Archive for the ‘About Drawings and Art from New York Arts and the Berkshire Revew’ Category
Drawn to Excellence: Renaissance to Romantic Drawings from a Private Collection, at the Smith College Museum of Art, September 28, 2012 – January 6, 2013
Drawn to Excellence: Renaissance to Romantic Drawings from a Private Collection. September 28, 2012 – January 6, 2013 Smith College Museum of Art [Click on images to enlarge.] If you wander around Sotheby’s and Christie’s during old master week with open ears, or if you converse a bit at a conference like the delightful and enlightening symposium […]
In a part of Florens 2012, the academics, business figures, and other experts who attend will explore the subjects developed two years ago, within a wide-ranging scheme, specifically tailored for this meeting, mainly the theme: “from the Grand Tour to the Global Tour.” Fundamentally, the way the world perceives Italy and enjoys the many extraordinary […]
The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed at the University of Virginia Art Museum and the Museum of Biblical Art in New York – A Review
The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed, The Fralin Museum of Art at the University of Virginia, March 2 – May 22, 2012 on view from June 8 to September 9, 2012 at the Museum of Biblical Art. Curated by Bruce Boucher, Director of the UVa Museum. Catalogue with essays […]
The Official Recommendations of Florens 2010 – Can statistics and digitized procedural rules create reality in the arts?
It seems right to begin by grounding whatever else I have to say in the recommendations of Florens 2010. Since much of this will be discussed at Florens 2012. I’ve entered my thoughts simply as comments on the thirteen proposals of 2010. Some of these mention examples from my experiences in the U.S. While the […]
The past year has been a turbulent one in the world of old masters, at least in certain pools of it. In some quarters, it has been a year of angry petitions. This article concerns Italy, but I shall begin in Germany, since the most active center of trouble at the moment is Berlin, where […]
The Confidence-Man, a series of Melvillean Dreams by Douglas Paisley, now on View at Arrowhead through October 15
The Confidence-Man, paintings and drawings by Douglas Paisley at Arrowhead through October 15. The exhibition was initially shown July 6-28, 2012 at the Lichtenstein Center for the Arts in downtown Pittsfield. When I began to receive promotional material from the City of Pittsfield about a summer-long celebration of Herman Melville last spring, “Call Me Melvile,” […]
Le Salon du Dessin 2012 – UPDATE: Jorinde Voigt has won the Contemporary Drawing Prize of the Daniel & Florence Guerlain Art Foundation, by Michael Miller
Knowing the Salon du Dessin at first hand, and contemplating its 2012 iteration, I find myself thinking back on on the world of master drawings as it was when I first entered it in 1980 and how it has changed over the years. Attended by over 13,000 people in 2010, the Salon is a large, public event which spans five days. It brings together the larger part of the world’s curators, scholars, collectors, and dealers in the field in a busy, but rarely overcrowded public space, the Palais de la Bourse. One can survey the available stock at the dealers’ stands, attend conferences, lectures, and guided tours, visit exhibitions at the Bourse and at Paris museums, as well as satellite enterprises around the Hôtel Drouot, where drawings can be had at auction, and further afield. There is a wealth of opportunities to learn about drawings, as well as to collect them. In 1980, no one thought that a fair of this size might ever exist in the field, and in its early years, during the 1990s, no one ever thought it would grow to these dimensions.
Master Drawings New York 2010 Preview: Friday January 22, 4pm to 9pm Galleries open: Saturday January 23 through Saturday January 30 Saturdays 11am–5pm Sunday January 24, 3pm–7pm Mon–Fri 11am–6pm Telephone enquiries: +1 212 755 8500 Web: http://www.masterdrawingsinnewyork.com For the fourth year Master Drawings New York will bring together a distinguished group of dealers from Europe and the United States […]
Leonardo da Vinci: Painter at the Court of Milan, The National Gallery of Art, London, November 9, 2011 – February 5, 2012, by Bruce Boucher
The crowds begin as one approaches the rear of the building: a long line, snaking back on itself contains those hopeful of gaining one of the 500 tickets on sale each day; further on, is a smaller queue of the luckier ones who had snapped up all the online tickets during the first three days of sale. Overall, the crowds are well behaved—for this is England—and approach their goal with good humor and a touch of the spirit of Dunkirk as they descend upon the National Gallery’s runaway success, Leonardo: Painter at the Court of Milan. It is not a large show, only some sixty paintings and drawings, but then Leonardo only began a score of paintings in a career spanning four decades. Of those paintings, fifteen autograph works survive, and four of these are generally deemed incomplete. To assemble almost every surviving painting from Leonardo’s Milanese period in London is a notable achievement, and these works are supplemented by others associated with his followers and sometime collaborators in the most sustained period of productivity in the artist’s life.
Pollinated with the spirit of the Renaissance, spring-like, fresh and full of individual passion and wonder, the Pre Raphaelites went back to a state of painting when the Renaissance was in its stride if not its prime. Rather than seeing painting as a continuous development up to their own day, they when back to an approach and a world view at a point when art knew where it was going, striving toward a most sublime peak, a peak attained perhaps twice in western human history. The Pre Raphaelites took as their teachers and masters those of Titian’s, Michelangelo’s and Raphael’s and via intelligent imitation that went beyond mere copying they progressed, very roughly speaking, through the styles of the Italian Renaissance, and at times managed to break free of their teachers’ styles. They even wrote poems too. One can see something of this progression in the quite broad and thorough collection of their drawings and watercolors currently on display in the Art Gallery of New South Wales, most of which come from the Tate and the Birmingham Museum and Art Gallery.