hide him. For the duration of the war, she hid Ascher. They remained together for the rest of his life. A chilling aspect of the exhibit are the documents related to Ascher's ordeals. In one glass table top is the facsimile of the typed list of prisoners released from the Sachsenhausen concentration camp on December 23, 1938. Ascher's name is number 3. In the same vitrine is the facsimile of the artist's Nazi-issued identity card dated June 2, 1939 . All Jews were required to carry these cards with them. The label informs that Ascher's middle name was "Israel" because Jewish men with non-Jewish first names were given the middle name "Israel." Jewish women with non-Jewish first names were given the middle name "Sara." </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 16px; text-align: center;">See Part II in <a href="http://artwithhillary.blogspot.com/2019/03/what-if-life-and-work-of-fritz-ascher.html">ArtWithHillary March 2019</a>. </span></span><br />
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;"><i>Fritz Ascher: Expressionist</i></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">January 9 - April 6, 2019</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: 16px;"><a href="https://greyartgallery.nyu.edu/" style="font-size: 16px;">Grey Art Gallery</a></span></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: 16px; text-align: justify;"><a href="https://www.nyu.edu/" style="font-size: 16px; text-align: justify;">New York University</a></span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">100 Washington Square East, Manhattan</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Tuesdays, Thursdays, Fridays: 11:00 am – 6:00 pm</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Wednesdays: 11:00 am – 8:00 pm</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Saturdays: 11:00 am – 5:00 pm</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-kerning: none;">Closed Sundays and Mondays. </span></div>
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<span style="-webkit-text-stroke-width: initial; color: #b45f06; font-family: "georgia" , "times new roman" , serif;">Also closed Memorial Day Weekend, and Independence Day, Thanksgiving Weekend, Christmas Day and New Year's Day.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-31451486841687003442019-01-27T13:18:00.000-08:002019-03-01T19:14:12.592-08:00 The Accessible Cézanne: An Online Catalogue Raisonné<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggoSTBe_PpUUgoB_YH4oIRjlmkFWI9CxGeqHBsvgk3g4AE6z9-WInwTfvD5uvFguJRAMumV66EFYhFv9IdZLEfPWCJbivGMtUOdOr8PMObbDsoE_Lv0kWCPs3HQ0_HTjQ5xqudcgVSzkU/s1600/Paul_Ce%25CC%2581zanne%252C_c.1890%252C_Portrait_de_l%2527artiste_a%25CC%2580_la_palette%252C_oil_on_canvas%252C_92_x_73_cm%252C_Foundation_E.G._Bu%25CC%2588hrle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1260" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggoSTBe_PpUUgoB_YH4oIRjlmkFWI9CxGeqHBsvgk3g4AE6z9-WInwTfvD5uvFguJRAMumV66EFYhFv9IdZLEfPWCJbivGMtUOdOr8PMObbDsoE_Lv0kWCPs3HQ0_HTjQ5xqudcgVSzkU/s400/Paul_Ce%25CC%2581zanne%252C_c.1890%252C_Portrait_de_l%2527artiste_a%25CC%2580_la_palette%252C_oil_on_canvas%252C_92_x_73_cm%252C_Foundation_E.G._Bu%25CC%2588hrle.jpg" width="315" /></span></a></div>
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<span style="color: #0b5394; text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Paul Cézanne (1839 - 1906) <i>Portrait de l'artiste à la palette</i>, c. 1890, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;">oil on canvas, </span><span style="color: #0b5394; text-align: left;">36.2 x 28.7 ins. (92 x 73cm)</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;"> </span><a href="https://www.buehrle.ch/en/" style="text-align: left;">Fondation E. G. Bührle Collection</a><span style="color: #0b5394; text-align: left;">, Zurich</span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://commons.wikimedia.org/wiki/Main_Page">Wikimedia Commons</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);">Voilà! On the 180th anniversary of </span><span style="caret-color: rgb(11, 83, 148);"> the birth of Paul Cézanne (1839 - 1906), January 19, 2019, the artist's complete </span><span style="caret-color: rgb(11, 83, 148);"><a href="https://www.cezannecatalogue.com/">catalogue raisonné</a> was launched online. <i><a href="https://www.cezannecatalogue.com/">The Paintings, Watercolors and Drawings of Paul </a></i></span><i style="caret-color: rgb(11, 83, 148);"><a href="https://www.cezannecatalogue.com/">Cézanne</a></i><span style="caret-color: rgb(11, 83, 148);"> by a team of dedicated </span><span style="caret-color: rgb(11, 83, 148);">Cézanne </span><span style="caret-color: rgb(11, 83, 148);">scholars presents the most comprehensive compilation of the artist's works to date and is freely available to the public. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);">The authors are </span><span style="caret-color: rgb(11, 83, 148);">Walter Feilchenfeldt, Jayne Warman and David Nash. Feilchenfeldt </span><span style="caret-color: rgb(11, 83, 148); text-align: left;">worked with the eminent </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Cézanne specialist </span><span style="font-family: "georgia" , "times new roman" , serif;">John Rewald (1912 - 1994) on the </span><span style="font-family: "georgia" , "times new roman" , serif;">collation of the artist's </span><span style="font-family: "georgia" , "times new roman" , serif;">paintings </span><span style="font-family: "georgia" , "times new roman" , serif;"> published in 1996, </span><i style="font-family: georgia, "times new roman", serif;">The Paintings of Paul Cézanne: A Catalogue Raisonne</i><span style="font-family: "georgia" , "times new roman" , serif;">. </span><span style="font-family: "georgia" , "times new roman" , serif;">Warman also collaborated on the Rewald catalogue. Nash, who long admired </span><span style="font-family: "georgia" , "times new roman" , serif;">Cézanne and Rewald, is </span><span style="font-family: "georgia" , "times new roman" , serif;">an art dealer who previously spent 35 years at </span><a href="https://www.sothebys.com/en/" style="font-family: georgia, "times new roman", serif;">Sotheby's</a><span style="font-family: "georgia" , "times new roman" , serif;"> auction house in the Impressionist and modern art areas. Nash originally wanted to upgrade the Rewald catalogue with color illustrations since the book had only black-and-white reproductions. The project grew into a digital version that not only includes the artist's paintings but also his watercolors and drawings. In addition, it contains sections on collections, exhibitions, literature and resources. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN7B_LnyUlci0I6bLz7zlNqE6UCDsBr4xP-oBSvSYGpQoaMZRH9vtIvUTaNnas4X8YQhHt0LMFs7Fd4dQqQZ1K8IIlnZg-HHQnpqtM5quEP1z3gph2t-PcRvS-4lJfmUxb0nqlBLOLCSk/s1600/Paul_Ce%25CC%2581zanne_-_The_Bathers_-_1942.457_-_Art_Institute_of_Chicago.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1311" data-original-width="1600" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN7B_LnyUlci0I6bLz7zlNqE6UCDsBr4xP-oBSvSYGpQoaMZRH9vtIvUTaNnas4X8YQhHt0LMFs7Fd4dQqQZ1K8IIlnZg-HHQnpqtM5quEP1z3gph2t-PcRvS-4lJfmUxb0nqlBLOLCSk/s400/Paul_Ce%25CC%2581zanne_-_The_Bathers_-_1942.457_-_Art_Institute_of_Chicago.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;">Paul Cézanne (1839 - 1906) </span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);"><i>Baigneuses</i>, </span></span><span style="color: #0b5394; text-align: left;">1899 – 1904</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="color: #0b5394; text-align: left;">oil on canvas, </span></span><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">20 3/16 x 24 5/16 in. (51.3 x 61.7 cm)</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="color: #0b5394; text-align: left;"> </span></span><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.artic.edu/">The Art Institute of Chicago</a>, Chicago, Illinois</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Photo: </span></span><a href="https://commons.wikimedia.org/wiki/Main_Page" style="font-family: Georgia, "Times New Roman", serif;">Wikimedia Commons</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The advantages of a digital format are manifold. Continuous input of the latest information is possible, searchability paths are limited only by one's imagination and images - which most importantly in this online catalogue are shown at relative size - are retrieved from one site. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The <a href="https://www.cezannecatalogue.com/" style="text-align: justify;">catalogue</a> has three main components: Paintings, Watercolors & Drawings and Sketchbooks. The first two sections are divided into themes such as landscape, portrait and still life. Filters and the search box allow users to cull groups or specific artworks. Over 140 primary category filters and innumerable subdivisions facilitate focused investigations. For example: Go to the "Filters & Keywords" drop down menu. Click on "Bather" and 16 subcategories are brought up. Click on "Bathers and Nudes"and another 7 categories appear. Type in "bathers" on the search line for "Catalogue" and 146 works show up.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWDel0h7KJwEkrhlITTR4NDpMXYMDrq7hHHfe4mbxbJp5SJolIIdveegVJvmLFPPOjIkULDaONzi59SZAR9L7BiLNZCCKQee0n2nzoFv1VxltOk5O53uWNJ2ZBuYEe8EE11FJ1ad3-v68/s1600/65.139-D1_o3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1246" data-original-width="1600" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWDel0h7KJwEkrhlITTR4NDpMXYMDrq7hHHfe4mbxbJp5SJolIIdveegVJvmLFPPOjIkULDaONzi59SZAR9L7BiLNZCCKQee0n2nzoFv1VxltOk5O53uWNJ2ZBuYEe8EE11FJ1ad3-v68/s400/65.139-D1_o3.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;">Paul Cézanne (1839 - 1906) <i>Skull and Book</i></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);">, c. </span></span><span style="color: #0b5394; text-align: left;">1895,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;">watercolor over black chalk on laid paper,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;">Sheet: 9 1/4 × 12 3/16 in. (23.5 × 31 cm)</span></span></div>
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<span style="font-size: x-small;"><a href="https://www.dia.org/" style="font-family: georgia, "times new roman", serif; text-align: left;">Detroit Institute of Arts</a><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;">, Bequest of John S. Newberry, 65.139</span></span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;">Photo: </span><a href="https://www.dia.org/" style="font-family: georgia, "times new roman", serif; text-align: left;">Courtesy of Detroit Institute of Arts</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Entries are rich in details and facts including the item's provenance, exhibition history and published references. Type "skull" in the search box for example and 18 works - oil paintings, watercolors and drawings appear. Click on one, such as the<i> </i>c. 1885 watercolor </span><i style="font-family: georgia, "times new roman", serif;">Un crâne</i><span style="font-family: "georgia" , "times new roman" , serif;">. The title in the <a href="https://www.cezannecatalogue.com/" style="text-align: justify;">catalogue</a> is <i>Un crâne</i> but the alternate titles section of the entry tells us the watercolor is also known as <i>A skull</i> and <i>Skull and Book</i>. The latter is the one used by the <a href="https://www.dia.org/">Detroit Institute of Arts</a> where the work resides. Click on <a href="https://www.dia.org/">Detroit Institute of Arts</a> and you see all the </span><span style="font-family: "georgia" , "times new roman" , serif;">Cézannes</span><span style="font-family: "georgia" , "times new roman" , serif;"> in the museum's collection. Such a search would entice viewers to make a trip there. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG5IjLA-Uyp9IS_eEZSD1ZcZmYW7oBayZPPP2K051cCs0m2zp8F_ZkXDS3uKbApjAH3NPnz10Uv7E1RvjoG6qeKyulGAm-ZAsc-DLY1C3f0lBU48OAvUj2t12SZtoQqkrTxPVFYSDMRy8/s1600/1280px-Paul_Ce%25CC%2581zanne_107.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="1279" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG5IjLA-Uyp9IS_eEZSD1ZcZmYW7oBayZPPP2K051cCs0m2zp8F_ZkXDS3uKbApjAH3NPnz10Uv7E1RvjoG6qeKyulGAm-ZAsc-DLY1C3f0lBU48OAvUj2t12SZtoQqkrTxPVFYSDMRy8/s400/1280px-Paul_Ce%25CC%2581zanne_107.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;">Paul Cézanne (1839 - 1906) <i>La Montagne Sainte-Victoire au grand pin</i></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);">, c. </span></span><span style="color: #0b5394; text-align: left;">1887,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;">oil on canvas, 26 x 35 3/8 in. (66 x 90 cm)</span></span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;"> <a href="https://courtauld.ac.uk/">T</a></span></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"><a href="https://courtauld.ac.uk/">he Courtauld Institute of Art</a>, London, UK </span></div>
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<span style="font-size: x-small;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Photo: </span></span><a href="https://commons.wikimedia.org/wiki/Main_Page" style="text-align: center;">Wikimedia Commons</a></span></span></span></div>
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<span style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;">Mont Sainte-Victoire, a limestone mountain near the artist's family home in Provence, was one of Cézanne's favorite landscape subjects. He began painting the mountain in the early 1880s and continued to depict it from various perspectives repeatedly until his death. Search "Mont Sainte-Victoire" and 97 works come into view. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKrodw51sv2AV34yoh_R-NGAeBJeoJz18ojuT1sVbENNRJya9zhUJuWqHTh5Ie0fIgFkRRv2WyueCwm7rFR29X0EGNUVLm1NYMEXzIKtM7u4Vf95nR70SlYH1nU7docNt5uaBK7Ziy_S8/s1600/1280px-Paul_Ce%25CC%2581zanne_-_Mont_Sainte-Victoire_%2528La_Montagne_Sainte-Victoire%2529_-_BF652_-_Barnes_Foundation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="1280" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKrodw51sv2AV34yoh_R-NGAeBJeoJz18ojuT1sVbENNRJya9zhUJuWqHTh5Ie0fIgFkRRv2WyueCwm7rFR29X0EGNUVLm1NYMEXzIKtM7u4Vf95nR70SlYH1nU7docNt5uaBK7Ziy_S8/s400/1280px-Paul_Ce%25CC%2581zanne_-_Mont_Sainte-Victoire_%2528La_Montagne_Sainte-Victoire%2529_-_BF652_-_Barnes_Foundation.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;">Paul Cézanne (1839 - 1906) <i>La Montagne Sainte-Victoire</i></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);">, c. 1900, </span></span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(11, 83, 148);">watercolor on paper, </span></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">11 13/16 x 19 in. (30 x 48.3 cm)</span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;"> <a href="https://www.barnesfoundation.org/">Barnes Foundation</a>, Philadelphia, PA </span></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"> </span></div>
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<span style="font-size: x-small;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Photo: </span></span><a href="https://commons.wikimedia.org/wiki/Main_Page" style="text-align: center;">Wikimedia Commons</a></span></span></span></div>
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A heading titled "Additional Materials" sometimes is found on a entry page. A click on it brings up interesting connections. Take the watercolor <i><span style="font-family: "georgia" , "times new roman" , serif;">La Montagne Sainte-Victoire</span></i> in the <a href="https://www.barnesfoundation.org/" style="font-family: georgia, "times new roman", serif;">Barnes Foundation</a>. This heading leads to an oil painting belonging to a private collection in Qatar which has the same composition as the <a href="https://www.barnesfoundation.org/" style="font-family: georgia, "times new roman", serif;">Barnes</a>'s watercolor.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRw90cYMfc1DVcxA8HivYtXbIKpQJV9avBxKacVz4NYNhXi-Og9ZsSYCzYjn4QM8EFwmVoNVJgqiUAff1dRTT-ISNy3_zopjzW6DlE5PIoUdzjMVvI7J3_Kb-8eXwaZ47gc6kBAiFy0gs/s1600/Paul_Ce%25CC%2581zanne%252C_Mont_Sainte-Victoire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1277" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRw90cYMfc1DVcxA8HivYtXbIKpQJV9avBxKacVz4NYNhXi-Og9ZsSYCzYjn4QM8EFwmVoNVJgqiUAff1dRTT-ISNy3_zopjzW6DlE5PIoUdzjMVvI7J3_Kb-8eXwaZ47gc6kBAiFy0gs/s400/Paul_Ce%25CC%2581zanne%252C_Mont_Sainte-Victoire.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #0b5394; text-align: left;">Paul Cézanne (1839 - 1906) <i>La Montagne Sainte-Victoire vue des Lauves</i></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);">, 1902 - 04, </span></span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;">oil on canvas, 27 1/2 x 35 3/16 in. (69.8 x 89.5 cm)</span></div>
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<span style="font-size: x-small;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; text-align: left;"> <a href="http://www.philamuseum.org/">Philadelphia Museum of Art</a>, Philadelphia, PA </span></span><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"> </span></div>
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<span style="font-size: x-small;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148); text-align: left;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;">Photo: </span></span><a href="https://commons.wikimedia.org/wiki/Main_Page" style="text-align: center;">Wikimedia Commons</a></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">By viewing in chronological order one theme like "Mont Sainte-Victoire," the artist's pictorial evolution becomes apparent. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">If you are curious about which artists collected </span><span style="font-family: "georgia" , "times new roman" , serif;">Cézanne, go to the Collection section and drop down the "Filters" menu. 37 artist collectors are listed. Pick an artist. Claude Monet (1840 - 1926) owned 15 works; Edgar Degas (1834 - 1917) had 12. </span><span style="font-family: "georgia" , "times new roman" , serif;">There is so much to learn from this exceptional Web site.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The </span><a href="https://www.cezannecatalogue.com/" style="font-family: georgia, "times new roman", serif; text-align: justify;">catalogue</a><span style="font-family: "georgia" , "times new roman" , serif;"> </span>benefits everyone. <span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;">From scholars to the general public - anyone who has even the slightest interest in the artist will find hours of exploration and enjoyment. </span></div>
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<span style="color: #0b5394;"><span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="text-align: justify;"><i><a href="https://www.cezannecatalogue.com/">The Paintings, Watercolors and Drawings of Paul </a></i></span><i style="text-align: justify;"><a href="https://www.cezannecatalogue.com/">Cézanne</a></i></span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);"><i>An online catalogue raisonné under the direction of Walter Feilchenfeldt, </i></span></span></div>
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<span style="color: #0b5394; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(11, 83, 148);"><i>Jayne Warman and David Nash</i></span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-84239072357005750172018-12-25T16:09:00.001-08:002019-01-08T12:29:54.227-08:00 A Place Of Contemplation: <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: large;">The Buddhist Shrine Room</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlTqV-zTwwjFEKhk8fX0aayN7MM5ANq9OaE1tMvRVQEfK7yoN7AiZkzw8tJBcyr-ZZfex_fe9U7SvBywsunfgtWLwm7YMMNR1inm2DA-WFRVDqOwVqWaKCOmNEQrMbOlLPmQXxo2ENhlQ/s1600/fullsizeoutput_5a1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlTqV-zTwwjFEKhk8fX0aayN7MM5ANq9OaE1tMvRVQEfK7yoN7AiZkzw8tJBcyr-ZZfex_fe9U7SvBywsunfgtWLwm7YMMNR1inm2DA-WFRVDqOwVqWaKCOmNEQrMbOlLPmQXxo2ENhlQ/s400/fullsizeoutput_5a1.jpeg" width="400" /></span></a></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">I<span style="color: #20124d;">nstallation view of <i>The Tibetan Buddhist Shrine Room</i> </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(October 26, 2018 - September 16, 2019)</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a>, New York</span><br />
<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: David De Armas</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of </span><span style="caret-color: rgb(32, 18, 77); text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77);">The need for a period of quiet reflection may always be there but is especially true for the holiday season when life becomes more hectic. It helps to find a time and place to do it. The </span></span></span><i style="text-align: left;">Tibetan Buddhist Shrine Room </i><span style="text-align: left;">at</span><i style="text-align: left;"> </i><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a><span style="text-align: left;"> provides space for it. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;">Since the museum opened in 2004, the<i> s</i>hrine room has been a permanent exhibit. Objects in the room are changed periodically to conform with the observance of a specific Buddhist practice. Presently the room is </span><span style="text-align: left;">set up according to the Sakya tradition, developed in the 11th century and one of Tibetan Buddhism's four major schools.</span></span></span><br />
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">I<span style="color: #20124d;">nstallation view of <i>The Tibetan Buddhist Shrine Room</i> </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(October 26, 2018 - September 16, 2019)</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a>, New York</span><br />
<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span><br />
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<span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Visitors may sit and gaze upon the variety of artifacts set before them and listen to a continuous recording of chanting of hymns, prayers and sounds of ritual instruments. The throaty, sonorous and singsong utterances have a soothing effect enhancing a mood for ruminations.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdghYfUDBK_rPAPv7LC6N8ryZ6hIQN1OONzxoFYBAskAD8z-U7FjW-_5AwB-6zRnU1gfrXm-SoC4tknTv9gLq6L8f1lpHl_W_48Q7_E4zL_A9jVHDviohcGWswFeiLqfT_uikONrRT5-g/s1600/SKIDMORE_10312643005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1024" data-original-width="690" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdghYfUDBK_rPAPv7LC6N8ryZ6hIQN1OONzxoFYBAskAD8z-U7FjW-_5AwB-6zRnU1gfrXm-SoC4tknTv9gLq6L8f1lpHl_W_48Q7_E4zL_A9jVHDviohcGWswFeiLqfT_uikONrRT5-g/s400/SKIDMORE_10312643005.jpg" width="268" /></span></a></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jangjya (lcang skya) Lhakhang (lha khang), interior, shrine,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">view with villager lighting butter lamps, 2002, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jangjya village, Rebgong District, Amdo (Qinghai province)</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;">Tibetan Buddhist shrines are located in a variety of places such as domestic households, temples and monastic complexes in addition to caves and public village buildings. They are sacred spaces dedicated to worship and devotional rituals. Whether the space is filled with a few objects or hundreds, all senses are engaged: B</span><span style="text-align: left;">utter lamps and incense address the sense of smell; painted and sculptural images involve sight; sounds of chanting and musical instruments engages hearing; the taking of blessed liquids entails taste; the use of prayer beads relates to touch and, consciousness, considered the sixth sense in Buddhism, is invoked by thought. Offerings of food, money and religious items accumulate among the layered, sometimes crowded placement of many types of artifacts. </span></span></span><br />
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">I<span style="color: #20124d;">nstallation view of <i>The Tibetan Buddhist Shrine Room</i> </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(October 26, 2018 - September 16, 2019)</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a>, New York</span><br />
<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://rubinmuseum.org/">The Rubin</a>'s shrine room displays <span style="text-align: left;">over 100 objects including paintings, sculptures, bowls, lamps, textiles, manuscripts, furniture and musical instruments. Such a room would have belonged to a wealthy home. Mostly everything on view is from the museum's own collection while </span></span><span style="text-align: left;">other items are from private collectors and other museums. Lenders include Robert and Lois Baylis, the </span><a href="https://www.newarkmuseum.org/">Newark Museum</a><span style="text-align: left;">, New Jersey and the </span><a href="https://www.tibetanmuseum.org/" style="text-align: left;">Jacques Marchais Museum of Tibetan Art</a><span style="text-align: left;">, Staten Island. The two latter museums have extensive collections of art from Tibet and the Himalayan region.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;"> </span><span style="font-size: x-small;"><span style="color: #20124d; text-align: center;">I</span><span style="color: #20124d; text-align: center;">nstallation view of <i>The Tibetan Buddhist Shrine Room</i> </span></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(October 26, 2018 - September 16, 2019)</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a>, New York </span><br />
<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In the museum, lamps are not lit by a flame in clarified butter nor is incense burnt but the flickering electric lights give the impression of illumination encountered in an actual traditional shrine room. All things in the room are symbolic and meaningful. Light focuses the mind and aids meditation. It symbolizes the elimination of darkness and represents wisdom. Prayer beads, available for visitors, are used to mark the repetitions of prayers and devotions. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">To help with understanding, there is an interactive screen outside of the room that identifies and explains what is on view. The museum's Web site also has an interactive section on the installation with videos of actual temple chanting sessions and a domestic shrine offering.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">You may want to take a pause in your life and visit </span><a href="http://rubinmuseum.org/">The Rubin</a> Tibetan Buddhist Shrine Room. <span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></div>
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<span style="caret-color: rgb(32, 18, 77); text-align: left;"><i><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">The Tibetan Buddhist Shrine Room</span></i></span></div>
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<span style="caret-color: rgb(32, 18, 77);"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">October 26, 2018 - September 16, 2019</span></span></div>
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<span style="caret-color: rgb(32, 18, 77);"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><a href="http://rubinmuseum.org/">The Rubin Museum of Art</a>, New York</span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com1tag:blogger.com,1999:blog-6872123300517890731.post-80228451021969144542018-11-20T16:03:00.001-08:002018-11-25T13:52:12.728-08:00 Franz Gertsch: The Virtuosity Of A Swiss Painter<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition, <i style="text-align: left;">Franz Gertsch: Polygonal Allover,</i></span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">September 19 - December 2, 2018,</span> <a href="https://www.swissinstitute.net/" style="text-align: left;">Swiss Institute</a>, New York</span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="color: #073763; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">It is rare when a gallery show entices prolonged viewing - a desire to sit and look and think about what attracts. The exhibition <i style="text-align: left;">Franz Gertsch: Polygonal Allover</i><span style="text-align: left;"> at the </span><a href="https://www.swissinstitute.net/" style="text-align: left;">Swiss Institute</a> in the East Village does just that in an overview of the Swiss artist's decades of virtuoso works in painting and woodcut.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ) focuses on portraiture that is a modern take on art historical sources, specifically the Baroque portrait tradition and old master techniques. In the 1970s Gertsch made huge portraits of young friends who were living together in Lucerne, Switzerland. These youths included the now admired artists Luciano Castelli (1951 - ) and </span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">Urs Lüthi (1947 -). </span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), </span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>At Luciano's House</i>, 1973, </span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 95 3/4 x 139 3/4 in. (</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">243.21 x </span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">354.97 cm)</span></span></span></div>
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<span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Sander Collection</span></div>
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="color: #073763; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span><br />
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<span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">The painting <i>At Luciano's House</i>, 1973, captures three friends in preparation for going out. The young lady on the right, Marina, Luciano's girlfriend at the time, is looking off to the right apparently regarding herself in a mirror located outside of the picture space. She adjusts her fur-trimmed jacket under which she wears a blouse patterned in the red, white and blue "stars and stripes" of the American flag. This was a period of strong American influence on Swiss youth. The blond on the left, Barbara, who was an art student in Lucerne, seems to be tucking her top into her pants. The kneeling center figure, Luciano, picks up some type of garment </span></span><span style="font-family: "georgia" , "times new roman" , serif;">lying on what appears to be an odd-shapped shag rug popular in the 1960s and 1970s and associated with a bohemian lifestyle. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Detail of Franz Gertsch (1930 - ), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>At Luciano's House</i>, 1973, </span></span></span><br />
<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 95 3/4 x 139 3/4 in. (</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">243.21 x </span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">354.97 cm)</span></span></span><br />
<span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Sander Collection</span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="color: #073763; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The threesome wore elaborate make-up and an unusual mixture of clothing - Luciano wears a skirt and his girlfriend jeans. </span><span style="font-family: "georgia" , "times new roman" , serif;">(</span><span style="font-family: "georgia" , "times new roman" , serif;">A silkscreen in the exhibit shows the flamboyant clothes of the people in </span><i style="font-family: georgia, "times new roman", serif;">At Luciano's House</i><span style="font-family: "georgia" , "times new roman" , serif;"> hanging out to dry on a clothesline with Marina's "stars and stripes" blouse prominent. )</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The outcome of all the preening is the self they would present to the outside world. There is an androgynous quality to these young people who work their way into trying to find their identity and what they would like to become. Scattered like debris on the wooden floor are such items as records including a recently released Rolling Stone album, a book, knickknacks and ornaments which give hints to their interests and lifestyle. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Gertsch painted a butterfly with distinctive markings on the far wall which seems to make an analogy between its vibrant coloration and the youth's decorative dress. </span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Detail of Franz Gertsch (1930 - ), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>At Luciano's House</i>, 1973, </span></span></span><br />
<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 95 3/4 x 139 3/4 in. (</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">243.21 x </span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">354.97 cm)</span></span></span><br />
<span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Sander Collection</span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="color: #073763; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The painting's saturated colors are intense and the details prominent. Passages such as Luciano's hair and the pattern of the curtains highlight the artist's ability in the rendering of different textures and forms. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Gertsch achieves all this by employing an unusual technique. He takes photographs of his subjects with a flash and projects the image onto an unprimed canvas. He paints in the dark relying on his color memory. The method is not too different from the way the camera obscura was used as a painting aide by artists such as the Dutch Johannes Vermeer (1632 - 1675). Gertsch's methodology, like the camera obscura, made visible optical phenomena which couldn't be seen with the naked eye, particularly specs of brightness on objects, multiple-viewpoints and the blurring effects captured by mechanical means. </span><span style="font-family: "georgia" , "times new roman" , serif;">The raking light produced by the flash illuminates everything equally and brings to the fore the surface of things. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), </span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Luciano </i>II, 1976, </span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 95 3/4 x 136 1/4 in. (</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">243.21 x </span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">346.11 cm)</span></span></span></div>
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<span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span></div>
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<span style="color: #073763; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Gertsch has been called a photorealist referring to the photorealism art movement in vogue in the 1960s and early 1970s in the USA. Photorealists took everyday reality as their subjects and developed a style based on photographic images. They made their art look like a photograph often working with an airbrush instead of a paint brush to eliminate any suggestion of brushstrokes. Viewers may confuse a photorealistically painted work with a photo. With Gertsch's art, this confusion does not occur. He never lets the viewers forget his paintings are paintings. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), Detail of </span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Luciano </i>II, 1976, </span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 95 3/4 x 136 1/4 in. (</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">243.21 x </span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">346.11 cm)</span></span></span></div>
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<span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Gertsch painted some thirteen portraits of Luciano attracted no doubt to his beauty, way of life and play on gender fluidity. A detail of the large portrait <i>Luciano II</i>, 1976, reveals how the paint seeps into the unprimed cotton canvas and the way irregular lines and dabs of paint make obvious the artist's touch. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), <i>Luciano's Leibchen</i>, 1977, </span></span></span><br />
<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on canvas. 20 1/4 inches x 20 1/4 in. (51.44 x 51.44 cm)</span></span></span></div>
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<span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">That Gertsch was interested in the means of visualization as opposed to exact replication of reality is communicated in <i>Luciano's Leibchen</i>, 1977, a fragment of a version of the <i>Luciano II </i>portrait. Unsatisfied with this earlier Luciano likeness, he cut up the canvas but retained four parts of the young man's striped shirt. Framed, the fragment became a study in abstraction formed in part by the shirt, a bit of neck, hair, chair and wall. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), <i>Portrait of Urs Lüthi</i>, 1970</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 67 x 98 1/4 in. (170.18</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> x 249.56</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> cm)</span></span></span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(7, 55, 99);">Art Collection EFG Private Banking</span></span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">The paintings <i>Portrait of Urs Lüthi</i>, 1970, and <i>Luciano I</i>, 1976, are other monumental canvases in the show. Lüthi works in many media including photography illustrated by his camera set on a table in Gertsch's portrait. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), Detail of <i>Portrait of Urs Lüthi</i>, 1970</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 67 x 98 1/4 in. (170.18</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> x 249.56</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> cm)</span></span></span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Art Collection EFG Private Banking</span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span></div>
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<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The camera, the half-filled glass of beer and the sitter's dark glasses are a tour-de-force of reflections.</span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), <i>Luciano I</i>, 1976</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 78 x 117 1/4 in. (198.28</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> x 297.82</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> cm)</span></span></span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Private Collection Switzerland</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span><br />
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<i style="font-family: georgia, "times new roman", serif;">Luciano I</i><span style="font-family: "georgia" , "times new roman" , serif;"> depicts the end of a dinner party. The remnants of a meal are</span><span style="font-family: "georgia" , "times new roman" , serif;"> on the table. The many cigarette butts left in a dish used as an ashtray suggest a long repast.</span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), Detail of <i>Luciano I</i>, 1976</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 78 x 117 1/4 in. (198.28</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> x 297.82</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> cm) </span></span></span><br />
<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Private Collectin Switzerland</span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Photo: Daniel Perez</span></span><br />
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<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The table is in disarray: d</span><span style="font-family: "georgia" , "times new roman" , serif;">irty dishes are piled up, broken glass remains and cups lie on their sides. The tablecloth is covered with stains of spilled food and drink as well as paint marks indicative of the youth's vocation. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), Detail of <i>Luciano I</i>, 1976</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">acrylic on unprimed cotton, 78 x 117 1/4 in. (198.28</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> x 297.82</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> cm)</span></span></span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(7, 55, 99);">Private Collection Switzerland</span></span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(7, 55, 99);">Photo: Daniel Perez</span></span><br />
<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Objects and areas of note include a partially filled wine glass which rests precariously at the table's right edge, the broken glass and the room's walls and doors along with their hardware. The triangular shaped space formed by Luciano's arms and knees through which is seen part of his chair's wooden top rail, some wallpaper and a small slice of the door, echoes the painting's compositional structure. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The work's indebtedness to the moralizing domestic scenes of 17th-century Dutch genre paintings does not take away from the appreciation and pleasures of Gertsch's work. </span><br />
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of exhibition, <i style="text-align: left;">Franz Gertsch: Polygonal Allover,</i></span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;">September 19 - December 2, 2018,</span> <a href="https://www.swissinstitute.net/" style="text-align: left;">Swiss Institute</a>, New York</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">l. to r. </span><span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Natascha IV</i> (1988), <i>Natascha IV</i> </span><span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(1988)</span><span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">, <i>Natascha IV</i> </span><span style="caret-color: rgb(7, 55, 99); color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(1988)</span><span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">, <i>Schwarzwasser</i> (1991</span><span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">)</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">hand-printed woodcut prints on Japanese paper, 108 1/4 x 85 1/4 in. (274.96 x 216.54 cm)</span></div>
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<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span></div>
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<span style="color: #073763; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;">Between 1986 and 1995 Gertsch stopped painting and worked exclusively in the print medium. The show includes three large-sized woodcuts from the series he made of a young woman, <i>Natascha IV</i>, 1988. These prints sought to create realistic representation using a limited number of colors. Here he utilized Japanese blue ink. The woman's three-quarter view with an ear pierced by a small hoop earring is reminiscent of Vermeer's <i>Girl with a Pearl Earring</i>, <a href="https://www.mauritshuis.nl/en/">Mauritshuis</a>, The Hague. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The <i>Natascha IV</i> prints are installed next to <i>Schwarzwasser</i>, 1991, a woodcut study of a water surface where enlarged details become a form of landscape. By pairing the particulars of a face with the particulars of nature as is the artist's practice, Gertsch points to the relationship between the two. Both are the uppermost layer of something and a part of a larger whole. Both are part of the natural world.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The two printing blocks used to print <i>Natascha IV</i>, also on exhibit, answer questions concerning how these works were accomplished. The blocks inspire awe. </span><br />
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">Franz Gertsch (1930 - ), <i>Spiegel</i>, 1961</span><span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on canvas, 29 1/4 x 40 in. (74.30</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;">x 101.6</span></span><span style="color: #073763;"><span style="font-family: "georgia" , "times new roman" , serif;"> cm)</span></span></span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(7, 55, 99);">Franz Gertsch Family</span></span><br />
<span style="color: #073763; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Daniel Perez</span><br />
<span style="font-size: x-small;"><span style="color: #073763; font-family: "georgia" , "times new roman" , serif;">Courtesy of </span><a href="https://www.swissinstitute.net/" style="font-family: Georgia, "Times New Roman", serif; text-align: left;">Swiss Institute</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Early paintings, drawings and woodcut prints demonstrate the artist's enduring consideration of the mirror as a means of identity perception. You can see these in the small gallery at the back of the first floor. I suggest you begin your viewing here. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">A word about the <a href="https://www.swissinstitute.net/" style="text-align: left;">Swiss Institute</a>: The </span><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.swissinstitute.net/" style="text-align: left;">Swiss Institute</a> is an independent, non-profit art institution founded in 1986 by a group of Swiss living in the United States. It showcases artists from all over the world who work in a variety of media. The </span><a href="https://www.swissinstitute.net/" style="font-family: georgia, "times new roman", serif; text-align: left;">Institute</a>'s<span style="font-family: "georgia" , "times new roman" , serif;"> current home, its fifth, opened in June 2018. Designed by <a href="https://www.selldorf.com/">Selldorf Architects</a>, the 7,500 square foot space covers four floors including a basement and roof garden. </span><a href="https://www.printedmatter.org/visit-the-store/st-marks" style="font-family: georgia, "times new roman", serif;">Printed Matters/St. Marks</a><span style="font-family: "georgia" , "times new roman" , serif;">, a satellite of </span><a href="https://www.printedmatter.org/" style="font-family: georgia, "times new roman", serif;">Printed Matters</a><span style="font-family: "georgia" , "times new roman" , serif;">, the bookstore dedicated to artist' books and related publications, is located </span><span style="font-family: "georgia" , "times new roman" , serif;">in the lobby.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(7, 55, 99); color: #073763;"><i>Franz Gertsch: Polygonal Allover</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(7, 55, 99); color: #073763;">September 19 - December 2, 2018</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(7, 55, 99); color: #073763;"><a href="https://www.swissinstitute.net/">Swiss Institute</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(7, 55, 99); color: #073763;">38 St. Marks Place, Manhattan</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(7, 55, 99); color: #073763;">Hours:</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(7, 55, 99); color: #073763;">Wednesday, Thursday, Friday 2:00 pm - 8:00 pm</span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-28414326068504023392018-10-31T08:02:00.000-07:002019-11-23T15:02:36.304-08:00 The Draftsmanship of Eugène Delacroix<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8_sAogGg6GQGdKsg6vpDTyDDS299cqiMu0Vun4hkG9CO_tsS4zhr87DkK_jEI-DVItRYvr_enwfpxR_LSnB5RA6rZSD0w8r98ZsD2xE07dqng_y_CwyVnL79mfWB9_TB66USTBD85jTU/s1600/Delacroix_Reclining+tiger_e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="770" data-original-width="1600" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8_sAogGg6GQGdKsg6vpDTyDDS299cqiMu0Vun4hkG9CO_tsS4zhr87DkK_jEI-DVItRYvr_enwfpxR_LSnB5RA6rZSD0w8r98ZsD2xE07dqng_y_CwyVnL79mfWB9_TB66USTBD85jTU/s400/Delacroix_Reclining+tiger_e.jpg" width="400" /></span></a></div>
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Eugène Delacroix (1798 - 1863), </span><i style="color: #783f04;">Lion Lying on His Side,</i><span style="color: #783f04;"> </span><i style="color: #783f04;">Lion couché sur le flanc</i><span style="color: #783f04;">, </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">pastel on paper, 3 3/4 x 8 in. (9.8 x 20.3 cm), Private Collection</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On view at the exhibition <i>Eugène Delacroix Drawings, Watercolors, Pastels, </i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>and Small Oils, </i></span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a>, New York, <span style="text-align: left;">October 16 - November 20, 2018</span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;">When the French artist Eugène Delacroix (1798 - 1863) died, he left thousands of drawings in his workshop. These were relatively unknown to the public while he was alive. They consist of studies, plans for projects, sketches, copies of old masters' works, doodles and more. These artworks provide an insight into the artist's learning and creative process. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">New York presently has an abundance of Delacroix works. </span><span style="font-family: "georgia" , "times new roman" , serif;">There are two exhibitions at the <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>. One is a comprehensive retrospective and the other a selection of over 100 works on paper from the Karen B. Cohen collection of Delacroix drawings. Also on display is a Delacroix painting from a private collection at </span><a href="http://www.rlfeigen.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">Richard L. Feigen & Co.</a>. It can be seen <span style="font-family: "georgia" , "times new roman" , serif;">in the gallery's show <i>Richard Parkes Bonington</i> (1802 - 1828), Delacroix's friend and companion who tutored him in the art of watercolor. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The most intimate viewing experience, however, can be enjoyed at the </span><span style="text-align: left;"><a href="http://www.jillnewhouse.com/" style="text-align: left;">Jill Newhouse Gallery</a>. Some 40 works in a variety of media and subject matter are presented in </span><i style="text-align: left;">Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils</i><span style="text-align: left;">. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;">The </span></span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">Jill Newhouse </a>exhibit<span style="font-family: "georgia" , "times new roman" , serif;"> offers an excellent introduction into the artist's interests and the diverse materials he explored throughout his prolific career. </span><span style="font-family: "georgia" , "times new roman" , serif;">The show is well organized into six groups: Figures, Portraits, </span><span style="font-family: "georgia" , "times new roman" , serif;">Écorchés; Trip to Morocco and Spain, 1832; Drawings after Old Masters; Drawings in Preparation for other Projects; Animals; </span><span style="font-family: "georgia" , "times new roman" , serif;">Landscapes and Architectural Studies. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">This first section includes male and female nudes. </span><span style="font-family: "georgia" , "times new roman" , serif;">Delacroix worked from both live models and stock photographs of nudes that were sold to artists for use in their practice. For the écorché </span><span style="font-family: "georgia" , "times new roman" , serif;">drawings, renderings of the body's musculature without skin, artists commonly worked from cadavers although </span><span style="font-family: "georgia" , "times new roman" , serif;">écorché sculptures made from materials such as wax, plaster or wood were available in addition to illustrations in anatomical treatises. Delacroix is known to have drawn from corpses. These</span><span style="font-family: "georgia" , "times new roman" , serif;"> images may appear gruesome but were typical artistic exercises used </span><span style="font-family: "georgia" , "times new roman" , serif;">to enhance the understanding of the body's structure and subsequently improve the ability to depict the human form. </span><span style="font-family: "georgia" , "times new roman" , serif;"> One study</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">(catalogue # 6)</span><span style="font-family: "georgia" , "times new roman" , serif;"> in pen and brown ink over traces of pencil and brown wash, illustrates how Delacroix varied the thickness of his brush strokes, ink amounts, shades of washes and hatching (parallel lines for tonal effects) to render a leg and arm muscle. The drawing appears almost abstract with lines that are activated and seem alive, stretching into forms although they describe something lifeless.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Eugène Delacroix (1798 - 1863), <i>Military Chief ben Abou in a Moroccan Interior</i></span><span style="color: #783f04;">, </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Le Caïd ben Abou chief Militaire dans un Intérieur dans maison Morocaine, 1832</span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> watercolor on paper, 5 3/8 x 8 1/2 in. (13.9 x 20.7 cm), signed lower left</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On view at the exhibition <i>Eugène Delacroix Drawings, Watercolors, Pastels, </i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>and Small Oils, </i></span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a>, New York, <span style="text-align: left;">October 16 - November 20, 2018</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;">In 1832, Delacroix went to Morocco with a diplomatic mission as the official artist. For about six months he traveled in North Africa with a stopover in Spain, filling seven notebooks with drawings and watercolors of figures, costumes, architecture and the accoutrements of Moroccan life. Four watercolors and one pen and ink drawing in the exhibit relate to this trip. </span><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Military Chief ben Abou is portrayed in a Moroccan interior seated in a relaxed pose on a patterned floor. His left hand rests on a cushion and his weapons hang on the wall. On his right, a wall cabinet with one wooden door open reveals everyday functional vessels. On the floor to his right is a raised tray on which rests an ewer and near it a small bowl or cup. On the same side near the sheet's edge there is a chest partially covered by what appears to be some kind of full-length, cloak-like garment. A colorful cushion, a small chest and a leopard skin fill the right foreground. Leopards were hunted in Morocco as sport well into the 20th century. </span></span><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">The scene was unlike anything that the artist would encounter in his contemporary French society.</span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">Delacroix made the watercolor over pencil view of Algeciras, Spain (catalogue # 10) while on a sailing ship. Algeciras, a large port city on the Bay of Gibraltar, links Spain to Africa. The artist proficiently manipulates the medium to capture the different textures of sea, sky and land. For the city with its white Moorish architecture, he left an irregular area of the paper dry and simply dabbed touches of color for windows, doors and roofs. Watercolor was a medium Delacroix </span><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">excelled in although it was unpopular in 19th-century France.</span><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Eugène Delacroix (1798 - 1863), <i>Figures after Goya's Caprices</i></span><span style="color: #783f04;">, </span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Feuille d'études d'après Les Caprices de Goya</i>, </span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> pen and brown ink with wash on paper, </span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">8 7/8 x 13 1/2 in. (22.6 x 34.5 cm)</span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On view at the exhibition <i>Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils</i>,</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="color: #783f04; text-align: left;">October 16 - November 20, 2018</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The study of old masters was central to Delacroix's development. He spent hours looking and sketching in the <a href="https://www.louvre.fr/en">Louvre</a> which presented an abundance of masterpieces to work from. He also drew from sculptures, paintings and decorations in their original locations as well as from prints of original art by old masters. When Delacroix was a student in 1816, he registered with the Print Room at the Bibliothèque Nationale de France in Paris. Through prints, he studied and learned from such artists as Raphael (1483 -1520), Peter Paul Rubens (1577 - 1640) and Rembrandt (1606 - 1669). When he copied, which he never lost interest in doing, he selected parts not the whole of the original to reproduce.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">A good example is Delacroix's ink and wash sketch of figures from two prints by Francisco de Goya (1746 -1828). The Goya prints were part of an 80 plate etching and aquatint series called <i>Los Caprichos</i> published in 1799, criticizing the foibles of humanity. </span><span style="font-family: "georgia" , "times new roman" , serif;">Delacroix had a sizable print collection and probably owned a set of the series. In the sketch,</span><span style="font-family: "georgia" , "times new roman" , serif;"> he copies figures from two prints on one sheet concentrating on the tones and contours of the Goya originals. On the left, two figures are reproduced from plate 31, </span><i style="font-family: georgia, "times new roman", serif;">She prays for her</i><span style="font-family: "georgia" , "times new roman" , serif;">:</span><i style="font-family: georgia, "times new roman", serif;"> </i><span style="font-family: "georgia" , "times new roman" , serif;">the seated young woman baring her leg and her attendant combing her hair. In the original print, Goya had depicted an old, wrinkled-faced woman clutching rosary beads crouched behind the young woman. Delacroix eliminated the older woman's upper body but kept her lower dress seen between the young lady's legs. He also included the bowl and vase of the Goya print. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">On the sheet's right side, Delacroix represents the woman in Goya's plate 32, <i>Because she was susceptible</i>. This plate was</span></span><span style="font-family: "georgia" , "times new roman" , serif;"> the only one of the series done solely in aquatint resulting in an image without any hard-edged lines akin to a watercolor. </span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">It portrays a woman in prison and was based on an actual scandal that took place at that time. It was about a woman who had been convicted of helping her lover kill her husband. She was executed. </span></span><span style="font-family: "georgia" , "times new roman" , serif;">Delacroix redraws the doomed woman who lies on the ground with legs outstretched before her and her back leaning against the cell's wall. With eyes closed and mouth slightly open, she appears despondent. Her feet and what looks like a bunch of grapes are sketched on the lower part of the sheet and a blotch of wash on the upper left. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Eugène Delacroix (1798 - 1863), <i>St. Sebastian Tended by the Holy Women</i></span><span style="color: #783f04;">, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>St. Sébastien secouru par les Saintes Femmes</i>, </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1852 - 1854, </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">pastel on paper, </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">7 1/8 x 10 3/8 in. (18.1 x 26.4 cm)</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Inscribed in ink on the back: </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(120, 63, 4); color: #783f04;">Donn</span><i style="caret-color: rgb(120, 63, 4); color: #783f04;">é par moi à Jenny Leguillou / le 25 mars 1855 / </i></span><i style="color: #783f04;">Eug Delacroix</i></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On view at the exhibition <i>Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils</i>,</span></div>
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<span style="font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="color: #783f04; text-align: left;">October 16 - November 20, 2018</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The </span><span style="font-family: "georgia" , "times new roman" , serif;">large oil on canvas </span><i style="font-family: georgia, "times new roman", serif;">Saint Sebastian Tended by the Holy Women</i><span style="font-family: "georgia" , "times new roman" , serif;">, 1836, Church of Saint-Michel, Nantua, France, is one of Delacroix's most acclaimed paintings and is presently on view in the </span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a>'s <span style="font-family: "georgia" , "times new roman" , serif;">Delacroix retrospective. The painting's figures are enormous - the saint's foot alone is about 11 1/2 by 5 inches. </span><span style="font-family: "georgia" , "times new roman" , serif;">Sebastian was a Roman soldier who was shot with arrows for his Christian beliefs. Delacroix represented the moments after Sebastian's torture when a woman tenderly removes the arrows from his body. The position of Sebastian and the way the three figures take up most of the pictorial space was derived from Rubens's <i>Lamentation over the Dead Christ</i>, c. 1612, <a href="https://www.palaisliechtenstein.com/en/home.html">Liechtenstein Museum</a>, Vienna. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">As was his practice, Delacroix made preparatory studies for, as well as studies after, his work. Seven smaller variants of the </span><i style="font-family: georgia, "times new roman", serif;">Saint Sebastian </i><span style="font-family: "georgia" , "times new roman" , serif;">painting exist, done between 1836 and 1858. The pastel at </span><a href="http://www.jillnewhouse.com/" style="text-align: left;">Jill Newhouse Gallery</a> is particularly beautiful. Delacroix probably thought this variation one of his best for he gave it to his housekeeper and lover Jenny. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Pastels, like watercolors, were not much admired in France at his time. Yet, Delacroix pursued the medium. He developed a technique to keep the intensity, lucidity and brightness of hues which would have been reduced using the conventional method of blending colors. </span><span style="font-family: "georgia" , "times new roman" , serif;">Delacroix did not blend. He placed individual strokes close together so that the eye combined colors. This handling anticipated the methods of the Impressionists. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The pastel on paper <i>Lion Lying on His Side, Lion couché sur le flanc</i>, is a superb illustration of his proficiency. The work also demonstrates the artist's keen observation skills. </span><span style="font-family: "georgia" , "times new roman" , serif;">The lion is so realistically rendered, viewers may expect the feline's chest to move as the animal breathes. His soft fur and relaxed pose attests to Delacroix's familiarity with the subject. Indeed, the artist made numerous visits to the zoo in the Jardin des Plantes in Paris with its variety of animals and species. He records his joy for the time he spent there in his journals. </span><span style="font-family: "georgia" , "times new roman" , serif;">In one entry, he writes about the coloration of lions. He notes the differentiation of browns throughout the body "</span><span style="font-family: "georgia" , "times new roman" , serif;">light tones noticeably under the stomach, under the paws</span><span style="font-family: "georgia" , "times new roman" , serif;">...</span><span style="font-family: "georgia" , "times new roman" , serif;">The color of the ears are brown but only on the outside</span><span style="font-family: "georgia" , "times new roman" , serif;">."* Color annotations sometimes appear on sketches such as on one 1841 lion study (<i>A Lion, Full Face, August 30, 1841</i>, on view at the </span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="font-family: -webkit-standard;">'s Delacroix drawing show</span><span style="font-family: "georgia" , "times new roman" , serif;">) which indicates "lighter brown" near the nose and "slightly brown" for the mane.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Eugène Delacroix (1798 - 1863), <i>Four Studies of the Head of a </i></span><span style="color: #783f04;"><i>Lioness</i>, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Etudes de Tête de Lionnes</i>, </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1852 - 1854, </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">pencil and watercolor on paper, 11</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> x 8 in. (28.2 x 20.6 cm)</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Estate sale stamp lower right: Lugt 838a</span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On view at the exhibition <i>Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils</i>,</span></div>
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<span style="font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="color: #783f04; text-align: left;">October 16 - November 20, 2018</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Whether on large oil canvases or small works on paper, Delacroix's animals have an anthropomorphic quality that enhances their realism and encourages spectator's empathy. </span><span style="font-family: "georgia" , "times new roman" , serif;">Just take a look at the expressive faces on the sketch with four studies of a lioness's head. </span><span style="font-family: "georgia" , "times new roman" , serif;">A critic once wrote that Delacroix "...never painted a man who looks like a man in the way his tigers look like a tiger." </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Eugène Delacroix (1798 - 1863), <i>Sheet of Studies of Horses, a Moroccan Man in a Turban,</i></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;"><i>and a Landscape Drawing on Stationary from the French Ministry of the Interior</i></span></span><br />
<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; text-align: left;">Feuille d'é</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(120, 63, 4);"><i>tudes de chevaux, tête d'oriental, nu féminin et passage ex</i></span></span><i style="color: #783f04; font-family: georgia, "times new roman", serif;">écut</i><i style="color: #783f04; font-family: georgia, "times new roman", serif;">é </i></span><br />
<span style="font-size: x-small;"><i style="caret-color: rgb(120, 63, 4); color: #783f04; font-family: georgia, "times new roman", serif;">sur papier du Ministère de l'Intérieur</i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">pen and brown ink on paper, 9 1/4</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"> x 7 1/8 in. (23.8 x 18.2 cm)</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">On view at the exhibition <i>Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils</i>,</span></div>
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<span style="font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="color: #783f04; text-align: left;">October 16 - November 20, 2018 </span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="http://www.jillnewhouse.com/" style="font-family: georgia, "times new roman", serif;">Jill Newhouse Gallery</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Delacroix never ceased to draw and would tend to fill a sheet with sketches often unrelated and drawn at different times. One piece of stationary he took from the French Ministry of the Interior is covered with with delightful sketches: three heads of horses, the back of a female nude, a small water scene of a fisherman and passenger in a skiff and the head, arm and upper back of a turbaned man. Delacroix had turned the paper counterclockwise to make the seascape and clockwise to draw the man in a turban. If the sheet is upright, the man's arm, shoulder and back appear as decorative doodles but if rotated to the right, the scribbles are seen correctly as the man's upper back, left shoulder and arm.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Although the gallery has made available the show's fully illustrated catalogue on their Web site, the works should be experienced first hand. Digital images cannot replicate the quality of confronting artworks directly. Go see the exhibit.</span><br />
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<span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">*Delacroix journal entry June 7, 1855</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Eugène Delacroix Drawings, Watercolors, Pastels, and Small Oils</i></span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">October 16 - November 20, 2018</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><a href="http://www.jillnewhouse.com/">Jill Newhouse Gallery</a></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Monday - Friday 10:00 am - 5:30 pm</span></div>
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<i><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Delacroix</span></i></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">September 17, 2018 - January 6, 2019</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">1000 Fifth Avenue, Manhattan</span></div>
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<i><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">The Karen B. Cohen Collection of Eugène Delacroix</span></i></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i style="color: #783f04;">Richard Parkes Bonington</i></span></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><a href="http://www.rlfeigen.com/">Richard L. Feigen & Co.</a></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-58242961862656534322018-09-27T16:04:00.001-07:002018-10-24T09:09:48.805-07:00 Pontormo's Four Magnificent Women<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTPrHwnLvG5VLSeuzfL1N_by7lcu8FpPHI3Uvqx8EFLtKK4AgX0Go6IrxfhInub8mk0dpz_VJGm-j1WjaURN1hVE-wFlgW5OsFGCGGo2vYM57i-azuael8eZzr1MK82h3nYgrnCJW5nk/s1600/MorganVisitation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1233" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTPrHwnLvG5VLSeuzfL1N_by7lcu8FpPHI3Uvqx8EFLtKK4AgX0Go6IrxfhInub8mk0dpz_VJGm-j1WjaURN1hVE-wFlgW5OsFGCGGo2vYM57i-azuael8eZzr1MK82h3nYgrnCJW5nk/s400/MorganVisitation.jpg" width="305" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">79 1/2 × 61 7/16 in. (202 × 156 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://turismo.comune.carmignano.po.it/?act=i&fid=6989&id=20150910112913231">Parrocchia dei Santi Michele e Francesco, Carmignano</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.themorgan.org/">Morgan Library & Museum</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">T</span><span style="font-family: "georgia" , "times new roman" , serif;">he appearance in New York of Jacopo da Pontormo's masterpiece, the <i>Visitation</i></span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> as well as the painting's only existing preparatory sketch</span><span style="font-family: "georgia" , "times new roman" , serif;"> in the exhibition </span><i style="font-family: georgia, "times new roman", serif;">Pontormo: Miraculous </i></span><span style="font-family: "georgia" , "times new roman" , serif;"><i style="font-family: georgia, "times new roman", serif;">Encounters</i><span style="font-family: "georgia" , "times new roman" , serif;"> at New York's </span><a href="https://www.themorgan.org/" style="font-family: Georgia, "Times New Roman", serif;">Morgan Library & Museum</a>, is a special occasion<span style="font-family: "georgia" , "times new roman" , serif;">. This is the first time the painting and sketch have been seen in the United States. The </span></span><i style="font-family: georgia, "times new roman", serif;">Visitation</i><span style="font-family: "georgia" , "times new roman" , serif;"> has never left Italy before and when it returns to its church in </span><span style="font-family: "georgia" , "times new roman" , serif;">Carmignano, Italy</span><span style="font-family: "georgia" , "times new roman" , serif;">, it is unlikely to ever leave again. Such is the work's value and importance.</span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Church of Santi Michele e Francesco, Carmignano, Italy</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://commons.wikimedia.org/wiki/Main_Page">Wikimedia Commons</a> Webside</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><u>Pontormo's Life</u></span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Jacopo da Pontormo (1494 - 1556), born Jacopo Carrucci and simply referred to as Pontormo, may not be a household name but at one time in the sixteenth century he was well-known and regarded as the greatest painter in Florence. Considering that Florence's artistic talent in the same period included Michelangelo (1475 - 1564), who esteemed Pontormo's work, this was no small accolade. </span></span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">black chalk, traces of white chalk, squared with red chalk, paper, </span></span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">12 4/5 × 9 1/2 in. (32.6 × 24 cm)</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.uffizi.it/en">Uffizi Galleries</a>, Florence</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.uffizi.it/en">Uffizi Galleries</a> Web site </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Pontormo was a leading painter of the artistic style known as Mannerism. Mannerism was Modern Art in the 16th century. Following the High Renaissance, Mannerists abandoned the Renaissance's realistic perspective of space and its idealized proportions of the human body.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Pontormo's training included a brief stay in the studio of Leonardo da Vinci (1452 - 1519), then with the painter Mariotto Albertinello (1474 - 1515), after which he entered the workshop of Andrea del Sarto (1486 - 1530). The latter was thought of as the best painter in Florence until his death, when Pontormo was accorded this title. </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Albrecht Dürer (1471 – 1528), <i>Four Naked Women</i>, 1497,</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">signed with monogram and dated, engraving,</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">s</span><span style="text-align: justify;"><span style="font-family: "georgia" , "times new roman" , serif;">heet: 7 1/2 in. × 5 in. (19 × 12.7 cm)</span></span></span></div>
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<span style="text-align: justify;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></span></div>
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<span style="text-align: justify;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a> Web site</span></span></div>
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<u><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Pontormo and </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">Dürer</span></span></u></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The German Renaissance artist </span><span style="font-family: "georgia" , "times new roman" , serif;">Albrecht Dürer (1471 - 1528) was a strong influence on Pontormo who knew his work through extensive prints that were circulated throughout Italy including Florence. Pontormo's Carmignano <i>Visitation</i> and </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">Dürer's 1497 engraving </span><i style="font-family: georgia, "times new roman", serif;">Four Naked Women</i><span style="font-family: "georgia" , "times new roman" , serif;"> are likely connected. </span><span style="font-family: "georgia" , "times new roman" , serif;">The print is known to have </span><span style="font-family: "georgia" , "times new roman" , serif;">been available in Italy by the early 16th century. </span><span style="font-family: "georgia" , "times new roman" , serif;"> Both works show four impressive women with elaborate</span><span style="font-family: "georgia" , "times new roman" , serif;"> hair and head coverings that are positioned in a rhomboid-like geometric shape against a plain background. The figures occupy almost all of the picture space. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Giorgio Vasari (1511 - 1574), painter, sculptor, writer and chronicler of artists' lives and their works, included Pontormo in his second, 1568 edition of the </span><i style="font-family: georgia, "times new roman", serif;">Lives of the Most Excellent Painters, Sculptors and Architects</i><span style="font-family: "georgia" , "times new roman" , serif;">. He criticizes Pontormo for relying too much on Dürer, and having a disagreeable character. Vasari, however, does not mention the Carmignano </span><i style="font-family: georgia, "times new roman", serif;">Visitation</i><span style="font-family: "georgia" , "times new roman" , serif;">: he may not have seen it. At the time Vasari was gathering his material on Pontormo, the painting was probably in a private villa. </span></div>
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<u style="color: #0c343d; font-family: georgia, "times new roman", serif;">The Visitation - Background and Meaning</u></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The Visitation shows the momentous occasion when Mary, pregnant with Jesus, visits her cousin Elizabeth, pregnant with John the Baptist.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Pontormo's painting includes two attending women who stand behind their respective mistresses. As was the custom among patrician Florentine families, when a woman got married she would obtain a servant of her own age who remained with her as she went through life. No respectable 16th-century woman would go outside without an attendant. The painting's Mary and her attendant both seem young just as Elizabeth, who conceived late in life, and her attendant are older. The scripture does not mention maidservants at the Visitation but there was a tradition, that Pontormo would have known, showing them at the scene. For example,</span><span style="font-family: "georgia" , "times new roman" , serif;"> the Florence Baptistry vault has a 13th-century mosaic of the Visitation with Mary and Elizabeth embracing as in the Pontormo painting with two female attendants. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqR8QJxQrr919sDOLHAYf0e2VcF9KBZEgGB_qIK65x3_PyI9g6-TcZ_d7RNqUJ4FfnKPolOM4sdWKP9zvcXLCVPe0ndUWlTFFiIU-oMR0bel9sQ23pYp5UOnYh7_ghltlF6zNHQLO5Jnc/s1600/merlin_142620918_e37a3780-5438-4f31-a232-1eda1e1a15a7-jumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="197" data-original-width="493" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqR8QJxQrr919sDOLHAYf0e2VcF9KBZEgGB_qIK65x3_PyI9g6-TcZ_d7RNqUJ4FfnKPolOM4sdWKP9zvcXLCVPe0ndUWlTFFiIU-oMR0bel9sQ23pYp5UOnYh7_ghltlF6zNHQLO5Jnc/s320/merlin_142620918_e37a3780-5438-4f31-a232-1eda1e1a15a7-jumbo.jpg" width="320" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), Detail of the <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">79 1/2 × 61 7/16 in. (202 × 156 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://turismo.comune.carmignano.po.it/?act=i&fid=6989&id=20150910112913231">Carmignano, Pieve di San Michele Arcangelo</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.themorgan.org/">Morgan Library & Museum</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In some Visitation scenes, Elizabeth is shown bending towards Mary implying her own lesser status but Pontormo depicts the women close to the same height. Their holiness indicated by a scarcely discernible thin gold halo. They look into each other's eyes while the attendants direct their gaze out into the spectator's space inviting devotees to feel part of the sacred event.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The painting is thought to have been intended for the Franciscans who encouraged their parishioners to imagine the holy figures depicted as people they would know creating a more personal response to religious imagery. </span></div>
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<span style="font-family: "georgia"; font-size: 16px;"> </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEtDOEnWtNdBveHUFd0bNIG19ZjPFKPYl-wDq5NQpbUa5TX9wbDdlpQHiBNo3TRIXSgoGmoDUdFYKnY19lww3Rt5QX7Bt-eExCBCrw8lLdXOie4yz8DSpDYHKgodF4hSIJLIh4IfhMYJg/s1600/Visitation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1158" data-original-width="1600" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEtDOEnWtNdBveHUFd0bNIG19ZjPFKPYl-wDq5NQpbUa5TX9wbDdlpQHiBNo3TRIXSgoGmoDUdFYKnY19lww3Rt5QX7Bt-eExCBCrw8lLdXOie4yz8DSpDYHKgodF4hSIJLIh4IfhMYJg/s320/Visitation.jpg" width="320" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), Detail of the <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">79 1/2 × 61 7/16 in. (202 × 156 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://turismo.comune.carmignano.po.it/?act=i&fid=6989&id=20150910112913231">Carmignano, Pieve di San Michele Arcangelo</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.themorgan.org/">Morgan Library & Museum</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><u>Details of the Painting</u></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The four women are</span><span style="font-family: "georgia" , "times new roman" , serif;"> nearly flush against the picture's surface with the background receding precipitously behind them. </span><span style="font-family: "georgia" , "times new roman" , serif;">With the exception of Mary's attendant who is more idealized than the others, the faces of the women could be modeled on real people. They are serious, stately, strongly-built women. Drapery is abundant and sculptural as if carved out of marble on a relief. In spite of their solidity and seeming weightiness, the women appear to float off the ground, their feet in a gravity-defying dance-like configuration. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Light falls down from the upper left as if it were coming from above and in front of the panel. One side of Elizabeth's and one side of each of the attendant's faces are illuminated. The strong light creates prominent highlights like the diagonal formed on the lower part of Elizabeth's orange outer garment draped over her left leg. Shadows bring forth elaborate patterns in the bends and creases of the billowing clothes. </span><span style="font-family: "georgia" , "times new roman" , serif;">Curiously, the face of the most sacred figure, Mary, remains in shade.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9mZ049mmi9xYM-eHurZ707IyiLVLkR0DxkM2kQpw0U2aIg4UxbGCP3RAheHhAM6fM4zF3K5ladG0uLZaD89EOE-NpSo28S5fL2aOtdHLVFtBtU5mLWv16tcUr95Tr2g_Mnw70uek59v8/s1600/Visitation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="509" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9mZ049mmi9xYM-eHurZ707IyiLVLkR0DxkM2kQpw0U2aIg4UxbGCP3RAheHhAM6fM4zF3K5ladG0uLZaD89EOE-NpSo28S5fL2aOtdHLVFtBtU5mLWv16tcUr95Tr2g_Mnw70uek59v8/s400/Visitation.jpg" width="126" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), Detail of the <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">79 1/2 × 61 7/16 in. (202 × 156 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://turismo.comune.carmignano.po.it/?act=i&fid=6989&id=20150910112913231">Carmignano, Pieve di San Michele Arcangelo</a> </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.themorgan.org/">Morgan Library & Museum</a> </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: black; font-family: "georgia" , "times new roman" , serif; font-size: small; text-align: justify;"><br /></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: black; font-family: "georgia" , "times new roman" , serif; font-size: small; text-align: justify;">On the left of the panel is a palace facade which resembles an actual palace seen in the right background of a 1493 - 95 altarpiece in the Church of Santo Spirito, Florence, by Filippino Lippi (1457 -1504). </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPz7XtNBJi07sFQ-3FxR71Ti_SU83_nuDA-V9ufrSGeewrH4qevyT2W8_pzh8HozNoqKf4Cl9L1WiPKHJiJBz4pNIJvgq426pAT9mI_1SjBNL2Pys6h6T8vLHA6jYCHbeR08hnEfJKXCE/s1600/Filippino_Lippi_Santo_Spirito.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="611" data-original-width="650" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPz7XtNBJi07sFQ-3FxR71Ti_SU83_nuDA-V9ufrSGeewrH4qevyT2W8_pzh8HozNoqKf4Cl9L1WiPKHJiJBz4pNIJvgq426pAT9mI_1SjBNL2Pys6h6T8vLHA6jYCHbeR08hnEfJKXCE/s320/Filippino_Lippi_Santo_Spirito.jpg" width="320" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Filippino Lippi (1457 - 1504), Nerli Altarpiece, 1493 - 95, oil on wood, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">63 x 70.9 in. (160 x 180 cm)</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Church of Santa Spirito, Florence </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Photo: </span><a href="https://commons.wikimedia.org/wiki/Main_Page" style="font-family: georgia, "times new roman", serif;">Wikimedia Commons</a><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif;"> Webside</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The palace belonged to the patron of the work who is portrayed in the altarpiece's main scene as well as in a small background scenario in front of his palace embracing his daughter while his wife looks on. A woman with a white head covering leans out of a second story window above the palace's entrance. Beyond is a city gate with other buildings and further on a church. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Pontormo would have gone by the palace en route outside of the city but most likely referred to the facade from the altarpiece in his Carmignano <i>Visitation</i> since he included a woman leaning out of the window just as the one in the Lippi painting. This woman was revealed along with the head of a gray donkey at the palace's corner when panel's earlier overpainting was removed during the recent 2013 - 2014 restoration.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikIIsvfL3mXvk3IYwO8SO11RS1HJgcSThbe349QWATI2MXr7QBPk1jvbmU50gwBgEoOKizTsL40AmgZgS2991spYycAvj3lZJUsxfx7eNoAe4VozJeE1Vpjux7xvf5aZwAr8kC0l9PWEo/s1600/Visitation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikIIsvfL3mXvk3IYwO8SO11RS1HJgcSThbe349QWATI2MXr7QBPk1jvbmU50gwBgEoOKizTsL40AmgZgS2991spYycAvj3lZJUsxfx7eNoAe4VozJeE1Vpjux7xvf5aZwAr8kC0l9PWEo/s400/Visitation.jpg" width="122" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), Detail of the <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">79 1/2 × 61 7/16 in. (202 × 156 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://turismo.comune.carmignano.po.it/?act=i&fid=6989&id=20150910112913231">Carmignano, Pieve di San Michele Arcangelo</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.themorgan.org/">Morgan Library & Museum</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Behind Elizabeth and her servant is an unadorned building. The structure's source may have been an actual building in Florence, a prison since demolished. It may also refer to a building seen in a 1522 fresco by Andrea del Sarto, the<i> Madonna Child and the Infant Saint John the Baptist</i>. This work is now destroyed but is known through surviving copies. It was painted on a wall of a tabernacle just outside of one of the city's gates. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQaTRBcmhNceIm-Rt-D6wZxxiQWp6drrOuX0owdmMjsiYmaqZ7yT1ce24m-GeF-YSwXKrMg-PWlq95Hk7LZbGTg8xN4wstftw35Xt0HxDtu6TycGtMsZ-kNI2dYcn_JLTMOBrb80G0CJQ/s1600/after-andrea-del-sarto500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="715" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQaTRBcmhNceIm-Rt-D6wZxxiQWp6drrOuX0owdmMjsiYmaqZ7yT1ce24m-GeF-YSwXKrMg-PWlq95Hk7LZbGTg8xN4wstftw35Xt0HxDtu6TycGtMsZ-kNI2dYcn_JLTMOBrb80G0CJQ/s320/after-andrea-del-sarto500.jpg" width="222" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Unknown Italian Artist after a lost fresco by Andrea del Sarto (1486 - 1530), </span><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i style="color: #0c343d;">Madonna and Child with Infant Saint John the Baptist (Porta a Pinti Madonna)</i><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">early 16th century, oil on wood, 21.8 x 15.4 in. (55.3 x 39 cm), </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="caret-color: rgb(12, 52, 61); font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://barber.org.uk/">Barber Institute of Fine Arts</a>, Birmingham, England</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="caret-color: rgb(12, 52, 61);"><span style="font-size: xx-small;"> </span></span></span></span><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: </span><span style="font-size: x-small;"><a href="http://barber.org.uk/" style="caret-color: rgb(12, 52, 61); font-family: georgia, "times new roman", serif;">Barber Institute of Fine Arts</a><span style="caret-color: rgb(12, 52, 61); color: #0c343d; font-family: "georgia" , "times new roman" , serif;">, Birmingham, England, Web site</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Andrea del Sarto's painting was considered so beautiful it was spared destruction when, in preparation for the siege of Florence (1529 - 1530) by the Imperial troops of Charles V, all buildings outside but closeby the city's walls were destroyed to prevent the enemy from using them to mount attacks. During the siege, Pontormo was working on the Carmignano <i>Visitation</i>. It is theorized that the painting was intended for a church that was demolished during the scorched-earth defense tactics of the Florentines. It may have ended up in the villa of the commissioning patron while another church or monastic location was found. By the early 18th century, the villa was sold and about the same time the work was recorded in the Carmignano church. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Pontormo, like many major artists, made references to earlier paintings by other artists as a form of homage. Pontormo never followed the exact example of others but obtained ideas for his own creations. Whatever the genesis, the Carmignano <i>Visitation</i> sand and gray colored regional architecture </span><span style="font-family: "georgia" , "times new roman" , serif;">serve to set the scene in a contemporary Tuscan cityscape. </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><u>The Painting's Coloration</u></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The striking coloration of the Carmignano <i>Visitation</i> remains remarkable today after almost 500 years. Intense saturated hues are startlingly vibrant. From Elizabeth's orange cloak against her lime green undergarment to Mary's blue mantle and pink robe's sleeve with a matching cloth entwined in her hair, colors draw attention. Mary's clothing colors are shown in reverse in the garments of her maid who is dressed in a pink cloak and blue-green dress with matching fabric twisted on top of her head and down her back. The head cloth of Elizabeth's attendant reflects that of her mistress. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">These bold colors may bring to mind Michelangelo's Sistine Chapel ceiling. Whether or not Pontormo went to Rome and saw the ceiling is not established but he would have been aware of it. Anyway, Pontormo had other models such as the Venetian masters to stimulate his color creativity. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_KhbF2W1NKh3YSNzvew4XK8dPTnOuzCae6UjTR0MGTelcyBQz_lEsbW_BA8ECdVu7P3J3UxdQTlHGRuHL7hzLdQKX4nf-VA-fqB09Q1a5_5tsZOxlJ_OpltaYIMz_xcacSu1djJdAdPU/s1600/1525769417074143-Fig.-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="785" data-original-width="1600" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_KhbF2W1NKh3YSNzvew4XK8dPTnOuzCae6UjTR0MGTelcyBQz_lEsbW_BA8ECdVu7P3J3UxdQTlHGRuHL7hzLdQKX4nf-VA-fqB09Q1a5_5tsZOxlJ_OpltaYIMz_xcacSu1djJdAdPU/s320/1525769417074143-Fig.-4.jpg" width="320" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), Detail of <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">black chalk, traces of white chalk, squared with red chalk, paper, </span></span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">12 4/5 × 9 1/2 in. (32.6 × 24 cm)</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.uffizi.it/en">Uffizi Galleries</a>, Florence</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.uffizi.it/en">Uffizi Galleries</a> Web site </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The women's voluminous garments nearly obscure a round object held by Mary's attendant. What she carries is more clearly seen in the sketch. Although not confirmed, it could be </span><span style="font-family: "georgia" , "times new roman" , serif;">a birth tray or bowl. These were decorative gifts given to new mothers to celebrate the successful birth of a child and were very popular in 15th- and 16th-century Tuscany. An excellent example is a 1526 - 1527 birth bowl by Pontormo showing the naming of St. John the Baptist.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><u>The Preparatory D</u></span></span><span style="color: #0c343d;"><u><span style="font-family: "georgia" , "times new roman" , serif;">rawing and the Painting</span></u></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Comparing the preparatory </span>drawing<span style="font-family: "georgia" , "times new roman" , serif;">, which has been trimmed on the left, to the painting shows changes Pontormo made from this final sketch to the finished work. Of particular note are facial expressions. The drawing's two attendants evince much sadness whereas, in the painting, they communicate thoughtfulness. Other modifications include the redesign of Mary's and her attendant's hair and head coverings along with their garments' folds and contours. Also prominent is the alteration of Elizabeth's left hand, noticeably the thumb's position. </span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The artist used a squaring technique not a cartoon to transfer the drawing design to the panel's surface. Square by square he enlarged the composition freehand maintaining the drawing's proportions. Scientific analysis conducted during the panel's restoration demonstrated that the artist made revisions not only on the painting's charcoal underdrawing but also while he painted. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The use of the squaring method instead of a cartoon may have been necessitated by circumstances. Cartoons, needing to be the size of the final work, used lots of paper which may have been in short supply during the siege of Florence. The squaring transfer technique would use only one sheet. No evidence of incising or pouncing that would denote a cartoon was observed during the panel's examination.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLQKaFAIGI5ua1jel1VXJ7LHEVGyzJsXCziKlMg8Ds_zhKTv7pYmvSjyPg8bkTb9yL1zKtzOkjCFaMGrPmP_TPLI0btXsfaxcXWZk2VmqqnCmhJq38Nw7AOe7AyVn7oDsELwKCMu42aVA/s1600/Pontormo%252C_visitazione%252C_1528-29_ca._%2528carmignano%252C_san_michele%2529_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1044" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLQKaFAIGI5ua1jel1VXJ7LHEVGyzJsXCziKlMg8Ds_zhKTv7pYmvSjyPg8bkTb9yL1zKtzOkjCFaMGrPmP_TPLI0btXsfaxcXWZk2VmqqnCmhJq38Nw7AOe7AyVn7oDsELwKCMu42aVA/s320/Pontormo%252C_visitazione%252C_1528-29_ca._%2528carmignano%252C_san_michele%2529_04.jpg" width="208" /></span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), Detail of the <i>Visitation</i>, 1528 - 1529,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, </span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">79 1/2 × 61 7/16 in. (202 × 156 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://turismo.comune.carmignano.po.it/?act=i&fid=6989&id=20150910112913231">Carmignano, Pieve di San Michele Arcangelo</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://commons.wikimedia.org/wiki/Main_Page">Wikimedia Commons</a> </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photographer: Sailko</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><u><span style="color: #0c343d;">The Everyday in the Painting</span></u></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The painting's two tradesmen, which were cut off from the drawing, emerged clearly in the course of the panel's cleaning. Dressed in tights with codpieces, they casually sit on a stone bench in front of the palace and seem to be engaged in conversation. These men go about their business oblivious to the significant meeting taking place. A housemaid at a palace window and a beast of burden at the corner of the building could indicate that everyday life went on while sacred events were occurring. This is very much like Crucifixion imagery where beyond the hill of Golgotha farmers plow their fields, shepherds guide their flocks and town activities continue.</span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Some suggest the two men may represent Joseph and Zechariah, the husbands of Mary and Elizabeth but they are costumed in contemporary garb and not at all like biblical figures. In contrast, the four women are draped in ancient-like mantles. </span></span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The Carmignano </span><i>Visitation</i> will no doubt delight viewers. Appreciated on many levels, whether simply enjoyed as a visual representation of four magnificent women or looked at in terms of its iconography and history, the panel is just simply gorgeous. </span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jacopo da Pontormo (1494 - 1556), <i>Portrait of a Young Man in a Red Cap (Carlo Neroni?)</i>, ca. 1530,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">oil on wood, 36.3</span><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"> × 28.7 in. (92.1 × 73 cm)</span></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">Collection of Mr. and Mrs. Tomilson Hill</span></span></span></div>
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<span style="font-size: x-small;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of </span><a href="https://www.themorgan.org/" style="font-family: georgia, "times new roman", serif;">Morgan Library & Museum</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><u><span style="color: #0c343d;"><span style="font-family: "georgia" , "times new roman" , serif;">Additional </span></span></u><u><span style="color: #0c343d;"><span style="font-family: "georgia" , "times new roman" , serif;">Works in the </span><a href="https://www.themorgan.org/" style="font-family: Georgia, "Times New Roman", serif;">Morgan</a><span style="font-family: "georgia" , "times new roman" , serif;"> Exhibit</span></span></u></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Almost as a bonus, the <a href="https://www.themorgan.org/" style="font-family: Georgia, "Times New Roman", serif;">Morgan</a> show includes two other Pontormo drawings (</span><span style="font-family: "georgia" , "times new roman" , serif;">a self-portrait and a study of a portrait of a man) i</span><span style="font-family: "georgia" , "times new roman" , serif;">n addition to a splendid painting of a man from a private collection. The painting has never before been exhibited in the United States. The sitter wears a tight-fitting cinched doublet with complex pleats and slashes and a red cap, the costume of the Florentine voluntary militia who fought against the Imperial forces attacking their city.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The exhibition's excellent catalogue edited by Bruce Edelstein, professor of art history and the </span><span style="font-family: "georgia" , "times new roman" , serif;">coordinator of graduate programs and advanced research at <a href="https://www.nyu.edu/">New York University</a>’s campus in Florence, Italy</span><span style="font-family: "georgia" , "times new roman" , serif;"> and Davide Gasparotto, the <a href="http://www.getty.edu/museum/">J. Paul Getty Museum</a>'s senior curator of Paintings, is worth obtaining. This essay is derived from the catalogue and a lecture by Professor Edelstein.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Please bear in mind that Pontormo's self-portrait drawing will only be on view until October 18, 2018 and the male portrait study will leave November 30, 2018. Most important, the <i>Visitation</i> sketch will be here only until November 2, 2018. Replacements are coming but catch these three before they depart. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><i style="color: #0c343d;">Pontormo: Miraculous Encounters</i></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">September 7 - January 6, 2019</span></div>
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<a href="https://www.themorgan.org/" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">The Morgan Library & Museum</span></a></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">225 Madison Avenue, Manhattan</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Tuesday through Thursday: 10:30 am to 5 pm</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Friday: 10:30 am to 9 pm</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Saturday: 10 am to 6 pm</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Sunday: 11 am to 6 pm</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-30278976619055054822018-08-16T09:20:00.000-07:002018-10-01T12:19:31.856-07:00 The Multitalented David Wojnarowicz Part II<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrV908KP5yYrDOFyg2GS1UtuZEiL3i6Nq36-unAdDKWiS_xQ8aKtsf9cGa02iknQStAVnpcpT6sz7aypdD6uohB7r5T_W0H-BMA3AN3orvgfUCmzWscnl5k5VDixZy_dsuxpBTPUpFHS4/s1600/large_DW_41.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1023" data-original-width="1200" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrV908KP5yYrDOFyg2GS1UtuZEiL3i6Nq36-unAdDKWiS_xQ8aKtsf9cGa02iknQStAVnpcpT6sz7aypdD6uohB7r5T_W0H-BMA3AN3orvgfUCmzWscnl5k5VDixZy_dsuxpBTPUpFHS4/s400/large_DW_41.jpg" width="400" /></span></a></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), <i>History Keeps Me Awake at Night (For Rilo Chmielorz)</i>, </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1986, </span><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">acrylic, spray paint, and collaged paper on composition board, </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">72 x 84 in. (170.2 x 200 cm). </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Collection of John P. Axelrod. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(32, 18, 77);">Photo: </span></span><span style="font-size: x-small;"><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"> <span style="caret-color: rgb(32, 18, 77);">Web</span> site</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">This is the second part of a two part blog post concerning the artist David Wojnarowicz (1954 - 1992) and the three concurrent New York City exhibitions on his work. For Part I see <a href="http://artwithhillary.blogspot.com/2018/07/the-multitalented-david-wojnarowicz.html">ArtWithHillary July 2018</a>. To begin, a brief review: The <a href="https://whitney.org/" style="text-align: left;">Whitney Museum of American Art</a> has a<span style="font-family: "georgia" , "times new roman" , serif;"> retrospective, </span><i style="color: #20124d; text-align: left;">David Wojnarowicz: History Keeps Me Awake at Night,</i><span style="font-family: "georgia" , "times new roman" , serif;"> named after one of the artist's paintings. </span><span style="text-align: left;">T</span><span style="text-align: left;">he exhibit at</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a><span style="text-align: left;">, </span></span><i style="font-family: georgia, "times new roman", serif; text-align: left;">Soon All This Will be Picturesque Ruins: </i><i style="font-family: georgia, "times new roman", serif; text-align: left;">The Installations of David Wojnarowicz, </i><span style="font-family: "georgia" , "times new roman" , serif; text-align: left;">displays reconfigurations of four of Wojnarowicz's installations as well as</span><span style="font-family: "georgia" , "times new roman" , serif;"> his film </span><i style="font-family: georgia, "times new roman", serif;">You Killed Me First</i><span style="font-family: "georgia" , "times new roman" , serif;"> and materials related to these works. </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>The </i></span><i style="color: #20124d; font-family: georgia, "times new roman", serif; text-align: left;">Unflinching Eye: The Symbols of David Wojnarowicz</i><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; text-align: left;">, the show at </span><a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif; text-align: left;">New York University</a><span style="font-family: "georgia" , "times new roman" , serif;">'s </span><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/" style="font-family: georgia, "times new roman", serif; text-align: left;">Mamdouha Bobst Gallery</a><span style="font-family: "georgia" , "times new roman" , serif;">, </span><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="font-family: georgia, "times new roman", serif; text-align: left;">Elmer Holmes Bobst Library</a> presents p<span style="font-family: "georgia" , "times new roman" , serif;">hotographs, journals, papers, books, posters and more </span><span style="font-family: "georgia" , "times new roman" , serif;">from the university's</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="font-family: georgia, "times new roman", serif;">Fales Library & Special Collections</a><span style="font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://dlib.nyu.edu/findingaids/html/fales/woj/" style="font-family: georgia, "times new roman", serif;">David Wojnarowicz Papers</a>.<span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">Taken together the exhibits offer an in-depth view of every aspect of the artist's career. </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), <i>History Keeps Me Awake Some Nights </i>poem, undated, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://dlib.nyu.edu/findingaids/html/fales/woj/" style="text-align: justify;">David Wojnarowicz Papers</a>, Series III, Box 5, Folder 137,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="text-align: justify;">Fales Library & Special Collections</a>, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"><a href="https://www.nyu.edu/" style="text-align: left;">New York University</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view from the exhibition <i style="color: #20124d; text-align: left;">The Unflinching Eye: </i></span></div>
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<i style="color: #20124d; text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Symbols of David Wojnarowicz</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 12 - September 30, 2018, </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a>, </span></span><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="font-family: georgia, "times new roman", serif;">Elmer Holmes Bobst Library</a>, <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">From poems, essays, books to photographs, paintings, music, publishing, performance and installation art and political activism, the self-educated, relatively self-taught Wojnarowicz created a body of work that belies his short life. His awesome talents were profoundly influential to generations of artists as well as LGBTQ activism and politics. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The painting <i>History Keeps Me Awake at Night (For Rilo Chmielorz)</i> deals with fear and violence faced by gay men in an inhospitable, frightening society. </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><i>For Rilo Chmielorz </i><span style="font-family: "georgia" , "times new roman" , serif;">refers to Rilo Chmielorz (1954 - ), a multi-media artist who was a close friend of Wojnarowicz and part of the East Village art scene in the 1980s. </span><span style="font-family: "georgia" , "times new roman" , serif;">The imagery in the work includes bodies, a gun, a world map, factory parts, money, newspaper advertisements, a broken classical column and a damaged equestrian statue. They refer to a world falling apart, like a declining ancient civilization. The fear, hostility and sadness that the painting evokes is similar to the feelings elicited by Wojnarowicz's poem</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><i style="font-family: georgia, "times new roman", serif;">History Keeps Me Awake Some Nights</i><span style="font-family: "georgia" , "times new roman" , serif;">. The lines</span><span style="font-family: "georgia" , "times new roman" , serif;"> "close up the world is so terrible and sad" and</span><span style="font-family: "georgia" , "times new roman" , serif;"> "stray dogs patrol forgotten streets" convey a devastated environment. The only antidote is loving and being close to someone. Alas, even this ultimately does not work and all become history. </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), <i>Peter Hujar Dreaming /Yukio Mishima: Saint Sebastian</i>,</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1982, </span><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">acrylic and spray paint on composition board, </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">48 × 48 in. (121.9 × 121.9 cm)</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Collection of Matthijs Edman. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view from the exhibition </span><span style="caret-color: rgb(32, 18, 77); text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>David Wojnarowicz: </i></span></span></span></div>
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<span style="caret-color: rgb(32, 18, 77); text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>History Keeps Me Awake at</i> <i>Night</i></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 13 - September 30, 2018</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a> </span></div>
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<span style="text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Encouraged by Peter Hujar (1934 - 1987), an important and influential downtown New York City photographer, his friend, mentor and, at one time lover, Wojnarowicz began to paint in the early eighties. <i>Peter Hujar Dreaming /Yukio Mishima: Saint Sebastian</i> conjures up dreamlike homoerotic imagery. Hujar lies with eyes closed. His mouth appears to be slightly open as if in deep slumber. Above and behind him are the outlines of a muscular torso pierced by arrows, a representation of Saint Sebastian. The saint, a Christian martyr, was tied up and shot by arrows because of his adherence to the Christian faith. Actually, he did not die from the arrow attack but was saved by a pious lady who nursed him back to health. Eventually, he was executed. </span><span style="font-family: "georgia" , "times new roman" , serif;">Depicted as a handsome male almost nude, the saint became associated with the gay community in</span><span style="font-family: "georgia" , "times new roman" , serif;"> the late nineteenth-century. He is considered the earliest male "pin-up."</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In Wojnarowicz's painting a small Asian male pleasuring himself floats on top of the saint's chest. He embodies the Japanese author Yukio Mishima (1925 - 1970), a professed homosexual. Mishima describes in his book <i>Confessions of a Mask</i> how he had his first erection and ejaculation while looking at the painting of <i>St. Sebastian</i></span> <span style="font-family: "georgia" , "times new roman" , serif;">by Guido Reni (1575 - 1642) in the </span><a href="http://www.museidigenova.it/it/aree-espositive/gabinetto-disegni-e-stampe" style="font-family: Georgia, "Times New Roman", serif;">Palazzo Rosso</a>, Genoa<span style="font-family: "georgia" , "times new roman" , serif;">. </span><span style="font-family: "georgia" , "times new roman" , serif;">T</span><span style="font-family: "georgia" , "times new roman" , serif;">he Reni painting was also a favorite of the homosexual Irish poet and playwright Oscar Wilde (1854 - 1900). </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">A cloud-like nimbus encircles the figures in the </span><i>Peter Hujar Dreaming</i> painting through which are barely discernible maps. In Wojnarowicz's iconography, maps can allude to both society's orderliness as well as the arbitrary separation of domains; and, when these maps are reconfigured or cut up, they imply a world in chaos and confusion. A dark background surrounding the nimbus completes the painting while a sprinkling of white dots punctuate the surface as if perforated by arrow shots. </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), <i>Journal</i>, 1983: Feb 10 - 11,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://dlib.nyu.edu/findingaids/html/fales/woj/" style="text-align: justify;">David Wojnarowicz Papers</a>, Series I, Box 1, Folder 16,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="text-align: justify;">Fales Library & Special Collections</a>, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"><a href="https://www.nyu.edu/" style="text-align: left;">New York University</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view from the exhibition <i style="color: #20124d; text-align: left;">The Unflinching Eye: </i></span></div>
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<i style="color: #20124d; text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Symbols of David Wojnarowicz</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 12 - September 30, 2018, </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a>, </span></span><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="font-family: georgia, "times new roman", serif;">Elmer Holmes Bobst Library</a>, <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">A journal drawing of a male nude torso on view at <a href="https://www.nyu.edu/" style="font-family: Georgia, "Times New Roman", serif;">New York University</a><span style="text-align: justify;">'s </span><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/" style="font-family: Georgia, "Times New Roman", serif;">Mamdouha Bobst Gallery</a> is similar to the painting's saint. The drawing, like the painting, has the figure's hands tied behind his back and his body wounded by five arrows. Saint Sebastian was also considered the patron saint against the plague and disease. As a protector for those suffering from illness, he connects even more to the gay community ravaged by AIDS. </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of Paul Marcus (1953 -), Susan Pyzow (1955 -), and David Wojnarowicz (1954 - 1992), </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><i>The Lazaretto: </i></span><i style="color: #20124d;">An installation about the current state of the AIDS crisis</i><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">,</span><i style="color: #20124d;"> </i></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1990/2018, multimedia installation, dimensions variable. </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">For this exhibition Paul Marcus and Susan Pyzow have recreated fragments of the original installation.</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a> exhibition <span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Soon All This Will be Picturesque Ruins: </i></span></span></span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The Installations of David Wojnarowicz, </i></span></span></span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">July 12 - August 24, 2018</span></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In the late 1980s Wojnarowicz channeled his art to focus attention on HIV/AIDS advocacy. Hujar had died from AIDS and Wojnarowicz was diagnosed HIV positive. In 1990 Wojnarowicz collaborated with the artists Paul Marcus (1953 -) and his wife Susan Pyzow (1955 - )</span></span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> in a formidable installation</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><span style="font-family: "georgia" , "times new roman" , serif;">about the then current state of the AIDS crisis. </span><span style="font-family: "georgia" , "times new roman" , serif;">The installation was called <i>La Lazaretto</i>, a word indicating a place where the sick are kept in quarantine. The work was installed </span><span style="font-family: "georgia" , "times new roman" , serif;">at </span><a href="https://www.ppowgallery.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">P•P•O•W</a><span style="font-family: "georgia" , "times new roman" , serif;">, which, at the time, represented Marcus and Wojanrowicz and currently has the reconfigured installation.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSwGquLipy1HpdNJzyu0aLFgY2Bjiw1PnP3qA6W7NpO4RgdIPijiXFdivu6ERlcSCXYHdQIvWKJCuy7gmi5zLvTSsTnXZ5imRUWrebfTekkVLT__coOYXsCkZvLPbryINrw10IZbnSLv4/s1600/IMG_0781.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSwGquLipy1HpdNJzyu0aLFgY2Bjiw1PnP3qA6W7NpO4RgdIPijiXFdivu6ERlcSCXYHdQIvWKJCuy7gmi5zLvTSsTnXZ5imRUWrebfTekkVLT__coOYXsCkZvLPbryINrw10IZbnSLv4/s400/IMG_0781.JPG" width="400" /></a></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view of Paul Marcus (1953 -), Susan Pyzow (1955 -), and David Wojnarowicz (1954 - 1992), </span></div>
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<span style="font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><i>The Lazaretto: </i></span><i style="color: #20124d; font-family: georgia, "times new roman", serif;">An installation about the current state of the AIDS crisis</i><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">,</span><i style="color: #20124d; font-family: georgia, "times new roman", serif;"> </i></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">1990/2018, multimedia installation, dimensions variable. </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">For this exhibition Paul Marcus and Susan Pyzow have recreated fragments of the original installation.</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a> exhibition <span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Soon All This Will be Picturesque Ruins: </i></span></span></span></div>
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<span style="color: #20124d; font-size: xx-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>The Installations of David Wojnarowicz, </i></span></span></span></div>
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<span style="color: #20124d; font-size: xx-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 12 - August 24, 2018</span></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The original installation had four parts: an outer maze with walls covered with black plastic trash bags like body bags and quotes from those inflicted with AIDS; a bedroom of an AIDS patient with medical paraphernalia and a television playing mindless commercial programming; a hallway lined with arms reaching out with tattooed numbers on each connecting those stricken with the illness to concentration camp victims and people seen as abhorrent; and, a room with a small boat with papier-mâché figures representing Cardinal O’Connor (1920–2000), Senator Jesse Helms (1921–2008), and President George H.W. Bush (1924–). The three were singled out for their opposition to safer-sex education, lack of commitment to the epidemic and discrimination against homosexuals. The boat floated in a material red sea filled with half-submerged figures, toys and block letters spelling out names. Exiting the labyrinth was a room filled with AIDS information including materials visitors could take with them. The recreation combines different parts of the 1990 work but nevertheless gives a unforgettable, haunting experience.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Although Wojnarowicz's subject matter revolved around "queerness," the sense of being an outsider and the politics of a health disaster which plagued a populace ignored and rejected by mainstream society, his work speaks about universal sentiments of acceptance, passion and caring. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In a 1988 interview Wojnarowicz explained that he was compelled to make things in order to make sense of his life and feel relieved about the experience of living and the experience of this world. The exhibitions on his works make his words palpable. Go see them. </span></div>
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<i style="text-align: left;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">David Wojnarowicz: History Keeps Me Awake at Night</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">July 13 - September 30, 2018</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); color: #20124d; font-family: "georgia" , "times new roman" , serif;"><a href="https://whitney.org/">Whitney Museum of American Art</a></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">99 Gansevoort Street, Manhattan</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">Hours:</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">Monday - Thursday 10:30 am - 6:00 pm*</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">Friday and Saturday 10:30 am - 10:00 pm</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d;"><span style="caret-color: rgb(32, 18, 77);">Sunday </span></span><span style="caret-color: rgb(32, 18, 77); color: #20124d;">10:30 am - 6:00 pm</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">*The </span><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney</a><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"> is open on Tuesdays only during July and August.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">Soon All This Will be Picturesque Ruins: </span></i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">The Installations of David Wojnarowicz</span></i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d;">July 12 - August 24, 2018</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.ppowgallery.com/">P•P•O•W</a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d;">535 West 22 Street, Manhattan</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d;">Hours:</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d;">Monday - Friday 10:00 am - 6:00 pm</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><i><br /></i></i></span></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><i>The Unflinching Eye: The Symbols of David Wojnarowicz</i></i></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i>July 12 - September 30, 2018</i></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a></i></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html">Elmer Holmes Bobst Library</a>, main floor</i></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><a href="https://www.nyu.edu/">New York University</a></i></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i>70 Washington Square South, Manhattan</i></span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i>Hours:</i></span></span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-24014757971985467872018-07-31T16:07:00.003-07:002018-09-12T18:31:11.938-07:00 The Multitalented David Wojnarowicz Part I<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3HxtBXHvf3ir3HnGNWynvmfpH9VAjFQzW90Js7IsVu8oWzAPkbIpO_sN401dVMbi1re_Lg8ZAwuiycm2QzpBbC44qdX8Vx-zeWZKw1ZyHPxNjnGvN9pkOBu8i7RQK0JFBpJsAiT2POA/s1600/2002_183+cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1188" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3HxtBXHvf3ir3HnGNWynvmfpH9VAjFQzW90Js7IsVu8oWzAPkbIpO_sN401dVMbi1re_Lg8ZAwuiycm2QzpBbC44qdX8Vx-zeWZKw1ZyHPxNjnGvN9pkOBu8i7RQK0JFBpJsAiT2POA/s400/2002_183+cropped.jpg" width="400" /></span></a></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), <i>Untitled</i> (<i>One day this kid . . .</i>), 1990, </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">photostat, 30 × 40 1/8 in. (76.2 × 101.9 cm), edition of 10.</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a>; </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">purchase with funds from the Print Committee 2002.183</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of The Estate of David Wojnarowicz and <a href="https://www.ppowgallery.com/">P.P.O.W Gallery</a>, New York, NY</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); font-family: "georgia" , "times new roman" , serif;">Photo: </span></span><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a> <span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77);">Press Image</span></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; text-align: justify;">David Wojnarowicz (1954 - 1992) was a poet, writer, photographer, painter, sculptor, printmaker, performance and installation artist, filmmaker and activist. He started a literary magazine with a writer friend and also a post-punk band with a couple of other artists. He performed, not with a musical instrument but by playing back sounds on a tape recorder that he had recorded. He accomplished all this in his life of 37 years. Wojnarowicz died of AIDS related complications in 1992. His contributions to the art world and the LGBTQ community are considerable. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAo2SEDE6rH86rz9O0tI9covHETkvKc60f83Th0WzoessAW1xEnoU4ZthlcF-fdf0L3f5MuM7E9aSDaOf6A_hpPNYtt8_V5cj0kpYw_xxtSGtON8OKY9jOj4MyPAIe1bDxm3O8i6vi5Q/s1600/_SP_5408-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1054" data-original-width="1600" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAo2SEDE6rH86rz9O0tI9covHETkvKc60f83Th0WzoessAW1xEnoU4ZthlcF-fdf0L3f5MuM7E9aSDaOf6A_hpPNYtt8_V5cj0kpYw_xxtSGtON8OKY9jOj4MyPAIe1bDxm3O8i6vi5Q/s400/_SP_5408-web.jpg" width="400" /></span></a></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(32, 18, 77); font-family: "georgia" , "times new roman" , serif;">David Wojnarowicz (1954 - 1992), <i>Heads of Family/Heads of State</i>, 1990,</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(32, 18, 77); font-family: "georgia" , "times new roman" , serif;"> multimedia installation, dimensions variable.</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(32, 18, 77);">Installation view of </span><a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a> exhibition <span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Soon All This Will be Picturesque Ruins: </i></span></span></span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The Installations of David Wojnarowicz, </i></span></span></span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">July 12 - August 24, 2018</span></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Courtesy of <a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;">Three exhibitions devoted to Wojnarowicz can be seen currently in New York. The </span><a href="https://whitney.org/" style="text-align: left;">Whitney Museum of American Art</a> has a comprehensive retrospective, </span><i style="color: #20124d; text-align: left;">David Wojnarowicz: History Keeps Me Awake at Night,</i> covering all aspects of the artist's career with the exception of his installation art. <a href="https://www.ppowgallery.com/" style="text-align: left;">P•P•O•W</a>, Wojnarowicz's long-term gallery, presents <i style="text-align: left;">Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz</i><span style="text-align: left;"> with f</span><span style="text-align: left;">our of the</span> artist's installations and his film <i>You Killed Me First</i> as well as materials related to these works. <span style="color: #20124d; text-align: left;">At </span><a href="https://www.nyu.edu/" style="text-align: left;">New York University</a>'s <a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/" style="text-align: left;">Mamdouha Bobst Gallery</a>, <a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="text-align: left;">Elmer Holmes Bobst Library</a>, the exhibit <i style="caret-color: rgb(32, 18, 77); color: #20124d; text-align: left;">The Unflinching Eye: The Symbols of David Wojnarowicz</i><span style="color: #20124d; text-align: left;"> uses</span> archival photographs, journals, papers, books and more from the <a href="https://library.nyu.edu/locations/fales-library-special-collections/">Fales Library & Special Collections</a> <a href="http://dlib.nyu.edu/findingaids/html/fales/woj/">David Wojnarowicz Papers</a> to explicate symbols Wojnarowicz used throughout his career. These shows connect with and cross-fertilize each other. To do justice to Wojnarowicz's extensive art and activism, this post will be in two parts, July and August 2018. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8JkBVi4VOWZFtWDppuU1pRaGFVKcQZSmgaIx6MOsUpdxOJ5Nnv7Qhcj96o0Et4cZ8Lv_7NCh5y4DU2I5nmi1VExNAhN90IGzBUhgCneOpEcYkaG4MJgDntM5tWJHbtKSldbru8QttF3o/s1600/IMG_0858.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8JkBVi4VOWZFtWDppuU1pRaGFVKcQZSmgaIx6MOsUpdxOJ5Nnv7Qhcj96o0Et4cZ8Lv_7NCh5y4DU2I5nmi1VExNAhN90IGzBUhgCneOpEcYkaG4MJgDntM5tWJHbtKSldbru8QttF3o/s400/IMG_0858.JPG" width="400" /></span></a></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), <i>One Day This Kid</i> manuscript, undated, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://dlib.nyu.edu/findingaids/html/fales/woj/" style="text-align: justify;">David Wojnarowicz Papers</a>, Series III, Box 4, Folder 67,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="text-align: justify;">Fales Library & Special Collections</a>, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"><a href="https://www.nyu.edu/" style="text-align: left;">New York University</a></span></div>
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<span style="font-size: x-small;">Installation view from the exhibition <i style="color: #20124d; font-family: georgia, "times new roman", serif; text-align: left;">The Unflinching Eye: </i></span></div>
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<i style="color: #20124d; font-family: georgia, "times new roman", serif; text-align: left;"><span style="font-size: x-small;">The Symbols of David Wojnarowicz</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 12 - September 30, 2018, </span></div>
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<span style="font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a>, </span></span><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="font-family: georgia, "times new roman", serif;">Elmer Holmes Bobst Library</a>, <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The artist's biography is not easy to recount since Wojnarowicz gave different accounts of his life at various times. What is definitively known is that his childhood was awful. He and his two siblings were verbally and physically abused. Mistreatments ran the gamut from being locked in an attic for hours without bathroom facilities, beatings, a placement in a boarding home where more abuse took place, a kidnapping by their father and more or less abandonment by their mother. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Wojnarowicz's father, from Detroit, was a seaman for passenger liners. He met his wife on a trip to Australia. She was ten years his junior. His occupation kept him away from the family for months which probably was best for he drank and would get violent with the children and his wife. He had a tremendous ability to inflict pain. He killed the children's pet rabbit and fed it to them making them eat it all. </span><span style="font-family: "georgia" , "times new roman" , serif;">Two years after Wojnarowicz was born, his parents separated. A final divorce came a year later giving custody to his mother. The children ended up living with the father and his second wife in New Jersey under strict rules and regulations. Eventually returning to their natural mother who was living in New York City, Wojnarowicz outlasted his brother and sister. They were thrown out by their mother for disobeying her. Wojnarowicz meanwhile entered High School of Music and Art. He had been a good student who skipped a grade but was not happy in high school and his grades suffered. During this period, he had an affair with a young man confirming his sexual proclivity. He began to turn tricks, hustling and ended up living on the street. In time, he took on menial jobs, obtained his high school diploma, got involved with poetry and the East Village art scene. There, in 1980, he met the photographer Peter Hujar (1934 - 1987) who became his lover, friend and mentor. Hujar encouraged Wojnarowicz to paint and created a supportive environment for the young artist. </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992), Journal, 1978, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://dlib.nyu.edu/findingaids/html/fales/woj/" style="text-align: justify;">David Wojnarowicz Papers</a>, Series III, Box 1, Folder 7,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="text-align: justify;">Fales Library & Special Collections</a>, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"><a href="https://www.nyu.edu/" style="text-align: left;">New York University</a></span></div>
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<span style="color: #20124d; font-size: x-small;">Installation view from the exhibition <i style="font-family: georgia, "times new roman", serif; text-align: left;">The Unflinching Eye: </i></span></div>
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<i style="font-family: georgia, "times new roman", serif; text-align: left;"><span style="color: #20124d; font-size: x-small;">The Symbols of David Wojnarowicz</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 12 - September 30, 2018, </span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a>, </span></span><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="font-family: georgia, "times new roman", serif;">Elmer Holmes Bobst Library</a>, <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Poetry, writing and photography occupied Wojnarowicz's early artistic efforts. He </span><span style="font-family: "georgia" , "times new roman" , serif;">was a voracious reader and prolific writer keeping diaries almost his entire life. There are some 31 in extant dating</span><span style="font-family: "georgia" , "times new roman" , serif;"> from 1971 until 1991. Over two dozen are on view at the </span><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/" style="text-align: left;">Mamdouha Bobst Gallery</a> and three can be seen in the <a href="https://whitney.org/" style="text-align: left;">Whitney Museum</a> retrospective. Written in school-type lined notebooks, words seem to pour out of him propelling the reader to continue. The writing is personal yet universal in affect. He may be writing about his particular response or thoughts but the feelings elicited are common. Reading </span><span style="font-family: "georgia" , "times new roman" , serif;">Wojnarowicz </span><span style="font-family: "georgia" , "times new roman" , serif;">may cause "aha moments," sudden insights or comprehension. This is </span><span style="font-family: "georgia" , "times new roman" , serif;">true for all his output whether prints, paintings or installations.</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">David Wojnarowicz (1954 - 1992),<i> When I Put My Hand on Your Body</i> manuscript, 1987</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="http://dlib.nyu.edu/findingaids/html/fales/woj/" style="text-align: justify;">David Wojnarowicz Papers</a>, Series III, Box 5, Folder 128,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="text-align: justify;">Fales Library & Special Collections</a>, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small; text-align: left;"><a href="https://www.nyu.edu/" style="text-align: left;">New York University</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view from the exhibition <i style="text-align: left;">The Unflinching Eye: </i></span></div>
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<i style="text-align: left;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Symbols of David Wojnarowicz</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 12 - September 30, 2018, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a>, </span></span><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html" style="font-family: georgia, "times new roman", serif;">Elmer Holmes Bobst Library</a>, <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif;">New York University</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Take his response to Hujar's death in the 1987 manuscript </span><i style="font-family: Georgia, "Times New Roman", serif;">When I Put My Hand on Your Body</i><span style="font-family: "georgia" , "times new roman" , serif;">. He writes about the loss of touching his beloved and how the memory of the physical fades with time. This was Wojnarowicz's first confrontation with his feelings of death. In 1990 he used a slightly revised version </span><span style="font-family: "georgia" , "times new roman" , serif;">in one of his prints,</span><span style="font-family: "georgia" , "times new roman" , serif;"> <i>Untitled (When I Put My Hands on Your Body)</i>.</span></div>
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<span style="color: #20124d;"><span style="color: #20124d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">David Wojnarowicz (1954-1992), </span></span><i style="font-family: georgia, "times new roman", serif; text-align: justify;"><span style="font-size: x-small;">Untitled (When I Put My Hands on Your Body)</span></i><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">, 1990,</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="caret-color: rgb(32, 18, 77);">gelatin</span> silver print with silkscreened text,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">26 × 38 in. (66 × 96.5 cm), edition of 3.</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Collection of Eric Ceputis and David W. Williams, </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">promised gift to the <a href="http://www.artic.edu/">Art Insititute of Chicago</a></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view from the exhibition </span><span style="caret-color: rgb(32, 18, 77); text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>David Wojnarowicz: </i></span></span></div>
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<span style="caret-color: rgb(32, 18, 77); text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>History Keeps Me Awake at</i> <i>Night</i></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 13 - September 30, 2018</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a> </span></div>
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<span style="text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">In this work, the words are printed in red over a black and white photograph of skeletons in an excavated Native American burial site. Wojnarowicz took the picture in 1989 in an Illinois museum (now closed) that was on the site of an ancient Indigenous community. The changes in the text's wording and punctuation marks from the earlier version are small but increase the essay's flow. The last line which in an earlier manuscript reads "All these moments will be lost in time like tears in rain" is modified to "All these moments will be lost in time like tears in the rain." The addition of the definite article "the" seems minor but substantially enhances the sentence's impact. Yet, in a 1992 reading of his own work for a benefit at the <a href="http://www.drawingcenter.org/">Drawing Center</a>, New York, he recited this text but eliminated the "the" in the last line. You can hear his presentation of this text along with another short piece and excerpts from two of his books at the </span><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif; text-align: left;">Whitney Museum</a> where a gallery is devoted to his readings. </div>
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<span style="color: #20124d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">David Wojnarowicz (1954-1992), </span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Science Lesson in 3D</i>, 1984,</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">acrylic on printed paper collage and paper maché, monofilament wire and nail, glass, rock and plastic toys,</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">34 x 13 x 13 in. (86.4 x 33 x 33 cm).</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Collection of Gail and Tony Ganz </span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Installation view from the exhibition </span><span style="caret-color: rgb(32, 18, 77); text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>David Wojnarowicz: </i></span></span></div>
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<span style="caret-color: rgb(32, 18, 77); text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>History Keeps Me Awake at</i> <i>Night</i></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">July 13 - September 30, 2018</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a> </span></div>
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<span style="text-align: justify;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Throughout his life Wojnarowicz used particular imagery over and over again in different contexts. Maps, money and frogs are a few of his recurring motifs. Each had a meaning to him as an outsider in what he called a "pre-invented" world. The maps and money represents both expansion of freedom and boundaries to it. Maps indicate the world open to exploration but also restrictions set by divisions of territories. Similarly, money could provide economic freedom but without it, cause constraints on autonomy. The frog symbolizes an outsider since as an amphibian it neither belongs fully to land or water.</span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 15.333332061767578px; text-align: start;">David Wojnarowicz </span></span><span style="caret-color: rgb(32, 18, 77); text-align: center;">(1954 - 1992)</span><span style="text-align: start;">, </span><i style="text-align: start;">Arthur Rimbaud in New York</i><span style="text-align: start;">, 1978–79</span><span style="text-align: start;">, 1990, </span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="text-align: start;">gelatin silver print, 8 × 10 in. (20.3 × 25.4 cm).</span></span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="text-align: start;">Image courtesy of the Estate of David Wojnarowicz and </span></span><span style="text-align: left;"><a href="https://www.ppowgallery.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">P•P•O•W</a> </span><span style="font-family: "georgia" , "times new roman" , serif; text-align: start;"> New York, NY</span></span></div>
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<span style="color: #20124d; font-size: x-small;"><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif;">Photo: </span><a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif;">Whitney Museum of American Art</a><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif;"> </span><span style="caret-color: rgb(32, 18, 77); color: #20124d; font-family: "georgia" , "times new roman" , serif;">Press Image</span></span></div>
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In the late 1970's he began a series of photographs taken in New York City of men wearing a mask of the French poet Arthur Rimbaud (1854 - 1891). Rimbaud had special significance for Wojnarowicz who identified with the poet's homosexuality and unconventional life. Rimbaud's father was eleven years older than his mother. He was home infrequently due to his military career and abandoned the family when Rimbaud was six. The poet's formal education ended when he was sixteen. He ran away from home to Paris, and at times lived on the street. Coincidentally, Rimbaud also died when he was 37 years old. </div>
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The Rimbaud images convey not only the connection between Wojnarowicz and the poet but also the resemblance between nineteenth-century Paris and New York City of the 1970s as centers of artistic creativity and bohemianism. Many consider these photos Wojnarowicz's first major art project. Rimbaud photographs are in both the <a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif; text-align: left;">Whitney Museum</a> and <a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/" style="font-family: georgia, "times new roman", serif; text-align: left;">Bobst Gallery</a> shows. The <a href="https://whitney.org/" style="font-family: georgia, "times new roman", serif; text-align: left;">Whitney</a> in addition has on display one of the masks used in the series complete with the rubber band used to keep it on the model's face and eye holes in the cardstock which appear to be burnt out by a lighted cigarette. The mask, by the way, is from <a href="https://www.nyu.edu/" style="font-family: georgia, "times new roman", serif; text-align: left;">New York University</a><span style="font-family: "georgia" , "times new roman" , serif;">'s</span> <a href="https://library.nyu.edu/locations/fales-library-special-collections/" style="font-family: georgia, "times new roman", serif;">Fales Library & Special Collections</a>.</div>
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<i><span style="font-family: "georgia" , "times new roman" , serif;">Untitled (One day this kid . . .)</span></i>, is probably the artist's most famous work. It shows a blown-up photograph of Wojnarowicz taken when he was about eight years old surrounded by text describing the homophobic reactions the child would be subject to in the future. The boy is innocent-looking, freckle-faced and smiling. The picture looks like a typical, innocuous school photograph parents would keep of the children in their wallets. The pleasantness and geniality of the picture is in stark contrast to the harrowing text. The words express what could and would happen to a boy who choose another male as his lover. The piece was eventually turned into a poster and postcards. There was also a German edition with German text and in 2012, it was reproduced posthumously in a edition of 100 as a fundraiser for <a href="https://www.printedmatter.org/">Printed Matter, Inc</a>. The image still resonates today.</div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The work was originally made for the artist's 1990 sole survey during his life time at the <a href="https://galleries.illinoisstate.edu/">University Galleries</a> of <a href="https://illinoisstate.edu/">Illinois State University</a>. It was not included in the show but was reproduced in a full-page plate in the exhibition's catalogue and appeared on announcement cards for subsequent venues. Wojnarowicz used it as a stand alone artwork in his installation <i>America: Heads of Family/Heads of State</i>, constructed for a 1990 exhibition at the <a href="https://www.newmuseum.org/">New Museum of Contemporary Art</a>, New York and, and presently recreated at </span><a href="https://www.ppowgallery.com/" style="font-family: georgia, "times new roman", serif; text-align: left;">P•P•O•W</a>. </div>
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<i><span style="font-family: "georgia" , "times new roman" , serif;">Untitled (One day this kid . . .)</span></i><span style="font-family: "georgia" , "times new roman" , serif;"> is hung on the back wall of the room-size installation that includes unframed photographs of politicians and the artist's family, two TV monitors, a papier-mâché head suspended from the center of the ceiling, a child's skeleton, and other objects placed on the floor. The total evokes a rage against those in power who were indifferent to the AIDS crisis and sorrow for all those that suffer because of their sexual orientation. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">More in the next blog post. </span></span><br />
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<i style="color: #20124d; text-align: left;"><span style="font-family: "georgia" , "times new roman" , serif;">David Wojnarowicz: History Keeps Me Awake at Night</span></i></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); color: #20124d; font-family: "georgia" , "times new roman" , serif;">July 13 - September 30, 2018</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); color: #20124d; font-family: "georgia" , "times new roman" , serif;"><a href="https://whitney.org/">Whitney Museum of American Art</a></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); color: #20124d; font-family: "georgia" , "times new roman" , serif;">99 Gansevoort Street, Manhattan</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); color: #20124d; font-family: "georgia" , "times new roman" , serif;">Hours:</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); font-family: "georgia" , "times new roman" , serif;">Monday - Thursday 10:30 am - 6:00 pm*</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); font-family: "georgia" , "times new roman" , serif;">Friday and Saturday 10:30 am - 10:00 pm</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d;"><span style="caret-color: rgb(32, 18, 77);">Sunday </span></span><span style="caret-color: rgb(32, 18, 77); color: #20124d;">10:30 am - 6:00 pm</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(32, 18, 77); font-family: "georgia" , "times new roman" , serif;">*The <a href="https://whitney.org/">Whitney</a> is open on Tuesdays only during July and August.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="font-family: "georgia" , "times new roman" , serif;">Soon All This Will be Picturesque Ruins: </span></i></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i><span style="font-family: "georgia" , "times new roman" , serif;">The Installations of David Wojnarowicz</span></i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">July 12 - August 24, 2018</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.ppowgallery.com/">P•P•O•W</a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">535 West 22 Street, Manhattan</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Hours:</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Monday - Friday 10:00 am - 6:00 pm</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><br /></i></span></span></span>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><i><i>The Unflinching Eye: The Symbols of David Wojnarowicz</i></i></span></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;">July 12 - September 30, 2018</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://library.nyu.edu/spaces/mamdouha-bobst-gallery/">Mamdouha Bobst Gallery</a></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://www.nyu.edu/academics/libraries/elmer-holmes-bobstlibrary.html">Elmer Holmes Bobst Library</a>, main floor</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;"><a href="https://www.nyu.edu/">New York University</a></span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;">70 Washington Square South, Manhattan</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;">Hours:</span></span></div>
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<span style="color: #20124d; font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(53, 28, 117); font-family: "georgia" , "times new roman" , serif;">Monday - Sunday 7:00 am to 11:00 pm</span></span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-2851642226490960082018-06-27T15:26:00.002-07:002018-08-02T09:18:42.231-07:00 The Changing Nature Of Landscapes<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcZVaafQ_mbN6ZDnWy8F5FcuY8peGsRuGqygp4Qz2JmmS4UuoCU_vFKwBkrH3JaZspjqO4izPlU5vT1CoKS5pivkbMm1J6yXzw5Z2CjHi-1KQxoRvFwZisjyufWBu3ega23A_1zdGOGzY/s1600/14_Sternfeld_LondonBridge_2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1119" data-original-width="1500" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcZVaafQ_mbN6ZDnWy8F5FcuY8peGsRuGqygp4Qz2JmmS4UuoCU_vFKwBkrH3JaZspjqO4izPlU5vT1CoKS5pivkbMm1J6yXzw5Z2CjHi-1KQxoRvFwZisjyufWBu3ega23A_1zdGOGzY/s400/14_Sternfeld_LondonBridge_2016.jpg" width="400" /></span></a></div>
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Joel Sternfeld (1944 - ), <i>London Bridge</i>, 2016, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">HD film, 16 min. 44 sec.</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a></span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of the artist</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">What is the sublime in nature? The exhibition <i>Landscapes after Ruskin: Redefining the Sublime</i>, at New York University's <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a>, addresses this question. With some 60 artworks by over 45 artists, from the </span></span><a href="http://www.hallartfoundation.org/collection" style="font-family: georgia, "times new roman", serif;">Hall Art Foundation and Hall Collection</a> in Reading, Vermont, <span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">the artist-curator Joel Sternfeld makes the case that contemporary landscapes' sense of the sublime is quite different from that of the nineteenth-century. </span>Paintings, sculptures, photography, videos are effectively installed to make this point. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2G-ZLLhir47ktXvoDQKfL9UF4W3T1T65xRJ1g2VDI9W43-g0c4PgjYvU9xZOVVS9biCnlrvEg4Q1hrevmv1vvwIBOUkwdy_97cC8D9FBkVMp8xmqR6OY5EJOgshdNSs1y5yRPdJaVP1I/s1600/1_Courbet_TheWave_c1869.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1249" data-original-width="1500" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2G-ZLLhir47ktXvoDQKfL9UF4W3T1T65xRJ1g2VDI9W43-g0c4PgjYvU9xZOVVS9biCnlrvEg4Q1hrevmv1vvwIBOUkwdy_97cC8D9FBkVMp8xmqR6OY5EJOgshdNSs1y5yRPdJaVP1I/s400/1_Courbet_TheWave_c1869.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Gustave Courbet (1819 - 1877), <i>La vague</i> (<i>The Wave</i>), c. 1869.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on canvas, 21 x 25 in. (53 x 64 cm),</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a></span></span><br />
<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Jeffrey Nintzel</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">For the later nineteenth-century, as articulated by the art critic, artist and patron John Ruskin (1819 - 1900), the principal role of the artist was to capture nature as it is. This was exemplified, according to Ruskin, by the artist J.M.W. Turner (1755 - 1851). Turner painted the awesomeness of our natural environment that not only inspired admiration and gave pleasure but also engendered fear - fear of nature's power and of being overwhelmed by natural forces. This was how the Victorians understood the sublime and is illustrated in the exhibit by </span><span style="font-family: "georgia" , "times new roman" , serif;">Gustave Courbet's </span><i style="font-family: georgia, "times new roman", serif;">La vague</i><span style="font-family: "georgia" , "times new roman" , serif;"> (</span><i style="font-family: georgia, "times new roman", serif;">The Wave</i><span style="font-family: "georgia" , "times new roman" , serif;">), c. 1869. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The painting depicts a windswept, frothing sea under an ominous dark clouded sky. The wild water scene is gripping and frightening. Man is no where to be seen. Nature gives cause for concern.</span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Eric Fischl (1948 - ), <i>Scenes from Late Paradise: Stupidity</i>, 2006 - 2007,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on linen, 84 x 108 in. (213 x 274 cm)</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a></span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of the artist</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">About 145 years later, Eric Fischl painted a seascape with an approaching storm. A lone swim-suit clad man walks along the beach where the sand meets the sea as the tide comes in. He appears to be oblivious to the unsettled weather. In the foreground, a surfing bodyboard has been left by its user. Compared to the Courbet painting, nature's power has been relegated to a secondary role. Man is dominant and leaves behind possessions with a disregard for an unspoiled environment. </span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view of the </span><span style="font-family: "georgia" , "times new roman" , serif;">exhibition </span><i style="font-family: georgia, "times new roman", serif;">Landscapes after Ruskin: Redefining the Sublime</i><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"> at New York University's </span><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Grey Art Gallery</a><span style="font-family: "georgia" , "times new roman" , serif;">, April 17 - July 7, 2018, </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Raymond Pettibon (1957 - ), <i>No Title</i> (<i>Wave Group</i>), 2004, </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Suite of 11 drawings comprising one work, </span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">ink and water color on paper, </span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a> </span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: Photo by Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Another look at waves are provided by Raymond Pettibon. His suite of ink and water color swells and surf captures the sublimity of a variety of seas. Forceful yet gorgeous and just a bit scary, Pettiibon's renderings conjure up a vision of never-ending movement. </span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">William Wegman (1943 - ), <i>Season's Greetings</i>, 2008,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil and postcards on wood panel, 12 x 15 in. (30 x 38 cm)</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a></span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of <a href="http://www.speronewestwater.com/">Sperone Westwater Gallery</a></span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The panel </span><i style="font-family: georgia, "times new roman", serif;">Season's Greetings</i><span style="font-family: "georgia" , "times new roman" , serif;"> by the photographer and painter William Wegman, seamlessly incorporates two souvenir postcards in a representation of a ski resort. One card is a winter photograph of the recreation spot; the other is a shot of the same area in the summer. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Although the image is bifurcated by seasons, it appears to be one continuous landscape. Both sides show vacationers in two-seater chairlifts. On the right snowy half, lift riders face the viewer. The nearest pair is apparently about to ski off their perch. Tracks in the foreground left by previous disembarked passengers mar the pristine snow.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In the warm weather scene on the left, the chairlift take pairs of tourists in summer garb up and down the mountain. Below the apparatus, resort workers are readied to assist the riders getting on and off the chairs. Curiously, the workers cast shadows resembling skis. Alas, the melted snow has exposed evidence of man's environmental threat. The ground on the hill slope is littered with waste.</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Christoph Draeger (1965 - ),<i> Pan Am 103</i>, 2003,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">acrylic paint jet on jigsaw puzzle, 4000 pieces,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">38 x 54 in. (96 x 137 cm)</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a> </span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">The artist Christoph Draeger prints on huge jigsaw puzzles images of natural and man-made disasters. One of his two works in the show </span></span><span style="font-family: "georgia" , "times new roman" , serif;">portrays the forward section of the wreckage of Pan Am Flight 103, </span><span style="font-family: "georgia" , "times new roman" , serif;">a regularly scheduled transatlantic flight, felled by a terrorist bomb in 1988. The other one </span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">depicts a 1992 aerial photograph of the destruction in Florida caused by Hurricane Andrew. </span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Detail of Christoph Draeger (1965 - ),<i> Pan Am 103</i>, 2003,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">acrylic paint jet on jigsaw puzzle, 4000 pieces,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">38 x 54 in. (96 x 137 cm)</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a> </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: Photo by Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Draeger combines a relaxing leisure pursuit with catastrophe alluding to the idea that a devastation for some could be pleasurable for others. </span></span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view of the </span><span style="font-family: "georgia" , "times new roman" , serif;">exhibition </span><i style="font-family: georgia, "times new roman", serif;">Landscapes after Ruskin: Redefining the Sublime</i><span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"> at New York University's </span><a href="https://greyartgallery.nyu.edu/" style="font-family: georgia, "times new roman", serif;">Grey Art Gallery</a><span style="font-family: "georgia" , "times new roman" , serif;">, April 17 - July 7, 2018, </span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">foreground: Ai Weiwei (1957 -), <i>Oil Spills</i>, 2006, porcelain, 10 pieces, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">left to right on walls: </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Mary Corse (1945 - ), <i>Untitled</i> (<i>Black Earth Series</i>), 1981, </span><span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">glazed ceramic, </span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Thomas Ruff (1958 - ), <i>Nacht 10, III</i>, 1992, C-print, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Florian Maier-Aichen (1973 - ), <i>Untitled</i> (<i>Mount Wilson</i>), 2002, Digital print</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a> </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: Photo by Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Abstract and semi-abstract artworks also communicate issues of concern. Ai Weiwei's take on oil spills in the guise of floor puddles of Chinese-made porcelain combine environmental pollution with run-away consumerism. This particular type of ceramic was highly valued for centuries and enormous quantities were exported worldwide. Florian Maier-Aichen takes a photograph of Los Angeles from the Mount Wilson Observatory some 15 miles away from the city and about 5,700 feet above sea level. From this angle, Los Angeles could be any sprawling metropolis. She makes the point that cities have become undistinguished, gobbling up more and more space and resources of our planet. Mary Corse's reflective abstraction comments on the way objects interact with their environment. Her dark, shiny, dark glazed ceramic mirrors reflect the surroundings along with the spectator looking at it. Colors and patterns transform under changing light and viewpoints.</span><br />
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Anselm Kiefer (1945 - ), <i>Velimir Chlebnikov. </i></span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Zeit, Maß der Welt</i> </span></span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">(<i>Velimir Chlebnikov. </i></span><span style="font-family: "georgia" , "times new roman" , serif;"><i>Time, Measure of the World</i>), 2004</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">mixed media, oil, chalk and lead,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">75 x 130 in. (190 x 330 cm)</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a> </span></span><br />
<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Photo: Jeffrey Nintzel</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Visitors will find works by other established artists such as Anselm Kiefer with his theme of war's destruction both on land and sea, </span><span style="font-family: "georgia" , "times new roman" , serif;">Joseph Beuys (1921 - 1986) who is represented by a photograph of an action he undertook in protest against deforestation as well as artworks by</span><span style="font-family: "georgia" , "times new roman" , serif;"> David Wojnarowicz (1954 - 1992), Gerhard Richter (1932 - ), George Baselitz (1938 - ) and </span><span style="font-family: "georgia" , "times new roman" , serif;">Bruce Nauman (1941 - ). </span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Carlos Motta (1978 - ), <i>Public Domain #6</i>, 2004,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">archival pigment print, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">20 x 30 in. (51 c 76 cm)</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a></span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">Courtesy of Kevin Bruk Gallery</span></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: <a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a> Press</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Other artists that may be under the art world radar screen but should be known include Carols Motta whose grainy prints of visitors to Ground Zero are documents of haunting reverence. In addition, Serban Savu (1978 -) who paints poetic scenes of land, sea and cityscapes under hazy curtains of blues and grays. They may be small in scale but not in thought. And, don't miss Tony Matelli's tour de force hyperrealistic sculptures of greenery. These "weeds" pop up from under walls offering amusement, but also sadness as closer inspection reveal their withering. As such, they become momento mori. </span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Tony Matelli (1971 -), <i>Weed</i> (2006/2008), </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">bronze, brass, stainless steel, and paint,</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">dimensions vary with installation</span></div>
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<span style="color: #0c343d; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a> </span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: Photo by Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The exhibit's most complex piece is Sternfeld's film <i>London Bridge </i>which takes a look at a day on Lake Havasu in Arizona. </span><br />
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Joel Sternfeld (1944 - ), <i>London Bridge</i>, 2016, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">HD film, 16 min. 44 sec.</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="http://www.hallartfoundation.org/collection">Hall Collection</a></span></span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Courtesy of the artis</span><br />
<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Image: Photo by Hillary Ganton</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">The lake was transformed by a billionaire real-estate developer into the second most popular tourist attraction in Arizona by importing a 1830 London bridge. Sternfeld focuses on an American dressed up in a traditional Venetian boating costume who maneuvers a gondolier about the lake. He sings arias in Italian whether alone or with customers in an attempt to recreate the sublime serenity of a leisurely ride along Venice's Grand Canal. His effort is thwarted by motorboats crowding the waterways and beer-drinking partyers on boats and the shore, dancing to disco music and carousing. The work captures moments of colliding cultures and</span><span style="font-family: "georgia" , "times new roman" , serif;"> merits viewers' attention for all of its 16 plus minutes and more. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The artist, writer, curator Chris Wiley's essay in the exhibition's catalogue reflects on what he calls the "innocent" sublime of Ruskin and the "calamitous" sublime that came after it. I can think of no more apt description of what this exhibit is about. Go see it.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i></i></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><i><i style="color: #0c343d;">Landscapes after Ruskin:</i></i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i><i style="color: #0c343d;">Redefining the Sublime</i></i></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">April 17 - July 7, 2018</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><a href="https://greyartgallery.nyu.edu/">Grey Art Gallery</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;"><a href="https://www.nyu.edu/">New York University</a></span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">100 Washington Square East, Manhattan</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Hours:</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Tuesdays, Thursdays, Fridays: 11:00 am – 6:00 pm</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Wednesdays: 11:00 am – 8:00 pm</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Saturdays: 11:00 am – 5:00 pm</span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Closed Sundays and Mondays. </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Also closed Thanksgiving Weekend, </span></div>
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<span style="color: #0c343d; font-family: "georgia" , "times new roman" , serif;">Memorial Day Weekend, and Independence Day.</span></div>
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-48812319119986853822018-05-23T16:21:00.003-07:002019-07-25T14:37:50.159-07:00 Two Different Perspectives On Looking At Tapestries and Paintings<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ZmucyyuuILV2Z4BjzpJHD9WheyCq3oVrPtC0S_gfUPZ8uKlHsCnlkcEOplJXEYZtWqVVjPGd84V1ZuZq-5vE9VycBy2Z5cjKCAnXBRt_jqQeQYtEHSBuSDCjerKxaFa6ARfs0QDr2OI/s1600/IMG_0279.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ZmucyyuuILV2Z4BjzpJHD9WheyCq3oVrPtC0S_gfUPZ8uKlHsCnlkcEOplJXEYZtWqVVjPGd84V1ZuZq-5vE9VycBy2Z5cjKCAnXBRt_jqQeQYtEHSBuSDCjerKxaFa6ARfs0QDr2OI/s400/IMG_0279.JPG" width="300" /></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Detail of <i>Saint Veronica</i>, Flemish, probably Brussels, ca. 1525, </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">wool, silk, gilded silver metal-wrapped threads </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(18-21 warps per inch, 7-8 per cm.), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">0verall: 68 × 51 in. (172.7 × 129.5 cm)</span><br />
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<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
<span style="font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"></span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">For over 300 years, from the late fourteenth century to the early eighteenth century, tapestries were more valued than paintings.* Today this is the opposite. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The tapestries' early high-ranking among art forms is attributed to their functionality, complexity of production, cost of materials as well as aesthetic appeal. Only the rich could afford them. The large tapestries insulated cold, drafty rooms in addition to bringing color and visual warmth to dim spaces. The installation of a set of four seventeenth-century French wall hangings in gallery 531 (Decorative Arts Under Louis XIV), <a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York gives visitors a sense of what it would be like to be in a room hung with tapestries.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg13hOC8gayoTT21Aj_ZsC69UE3CBGoLJbwNiq3P_YfqttttaSnVJ9IPm-ZjC9RYnO59xdfNKmFB94JdZASGMmIEO4dBFbYktq5h_6h9kWf_M4h0SZNn_6RI_BVgMwdKXTw_CXqrCtI2bM/s1600/IMG_0382.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg13hOC8gayoTT21Aj_ZsC69UE3CBGoLJbwNiq3P_YfqttttaSnVJ9IPm-ZjC9RYnO59xdfNKmFB94JdZASGMmIEO4dBFbYktq5h_6h9kWf_M4h0SZNn_6RI_BVgMwdKXTw_CXqrCtI2bM/s400/IMG_0382.JPG" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">I<span style="color: #7f6000;">nstallation view of <i>Seasons and Elements </i>(set of four wall hangings), </span></span></div>
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<span style="color: #7f6000;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">p</span><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">ossibly after a design by Charles Le Brun (1619 – 1690), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">b</span><span style="font-family: "georgia" , "times new roman" , serif;">order probably designed by Jean Lemoyen le Lorrain (1637/38–1709), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">ca. 1683, c</span><span style="font-family: "georgia" , "times new roman" , serif;">anvas; silk, wool, and metal-thread embroidery in tent stitch,</span></span></div>
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<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Gallery 531, </span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In traditional paintings, the painting's surface is like an open window through which the subject of the work is seen. With tapestries, however, partly because of their considerable size, the viewer feels himself within the composition. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><i style="font-family: georgia, "times new roman", serif;"><br /></i></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The painting, </span><i style="font-family: georgia, "times new roman", serif;">The Rest on the Flight into Egypt</i><span style="font-family: "georgia" , "times new roman" , serif;">, ca. 1540, </span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, illustrates the "view through the window" effect.</span></span><br />
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<span style="font-size: x-small;"><span style="color: #7f6000;"><span style="font-family: "georgia" , "times new roman" , serif;">Installation view of </span></span><i style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: georgia, "times new roman", serif;">The Rest on the Flight into Egypt</i><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, ca. 1540,</span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"></span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-size: x-small;">by a follower of Quentin Metsys (Netherlandish, mid-16th century) </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-size: x-small;">and Master of the Liège Disciples at Emmaus (Netherlandish, active mid-16th century), </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-size: x-small;">oil on wood, 37 1/2 x 30 1/4 in. (95.3 x 76.8 cm),</span></span><br />
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<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="text-decoration: none;">Metropolitan Museum of Art</a>, New York</span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #7f6000; font-size: x-small;">Photo: Hillary Ganton</span></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><i><br /></i></span>
<span style="font-family: "georgia" , "times new roman" , serif;">Mary and her son Jesus are portrayed in the foreground, close to the viewer. Behind them i</span><span style="font-family: "georgia" , "times new roman" , serif;">n the middle distance to the right, we see Joseph and a donkey.</span><br />
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYZix9lFfcVmEfWALGJM5J-NrGEFa5sPzgy3MyqGIYRTxWDl7LTPoxOTy0d9LuBhm1o9eFDKgowLdU-NEsWlzFKB8A6on91VhklW1JplVcFRIlRvE68ek3nE2NuWOUR53AiEu-gh3JOQ/s1600/IMG_0221.JPG" imageanchor="1" style="clear: right; font-family: -webkit-standard; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYZix9lFfcVmEfWALGJM5J-NrGEFa5sPzgy3MyqGIYRTxWDl7LTPoxOTy0d9LuBhm1o9eFDKgowLdU-NEsWlzFKB8A6on91VhklW1JplVcFRIlRvE68ek3nE2NuWOUR53AiEu-gh3JOQ/s400/IMG_0221.JPG" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000;">Detail of </span></span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The Rest on the Flight into Egypt</i>, ca. 1540, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">by a <i>f</i></span><span style="color: #7f6000; font-size: x-small;">ollower of Quentin Metsys (Netherlandish, mid-16th century) </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">and Master of the Liège Disciples at Emmaus (Netherlandish, active mid-16th century), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on wood, 37 1/2 x 30 1/4 in. (95.3 x 76.8 cm)</span><br />
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The </span><i style="font-family: georgia, "times new roman", serif;">Flight into Egypt</i><span style="font-family: "georgia" , "times new roman" , serif;"> refers to the story in the Gospel of Matthew where Mary and Joseph flee to Egypt with Jesus to escape King Herod's massacre of male newborns. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The <i>Rest on the Flight into Egypt</i>, recounted by early Christian writers, gave artists the opportunity to paint detailed imaginary landscapes. This is clearly demonstrated in the <a href="https://www.metmuseum.org/">Metropolitan Museum</a>'s panel.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl267S8oUpOOL_iY-QvZgcyZ4HWbN-UnBcZi14eGysZQEcpCtEsQMO-O1onMmm3N3NxcjNf3IIfrd5OoimSv-A9LSfvijqANQCSXoSREH6FOfQ9SCMBJa4ehMJVrzP3VvJjU9nouprKQ8/s1600/IMG_0224.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl267S8oUpOOL_iY-QvZgcyZ4HWbN-UnBcZi14eGysZQEcpCtEsQMO-O1onMmm3N3NxcjNf3IIfrd5OoimSv-A9LSfvijqANQCSXoSREH6FOfQ9SCMBJa4ehMJVrzP3VvJjU9nouprKQ8/s400/IMG_0224.JPG" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000;">Detail of </span></span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The Rest on the Flight into Egypt</i>, ca. 1540, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">by a <i>f</i></span><span style="color: #7f6000; font-size: x-small;">ollower of Quentin Metsys (Netherlandish, mid-16th century) </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">and Master of the Liège Disciples at Emmaus (Netherlandish, active mid-16th century), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on wood, 37 1/2 x 30 1/4 in. (95.3 x 76.8 cm)</span><br />
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Executed in various </span></span><span style="font-family: "georgia" , "times new roman" , serif;">atmospheric</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">shades of gray suggesting distance, the painting's right background shows a countryside and city. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5MtZ8NLmysdCr_hHmtynWptw23vZIY0DtFPafEBS6oftdBQVYhqnbZRgngTpVoxTw4F5k9Pe9nc5hl70dqyyL4Pd6WnSfqR-CCnd-kiSKqameO1D6dpENKcG9ypfTjejA2s9ul8xDDS0/s1600/IMG_0223.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5MtZ8NLmysdCr_hHmtynWptw23vZIY0DtFPafEBS6oftdBQVYhqnbZRgngTpVoxTw4F5k9Pe9nc5hl70dqyyL4Pd6WnSfqR-CCnd-kiSKqameO1D6dpENKcG9ypfTjejA2s9ul8xDDS0/s400/IMG_0223.JPG" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #7f6000;">Detail of </span></span><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The Rest on the Flight into Egypt</i>, ca. 1540, </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0); color: #7f6000; font-size: x-small;">by a <i>f</i></span><span style="color: #7f6000; font-size: x-small;">ollower of Quentin Metsys (Netherlandish, mid-16th century) </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">and Master of the Liège Disciples at Emmaus (Netherlandish, active mid-16th century), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on wood, 37 1/2 x 30 1/4 in. (95.3 x 76.8 cm)</span><br />
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">A scene of violence takes place in a village setting in the left background. Running figures are being chased and other figures on the ground are being beaten. Far off, on the road leading in and out of town, soldiers on horseback are ready to continue Herod's carnage.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">A spectator standing in front of such a painting, looks through to a world beyond. A tapestry on the other hand does impart a different experience.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXdQow320vxJEYxbMc7TBotOKQeNtH997Vvwb3TTfHdYkcQyb1ROxeRlOMmMnL78ZOvLFfXNn-8bdWmms_xiHJf4wsTfWS0ScNpZ4b8ZE0IeRZeFc8zlEt22Y8GwOuZAtet2EXpw9dEE/s1600/DP-14356-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1224" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXdQow320vxJEYxbMc7TBotOKQeNtH997Vvwb3TTfHdYkcQyb1ROxeRlOMmMnL78ZOvLFfXNn-8bdWmms_xiHJf4wsTfWS0ScNpZ4b8ZE0IeRZeFc8zlEt22Y8GwOuZAtet2EXpw9dEE/s400/DP-14356-001.jpg" width="305" /></a></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Saint Veronica</i>, Flemish, probably Brussels, ca. 1525, </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">wool, silk, gilded silver metal-wrapped threads </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(18-21 warps per inch, 7-8 per cm.), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">0verall: 68 × 51 in. (172.7 × 129.5 cm)</span><br />
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">Expansive wall coverings makes it possible to show life-size figures and backgrounds that are so big an observer can imagine walking into the represented space. The view is unlike a window through which one sees things. Rather, the depictions convey a palpable sense that the spectator is actually in the physical arena of what is portrayed. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);"><br /></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);">On a somewhat smaller scale, the </span></span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum</a>'s <i style="font-family: georgia, "times new roman", serif;">Saint Veronica</i><span style="font-family: "georgia" , "times new roman" , serif;"> tapestry, approximately 5 1/2 by 4 feet, is an example of this illusion. The saint is seen holding up the cloth she had given Christ to dry his bloodied, sweaty face on the way to his crucifixion. The image of Christ's face became imprinted on the cloth. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);"></span></span>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXBdoDrHxlKbY9R0qcrvl3aBFXgu46iSdDKz8Jdly3e9nZ8LwyEFoaxpw_wEds7rCMWiQmJiSi2ANSE5PZs1CNa3cbdMa8SA7KAqAe6i7J5nWe2cwbffFfnVHz0hpT0aOLSJr0fGyoLTQ/s1600/IMG_0287.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXBdoDrHxlKbY9R0qcrvl3aBFXgu46iSdDKz8Jdly3e9nZ8LwyEFoaxpw_wEds7rCMWiQmJiSi2ANSE5PZs1CNa3cbdMa8SA7KAqAe6i7J5nWe2cwbffFfnVHz0hpT0aOLSJr0fGyoLTQ/s400/IMG_0287.JPG" width="300" /></a></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="caret-color: rgb(127, 96, 0);"><span style="font-size: x-small;"> <span style="color: #7f6000; text-align: center;">Detail of</span><span style="color: #7f6000; text-align: center;"> </span><i style="color: #7f6000; text-align: center;">Saint Veronica</i><span style="color: #7f6000; text-align: center;">, Flemish, probably Brussels, ca. 1525, </span></span></span></span></div>
<div style="text-align: center;">
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">wool, silk, gilded silver metal-wrapped threads </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(18-21 warps per inch, 7-8 per cm.), </span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">0verall: 68 × 51 in. (172.7 × 129.5 cm)</span><br />
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">on view in the exhibition <i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #7f6000; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
<div style="caret-color: rgb(51, 51, 51); font-family: Georgia, serif;">
<span style="color: #7f6000; font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif; text-decoration: none;">Metropolitan Museum of Art</a><span style="font-family: "georgia" , "times new roman" , serif;">, New York, </span><span style="font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Veronica appears to be coming into the observer's realm as the top of her head overlaps the scene's enclosing border. Behind her, the middle and far background landscapes have biblical allusions. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The tapestry works on three planes or spatial relationships. There is the plane of the room's walls which is flush with the tapestry's woven frame. There is the plane or space that recedes back into the landscape behind and around the main figure and, there is the plane or space of the viewer which the saint and what she is holding appears to have entered. </span><br />
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<span style="font-size: x-small;"><span style="color: #7f6000;"><span style="font-family: "georgia" , "times new roman" , serif;">View of <i>Shepherds and Shepherdesses Dancing</i>, </span></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="caret-color: rgb(127, 96, 0); text-align: justify;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York, g</span></span></span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">allery 549. </span></div>
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<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">From a set of tapestries of mythological subjects after Giulio Romano, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">designed 1684–86, woven 1689–92, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">c</span><span style="font-family: "georgia" , "times new roman" , serif;">artoon painted by Pierre Monier (French, Blois 1641–1703 Paris), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">w</span><span style="font-family: "georgia" , "times new roman" , serif;">oven in the Manufacture Nationale des Gobelins (French, established 1662), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">woven in the workshop directed by Jean Le Febvre the Elder (active 1662–1700), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">silk and metal thread </span><span style="font-family: "georgia" , "times new roman" , serif;">(20-26 warps per inch, 8-12 per cm.)</span><span style="font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">H. 144 x W. 138 inches (365.8 x 350.5 cm)</span></div>
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<span style="font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span><br />
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Another later tapestry, </span><i style="font-family: georgia, "times new roman", serif;">Shepherds and Shepherdesses Dancing</i><span style="font-family: "georgia" , "times new roman" , serif;">, </span><span style="font-family: "georgia" , "times new roman" , serif;">on display at the </span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a>, gallery 549, depicts t<span style="font-family: "georgia" , "times new roman" , serif;">hree men and three women dancing in a woodland setting. A pile of musical instruments lies on the ground in front of the dancers next to a stream. </span><br />
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<span style="font-size: x-small;"><span style="color: #7f6000;"><span style="font-family: "georgia" , "times new roman" , serif;">Detail of <i>Shepherds and Shepherdesses Dancing</i>, </span></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="caret-color: rgb(127, 96, 0); text-align: justify;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York, g</span></span></span><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">allery 549. </span></div>
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<span style="font-size: x-small;"><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">From a set of tapestries of mythological subjects after Giulio Romano, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">designed 1684–86, woven 1689–92, </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">c</span><span style="font-family: "georgia" , "times new roman" , serif;">artoon painted by Pierre Monier (French, Blois 1641–1703 Paris), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">w</span><span style="font-family: "georgia" , "times new roman" , serif;">oven in the Manufacture Nationale des Gobelins (French, established 1662), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">woven in the workshop directed by Jean Le Febvre the Elder (active 1662–1700), </span></span></div>
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<span style="color: #7f6000; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">silk and metal thread </span><span style="font-family: "georgia" , "times new roman" , serif;">(20-26 warps per inch, 8-12 per cm.)</span><span style="font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">H. 144 x W. 138 inches (365.8 x 350.5 cm)</span></div>
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<span style="font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">, New York</span></span><br />
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: Hillary Ganton</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">The large scale and three-dimensionality of the frontal plane entices spectators to step in and join the fun. With imagination, the viewer could feel like he or she is doing just that. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The immediacy of tapestries was taken up by huge mural painters starting in the Renaissance. This is also the objective of today's Virtual Reality. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The above is an attempt to present the case for a distinctive response to two art forms, tapestries and paintings. In general, tapestries have been neglected and overlooked by contemporary museum visitors. Readers, it is hoped, will no longer let these woven works go unnoticed. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">*See <a href="http://artwithhillary.blogspot.com/2018/04/">ArtWithHillary April 2018</a> and <a href="http://artwithhillary.blogspot.com/2015/02/">February 2015</a>.</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><i>Relative Values: The Cost of Art in the Northern Renaissance</i></span><br />
<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;"><a href="https://www.metmuseum.org/" style="text-decoration: none;">Metropolitan Museum of Art</a></span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">1000 Fifth Avenue, Manhattan</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Open Seven Days a Week</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Sunday – Thursday 10 a.m. – 5:30 p.m.</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Friday and Saturday 10 a.m. – 9 p.m.</span></div>
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<span style="color: #7f6000; font-family: "georgia" , "times new roman" , serif;">Closed Thanksgiving Day, December 25, January 1, and the first Monday in May. </span><br />
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-30606224736371389682018-04-24T19:56:00.000-07:002019-07-25T14:33:54.732-07:00 Cow Currency As A System Of Pricing<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8_goAtngXwyj6jcOkN6Me2wC5wDclGCR-lL12oJPjVeYu06FkdOU4YxYcnYvchAcvpFG36XwPKZtmVMQ1rqtd_NG31bpZLEW7-0X6gKFbeH4oUKvfth5iks-zIObsFKWHeRhnagahVPQ/s1600/MM30203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1155" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8_goAtngXwyj6jcOkN6Me2wC5wDclGCR-lL12oJPjVeYu06FkdOU4YxYcnYvchAcvpFG36XwPKZtmVMQ1rqtd_NG31bpZLEW7-0X6gKFbeH4oUKvfth5iks-zIObsFKWHeRhnagahVPQ/s400/MM30203.jpg" width="288" /></span></a></div>
<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Albrecht Dürer (1471 - 1528), <i>The Martyrdom of Saint Catherine</i>, ca. 1498,</span><br />
<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">black ink on carved pearwood,</span><br />
<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">15 1/2 × 11 1/8 × 1 in. (39.4 × 28.3 × 2.6 cm)*</span><br />
<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span><br />
<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;"> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">During the northern Renaissance a carved wood printing block by the renowned 15th/ 16th-century German artist </span><span style="font-family: "georgia" , "times new roman" , serif;">Albrecht Dürer,</span><span style="font-family: "georgia" , "times new roman" , serif;"> and a fake sculptural </span><span style="font-family: "georgia" , "times new roman" , serif;">relief attributed to him were more expensive than one of his original prints. What caused these differences in price and other questions concerning the complexity of valuation are addressed in the </span><a href="https://www.metmuseum.org/" style="font-family: Georgia, "Times New Roman", serif;">Metropolitan Museum of Art</a>'s <span style="font-family: "georgia" , "times new roman" , serif;">intriguing exhibition </span><i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: The Cost of Art in the Northern Renaissance</i><span style="font-family: "georgia" , "times new roman" , serif;">.</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Many of the show's 63 objects, all but one from the museum's collections, have never been out of storage and most will be new to visitors. Some have not been seen since being acquired in 1917.</span></span><br />
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Saint Veronica</i>, Flemish, probably Brussels, ca. 1525, </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">wool, silk, gilded silver metal-wrapped threads </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">(18-21 warps per inch, 7-8 per cm.), </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">0verall: 68 × 51 in. (172.7 × 129.5 cm)</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;">Photo: </span><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">The Metropolitan Museum of Art</a><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;"> Web site</span></span><br />
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">The show's curator, Elizabeth Cleland, Associate Curator, Department of European Sculpture and Decorative Arts, a specialist in tapestries, had long sought to inform the public about the prestige and value of tapestries when they were new. From the late 14th century through the early 18th century, tapestries far surpassed the cost and significance of paintings. Today this is reversed. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Since pricing is meaningful only relative to other costs, Ms. Cleland set about researching the comparison prices of objects during the northern Renaissance. Her archival studies focused on 16th-century contracts, guild prices, household inventories, evaluations of royal collections and other financial records. It was difficult, however, to translate relative purchasing power. There were numerous currencies in use and two monetary bases, gold and silver, used throughout the period. To clarify valuations, Ms. Cleland first converted the average price of the exhibit's objects into their silver equivalent. But she felt prices in silver weight would not be meaningful and effective to the viewers. Instead, she came up with a unique idea. </span></span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Follower of Quentin Metsys (Netherlandish, mid-16th century) </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">and Master of the Liège Disciples at Emmaus (Netherlandish, active mid-16th century), </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>The Rest on the Flight into Egypt</i>, ca. 1540, </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">oil on wood, 37 1/2 x 30 1/4 in. (95.3 x 76.8 cm)</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In the northern Renaissance, milking cows were an important resource </span></span></span><span style="font-family: "georgia" , "times new roman" , serif;">throughout Europe.</span><span style="font-family: "georgia" , "times new roman" , serif;"> Their prices held steady at 175 grams of silver per cow. Ms. Cleland thought objects</span><span style="font-family: "georgia" , "times new roman" , serif;"> could be better expressed in the form of "cow" currency. </span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><span style="font-family: "georgia" , "times new roman" , serif;">As such, in the 16th century a door tapestry of <i>St. Veronica</i>, ca. 1525, would be valued at 52 cows which was more than ten times the contemporaneous price of a painting about the same size. Thus, <i>The Rest on the Flight into Egypt</i>, ca. 1540, could be had at 5 cows. Ms. Cleland</span><span style="font-family: "georgia" , "times new roman" , serif;"> also calculated what other things one cow could buy: for example, the wages for 59 days of an unskilled laborer in London and Antwerp or, 35 days of a skilled worker in the same market. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Why were tapestries so highly valued in the 16th century? </span><span style="font-family: "georgia" , "times new roman" , serif;">The range of values depends on many things, but can be divided into intrinsic and extrinsic features. The materials used to make the object may be quite costly or rare and the work involved in making the article may take a long time. Artistic value, geographic distance from the market place or a belief in the object's magic or religious power also influence price. Tapestries were made of wool, silk and often thread wrapped in strips of silver or gold. The tapestries were usually enormous, covering wall to wall and ceiling to floor and came in sets of five to up to ten different tapestries. They depicted narrative scenes of historical, religious or allegorical nature. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Making tapestries took months and involved highly trained artisans such as weavers, designers and painters. Only the wealthiest could afford them which meant generally royalty. They were used to cover drafty and dark palace rooms, offering warmth and color. Those threaded with metal would glimmer in candlelight. They were not intended for permanent display and could be rolled up easily to store and transport from one palace to another. Compared to tapestries, paintings were uncomplicated and reasonably priced for the mercantile class.</span></span><br />
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">View of glass and stoneware objects arranged in hierarchy of value </span></span><br />
<span style="font-size: x-small;"><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif;">in the exhibition </span><i style="font-family: Georgia, "Times New Roman", serif;">Relative Values: </i></span><i style="color: #351c75; font-family: georgia, "times new roman", serif;">The Cost of Art in the Northern Renaissance</i><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;">, </span></span><br />
<span style="font-size: x-small;"><a href="https://www.metmuseum.org/" style="font-family: georgia, "times new roman", serif;">Metropolitan Museum of Art</a><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;">, New York, </span></span><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">August 7, 2017 - June 23, 2018</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"></span><span style="font-family: "georgia" , "times new roman" , serif;">To illustrate the hierarchy of value visually, Michael Langley, an exhibition designer at the museum, devised a clever installation. He positioned objects in groupings indicating the relative cost of the raw material by height. The higher the placement the pricier the material. He also used color as a value indicator by associating works with particular hues ranked according to the cost of 16th-century dyes. The most expensive item in a group was set before black which was the costliest dye, the deepest and richest black achieved from imported North American logwood. Purple came next derived from Mediterranean murex shells, then red from the madder plant followed by yellow weld, which also came from a plant, and beige, referring to cheap, undyed cloth. Thus, placement and color indicate the object's 16th-century relative worth.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrs1q86EqQW4xbLyKkSV4GgHbeztN0uTcAIFaDnOiABxyqgvc_v3yhVfzoIjhumBpzISpuvaURjsfgwhPaIe-UVua2PV3GoId7ZW4yTnPePy3I9cfuAGYjIh_ttyVbxUUGJAAp1olnU9U/s1600/DP-13615-029.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrs1q86EqQW4xbLyKkSV4GgHbeztN0uTcAIFaDnOiABxyqgvc_v3yhVfzoIjhumBpzISpuvaURjsfgwhPaIe-UVua2PV3GoId7ZW4yTnPePy3I9cfuAGYjIh_ttyVbxUUGJAAp1olnU9U/s400/DP-13615-029.jpg" width="300" /></span></a></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Bird</i>, German, Nuremberg, ca. 1580 with modern renovations, </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">rock crystal, with gilded silver and rubies, height (with base): 12 1/8 in. (30.8 cm)</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">The exhibit's biggest-ticket item, valued at 275 cows, is a rock crystal bird with ruby eyes and a collar and legs of gilded silver. In the 16th century rock crystal was equated pound for pound with gold. It was prized for its hardness, transparency and radiance. </span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Low-end items are included as well. 1/12 cow could purchase the show's cheapest pieces: a salt-glazed stoneware jug, which was damaged in firing but kept and used, or one pilgrim badge made of a tin alloy, two are in the show. Pilgrim badges were popular. They were souvenirs indicating that the wearer had made a religious journey. A badge, moreover, acted as an amulet giving th</span><span style="font-family: "georgia" , "times new roman" , serif;">e owner protection from disease and other misfortunes. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;">J<span style="font-size: x-small;">oachim Friess (ca. 1579–1620, master 1610), <i>Diana and the Stag</i>, ca. 1620,</span></span></span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">partially gilded silver, enamel, jewels (case); iron, wood (movement),</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">overall: 14 3/4 × 9 1/2 in. (37.5 × 24.1 cm),</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Technologically advanced devices are among those that cost the most. Examples include a 1579 Austrian celestial globe with clockwork, valued at 10o cows, a 1568 German astronomical table clock with an alarm assessed at 59 cows and an early 17th-century mechanical drinking game wine vessel, <i>Diana and the Stag</i>, by a famous German goldsmith, evaluated at 79 cows. The stag's head could be screwed off and the animal's body filled with wine. The piece could be wound up so that it would vibrate about the dining table.** When it stopped, the guest closest to the stag's head would have to unscrew it and drink the vessel's entire contents. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Displayed in a nearby vitrine is a 16th/ 17th-century French lead-glazed earthenware puzzle bottle worth only 1/8 cow. Made for the low-end drinking public, the bottle has three spouts so that the drinker had to decide which one to drink from to avoid getting spattered with wine. Other high- and low-end comparisons are an additional treat for visitors. </span></span><br />
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><i>Puzzle bottle</i>, French, 16th-17th century, lead glazed earthenware,</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">overall: 10 × 9 in. (25.4 × 22.9 cm)</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;"></span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">As for the Dürer items, the woodcut block was a form of commercial investment. W</span><span style="font-family: "georgia" , "times new roman" , serif;">oodcut prints were mass produced and less expensive than engravings which were made in much smaller numbers. Carved wood </span><span style="font-family: "georgia" , "times new roman" , serif;">blocks could yield 1000s of impressions, many more than those realized from metal plates which were more pliable and wore out sooner. </span><span style="font-family: "georgia" , "times new roman" , serif;">Although inexpensive, many woodcut prints could be sold to produce a handsome profit. Consequently, the</span><span style="font-family: "georgia" , "times new roman" , serif;"> wood block was valued at 16 cows and the lowly paper print at 1/2 cow. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The fake </span><span style="font-family: "georgia" , "times new roman" , serif;">Dürer </span><span style="font-family: "georgia" , "times new roman" , serif;">sculptural plaque, 6 x 2 5/8 inches, was cut from a low-grade stone. </span><span style="font-family: "georgia" , "times new roman" , serif;">Dürer's works were in great demand especially after his death. Although the date 1509 appears on the plaque, it was actually made 70 years after the artist's</span><span style="font-family: "georgia" , "times new roman" , serif;"> death</span><span style="font-family: "georgia" , "times new roman" , serif;">. </span><span style="font-family: "georgia" , "times new roman" , serif;">The plaque's sculptor sought to pass his work off as a Dürer by the early date and placing the artist's well-known monogram on the composition. Falsely represented as an original, the sculpture was </span><span style="font-family: "georgia" , "times new roman" , serif;">valued at 9 cows.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The exhibition gives visitors much to think about not least of which is how values change over time. These objects may have previously been overlooked. Now is a good time to see them. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">*Albrecht Dürer's <i>The Martyrdom of St. Catherine of Alexandria</i> woodcut print:</span></span><br />
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Albrecht Dürer (1471 - 1528), <i>The Martyrdom of Saint Catherine of Alexandria</i>, </span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a>, New York</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Photo: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> Web site</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">**Boston's <a href="https://www.mfa.org/">Museum of Fine Arts</a> has a similar mechanical vessel. To view it in action, see below:</span></span><br />
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;"><i>Relative Values: The Cost of Art in the Northern Renaissance</i></span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;">August 7, 2017 - June 23, 2018</span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;"><a href="https://www.metmuseum.org/">Metropolitan Museum of Art</a></span></div>
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<span style="color: #351c75; font-family: "georgia" , "times new roman" , serif;">Closed Thanksgiving Day, December 25, January 1, and the first Monday in May. </span><br />
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ArtWithHillaryhttp://www.blogger.com/profile/09226714288926562961noreply@blogger.com0tag:blogger.com,1999:blog-6872123300517890731.post-65436554339429340082018-03-24T16:48:00.000-07:002018-04-09T16:40:38.660-07:00 The Many Manifestations of Female Buddhas<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Karsang Lama<i>, 1</i></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">000 Green Tara, 2013 - </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">2015</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">natural </span><span style="font-family: "georgia" , "times new roman" , serif;">mineral color and 24k pure gold on cotton canvas,</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">39 1/5 x 50 1/5 ins. (100.3 x 127.5 cm)</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">Photo: Courtesy of <a href="http://www.thangka.de/">Dharmapala Thangka Centre</a>, Kathmandu, Nepal</span></span></div>
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<span style="font-kerning: none;">Female buddhas and bodhisattvas, feminine deities, yoginis (female yogis), women practitioners and teachers of Buddhism and more fill a hall and gallery walls at the <a href="https://tibethouse.us/"><span style="-webkit-font-kerning: none; color: #551a8b;">Tibet House US</span></a> in the exhibition <i>Divine Feminine: New Masterpieces from Nepal</i>. These divine beings appear in fifty thangka paintings by the master painter Karsang Lama who is designated a national treasure in Nepal and considered Katmandu's top thangka painter. The paintings' powerful feminine icons are meant to inspire and guide worshippers in the practice of Buddhism. </span></div>
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<span style="font-kerning: none;">Thangka paintings are scroll paintings in natural colors on prepared cotton cloth. They depict Buddhist figures and mandalas, complex geometric configurations representing the universe. Every detail of the painting has meaning. </span></div>
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<span style="font-kerning: none;"><br /></span>The art form evolved in India some fifteen hundred years ago, spread to Nepal and then to Tibet. The artist first forms a visualization of what is to be represented. If the work is complex, the artist draws what he wants to paint on transparent paper, then transfers his outline to canvas. For simple thangkas, the picture is created directly on the cloth. The entire design is done freehand except for rectilinear and circular forms when a ruler or compass is employed. After the outline is completed, paint is applied. At this stage, there is no erasing or redoing. Colors are prepared by mixing powders derived from minerals and plants with water and animal glue made from the leather of yak that allows for the paint to adhere to the fabric surface.</div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;">Master painter Karsang Lama completing a lion figure </span><span style="color: #783f04;">left unfinished</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="color: #783f04;"> by another artist on the base of a 21st century work commissioned by </span><span style="color: #783f04;"><a href="https://tibethouse.us/">Tibet House US</a>, </span></span></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Photo: Margaret AuYeung, </span><span style="color: #551a8b; font-family: "georgia" , "times new roman" , serif;">March 22, 2018, </span><a href="https://tibethouse.us/" style="font-family: Georgia, "Times New Roman", serif;">Tibet House US</a></span></div>
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The blending of glue and pigment in traditional style thangka painting is done on the back of the artist's hand which acts as a palette. Very thin paint brushes are used and paint is best described as dabbed on the surface in layers. The work must follow a prescribed set of rules as to content, symbols, color, proportion and measurements. The art form requires tremendous mental discipline. Training involves the study of meditative religious practice besides art. To become a master painter could take some thirty years or more. </div>
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<span style="font-kerning: none;">The world renowned thangka painter Karsang Lama is the seventh generation painter from his family. </span>His ancestors were holy monks who migrated from Tibet to northern Nepal and founded a monastery and a foundation where Buddhism and painting were taught. Karsang Lama studied for 10 years, from age 5 to 15, at a monastery that his great-great-grandfather established. </div>
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<span style="font-family: "georgia";">A word about Buddhism: Buddhism is a religion many westerners find baffling. It teaches that the way for beings to end the suffering in life is enlightenment achieved through wisdom, virtue and concentration. Like western religions, Buddhism has many schools or branches each with their own important figures, visual symbols and mythology. Tibetan Buddhism, for example, has over 1,000 deities. Visual representations are aids in understanding for the initiated and uninitiated. As such, the thangkas on view at </span><span style="-webkit-font-kerning: none; color: #551a8b; font-family: "georgia" , "times new roman" , serif;"><a href="https://tibethouse.us/">Tibet House US</a> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "georgia";">offer much for those who know and those who seek to know.</span><br />
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Karsang Lama<i>, 1</i></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">000 White Tara, 2012 - </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">2014</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">mineral color and 24k pure gold on cotton canvas,</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">38 2/7 x 52 1/5 ins. (97.3 x 132.6 cm)</span></span><br />
<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://www.thangka.de/" style="font-family: georgia, "times new roman", serif;">Dharmapala Thangka Centre</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, Kathmandu, Nepal</span></span></div>
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<span style="font-kerning: none;">Eleven of the thangkas on view depict the goddess Tara, a female buddha and bodhisattva. She is regarded as the mother of all buddhas and savior of sentient beings from worldly miseries. If confused about the term buddha, it does not necessarily refer to the historic Buddha, </span>Siddhartha Gautama, but simply means enlightened one. There were many buddhas before Siddhartha and there are and will be many buddhas thereafter. Bodhisattva is an enlightened being who is able to enter paradise, nirvana, but chose to stay behind to help others reach nirvana and escape from endless suffering. </div>
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<span style="font-kerning: none;">There are various legends associated with Tara's origins and various forms she takes like the Green Tara and White Tara. In Buddhist iconography, deities have specific colors to indicate their nature and functions. As the Green Tara, she is the goddess of action and activity. She is slender and graceful and thought of as the original Tara. Her pose with right leg extended indicates she can spring into action to help those in trouble.</span></div>
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<span style="font-kerning: none;">The White Tara is associated with purity, truth and knowledge. She has seven eyes, one in each palm and on each foot, one in the center of her forehead and her two normal human eyes. With these she is able to see all those in need. </span><br />
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<span style="font-kerning: none;">Tara is portrayed as a bodhisattva adorned with necklaces, bracelets, earrings and a crown. She has not given everything away since she remains connected to this world. Buddhas, in contrast, are represented in a monk's plain robe, usually covering only one shoulder. For buddhas, all earthly goods have been relinquished. </span></div>
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<span style="font-kerning: none;">Hand gestures, called mudras, and numbers, like everything in a thangka painting, have significance. For example, the right hand of the White and Green Tara makes the sign for "charity." 1000 as in <i>1000 Green Tara</i> and <i>1000 White Tara</i>, indicates infinity and the path to nirvana. If the digits are added one by one, 1+0+0+0, they equal one which refers to truth and the one way leading to enlightenment. The goddess has been through the path and is guiding worshippers towards the same. The number 108, as in two works in the exhibit <i>108 Green Tara</i> and <i>108 Buddha</i>, when added digit by digit equals 9. This is the number of energy and the 9 planets of the universe that give off great power. The combination of 1 and 9 makes the human body energetic and full of knowledge. </span><br />
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Karsang Lama<i>, Vajrayogini</i></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, 2011</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">mineral color and 24k pure gold on cotton canvas,</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">29 1/6 x 38 6/7 ins. (74.1 x 98.7 cm)</span></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://www.thangka.de/" style="font-family: georgia, "times new roman", serif;">Dharmapala Thangka Centre</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, Kathmandu, Nepal</span></span></div>
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<span style="font-kerning: none;">Vajrayogini is a tantric female deity who can be human or non-human and can fly through the sky. Tantra means the channeling of energies within the body to achieve enlightenment. It is believed that yogis developed Tantra. </span></div>
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<span style="font-kerning: none;">Vajrayogini has supernatural wisdom and power that can help eliminate obstacles and obstructions. </span><span style="font-kerning: none;">She also has the ability to bestow omniscience, complete understanding and enlightenment. She is portrayed with many ornaments covering her nude body including a necklace and crown of skulls. In her left hand she holds a blood filled skullcap. </span>She stands in the center of the fire of wisdom trampling on her own emanations. Her depiction is both erotic and fierce. Many of her attributes refer to tantric philosophy and rituals. Skulls, for instance, are associated with charnel grounds, above ground crematory and cemetery areas, considered the home ground for tantric practitioners. There are all sorts of things going on in this thangka. Wall labels assist the visitors' understanding but leave much unexplained. This may have the effect of wanting to know more. Perhaps this is one of the artist's intentions: wanting to know more is wanting to be enlightened.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVnNToKNLTme7_YgYfuZMxnXsbUA3FRsUrQPptVSpcKjLnx-ATGgwr08GCwg3aMXCE77AC31EKF90UAqzXDBL53XoaNzS5MniYKp2BIUayZaSXDXBTcnmjW3KslyH0tUT2toSiPipFvA/s1600/8.+Green+Tara+Mandala+%2528BG%2529+%2528Big%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1580" data-original-width="1600" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVnNToKNLTme7_YgYfuZMxnXsbUA3FRsUrQPptVSpcKjLnx-ATGgwr08GCwg3aMXCE77AC31EKF90UAqzXDBL53XoaNzS5MniYKp2BIUayZaSXDXBTcnmjW3KslyH0tUT2toSiPipFvA/s400/8.+Green+Tara+Mandala+%2528BG%2529+%2528Big%2529.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Karsang Lama<i>, </i></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Green Tara Mandala (1), </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">2014</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">natural </span><span style="font-family: "georgia" , "times new roman" , serif;">mineral color and 24k pure gold on cotton canvas,</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">17 1/2 x 17 1/2 ins. (44.5 x 44.5 cm)</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">Photo: Courtesy of <a href="http://www.thangka.de/">Dharmapala Thangka Centre</a>, Kathmandu, Nepal</span></span></div>
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<span style="font-kerning: none;">As an instrument of mediation, the mandala is the focus of the practitioner's mind, mentally entering the image through the three or four outer circles proceeding towards the center. While the geometrical mandala represents the cosmic universe, the land of the buddha, the circles surrounding it symbolize such things as fire which the consciousness must pass through to burn ignorance and darkness.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxQvSoYAInE0CAyoNZs7WB3iGYTooEh2E8R7Y523fG6r9HEd7jspbQ8l6t2C6bRp1k4zPnyDSU3ODr1aj63CBLk1ovVcM8iS8XFoXDgvedsEfMk3FfVliJ2mUL66xhnUlPI12e0tvPzU/s1600/31.+Machig+Labdron+Tree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1115" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxQvSoYAInE0CAyoNZs7WB3iGYTooEh2E8R7Y523fG6r9HEd7jspbQ8l6t2C6bRp1k4zPnyDSU3ODr1aj63CBLk1ovVcM8iS8XFoXDgvedsEfMk3FfVliJ2mUL66xhnUlPI12e0tvPzU/s400/31.+Machig+Labdron+Tree.jpg" width="278" /></a></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Karsang Lama<i>, Machig Lapdron</i></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, 1998 - </span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">2000</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">mineral color and 24k pure gold on cotton canvas,</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04; font-size: x-small;">44 1/2 x 65 3/5 ins. (113 x 166.6 cm)</span></span><br />
<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://www.thangka.de/" style="font-family: georgia, "times new roman", serif;">Dharmapala Thangka Centre</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, Kathmandu, Nepal</span></span></div>
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<span style="font-kerning: none;"><br /></span><span style="font-kerning: none;">The masterpiece of the exhibition is Karsang Lama's painting of <i>Machig Lapdron.</i> She was an 11th-century Tibetan tantric Buddhist teacher and yogini and is the most famous woman of wisdom in Tibet. She is depicted with a crown of five skulls and covered with gold jewelry. Her dancing posture with right leg raised and left bent as if in motion attest to her role as the representative of enlightened female energy. The main figures to her left and right are her two sons and, above her, bodhisattva Avaloketeshwara, the earthly manifestation of Buddha Amitabha who is the buddha of longevity. All around the main figures are teachers, gurus, siddhas (holy men), deities, bodhisattvas and buddhas. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTga_w69NAYTOZzXsLCQTkhCodS1E4y8_m3_W_eFDw_QpdxXk6zNab6KwJFynuhYXe9xXgpEmo6LeSUZJzuDOpluK6ex1F7chQZ3WII5SDWvpJYre14HSve8BE_-1QfbYUqHho5IDWf6c/s1600/48.+Medical+Thangka+Set-53.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1383" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTga_w69NAYTOZzXsLCQTkhCodS1E4y8_m3_W_eFDw_QpdxXk6zNab6KwJFynuhYXe9xXgpEmo6LeSUZJzuDOpluK6ex1F7chQZ3WII5SDWvpJYre14HSve8BE_-1QfbYUqHho5IDWf6c/s400/48.+Medical+Thangka+Set-53.jpg" width="345" /></a></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia";">Karsang Lama</span><i style="font-family: georgia;">, Medical </i><i>Thangka</i><i style="font-family: georgia;"> Plate No. 53</i></span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, 2008</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, </span></span></div>
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<span style="color: #783f04; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">mineral color and 24k pure gold on cotton canvas,</span></span><br />
<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif; font-size: x-small;">22 2/5 x 26 1/6 ins. (56.9 x 66.5 cm)</span></div>
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<span style="font-size: x-small;"><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">Photo: Courtesy of</span><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"> </span><a href="http://www.thangka.de/" style="font-family: georgia, "times new roman", serif;">Dharmapala Thangka Centre</a><span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">, Kathmandu, Nepal</span></span></div>
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<span style="font-kerning: none;"><br /></span><span style="font-kerning: none;">The exhibit also includes images of male buddhas and bodhisattvas, a variety of different types of mandalas, scenes of the life of the buddha, illustrious religious leaders and yogis. There are even illustrations of medical plates from a medieval medical chart. </span></div>
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<span style="font-kerning: none;">For followers of Buddhism, these thangkas will have deep spiritual meanings. Their imagery and beauty, however, will appeal to everyone.</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><i>Divine Feminine:</i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><i>New Masterpieces from Nepal</i></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">March 15, 2018 - May 11, 2018</span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;"><a href="https://tibethouse.us/">Tibet House US</a></span></div>
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<span style="color: #783f04; font-family: "georgia" , "times new roman" , serif;">22 West 15th Street, Manhattan</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04;">Gallery Hours: </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #783f04;">Monday - Friday 11 a.m. - 6 p.m.</span></span></div>
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