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Gertrude Stein by Pablo Picasso The Metropolitan Museum of Art Exhibition Through June 3, 2012 The Stein siblings—Gertrude, Leo, Michael, and his wife Sarah—were important patrons of modern art in Paris during the first years of the 20th century. This American family collected hundreds of artworks by a group of relatively unknown artists with whom they became close friends. The Steins opened their apartments on Saturday evenings to anyone who arrived with a reference in hand. At these salons, scores of international artists, collectors, and dealers passed through their doors in order to see and discuss the latest artistic developments, long before they were on view in museums. Ultimately, the Steins’ enthusiasm for avant-garde art—particularly the work of Henri Matisse and Pablo Picasso—had an indelible impact on its development for decades to come. The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde—at The Metropolitan Museum of Art from February 28 through June 3, 2012

© Andrew Wyeth, Chambered Nautilus, 1956, tempera on panel. Gift from the Collection of Mr. and Mrs. Robert Montgomery, 1979.168. Andrew Wyeth: Looking Beyond will be on view March 24 through July 22: Wadsworth Atheneum Museum of Art | 600 Main Street | Hartford, CT | 06103 | (860) 278-2670 Inspired by the Andrew Wyeth paintings in the museum’s collection—Northern Point (1950), April Wind (1952), https://gluwhite-platinum.blogspot.com/ https://gluwhite2022.blogspot.com/ https://vien-sui-trang-da-gluwhite.blogspot.com/ https://vien-sui-gluwhite.blogspot.com/ and Chambered Nautilus (1956)— Andrew Wyeth: Looking Beyond invites the viewer to look deeper into the masterful technique and poignant imagery one of the twentieth century’s most critiqued artists. These three paintings will be displayed, for the first time, alongside their related studies revealing the richness and complexity of his creative process. The exhibition also addresses the prevalence of windows and half-opened doors

In celebration of a recent gift to the museum by a Maryland family, the Walters Art Museum presented the focus show, Rembrandt Peale’s Portrait of John Meer: A New Addition to the American Art Collection, on the work of painter Rembrandt Peale (1778–1860). The donated, undated painting, Portrait of John Meer, depicts a robust middle-aged man who points enigmatically at a human skull cradled to his body. Painted by Peale when he was probably just 17 years of age, Portrait of John Meer serves as a point of comparison with other exhibited works to trace the artist’s development from a technical wunderkind to a mature painter of remarkable fluency. Highlights within the focus show included Peale’s sensitive fraternal portrait, Rubens Peale with a Geranium, on loan to the Walters from the National Gallery of Art, Washington, D.C., as well as portraits from the Maryland Historical Society and the Historical Society of Pennsylvania Collection at Atwater Kent Museum, Philadelphia. “This show w

Giovanni Bellini (c. 1430–1516), St. Francis in the Desert, c. 1480, oil on poplar panel, 49 x 55 7⁄8 inches, The Frick Collection, New York One of the most familiar and beloved paintings at The Frick Collection, Giovanni Bellini’s St. Francis in the Desert (c. 1480), is also deeply enigmatic. The artist has imagined this medieval saint alone in a stony wilderness, stepping forward from his simple shelter into a golden light that seems to transfigure him spiritually. For centuries, viewers of this masterpiece have puzzled over the meaning of Bellini’s composition and have sought explanations in a variety of pictorial and textual sources. https://gluwhite-platinum.blogspot.com/ https://gluwhite2022.blogspot.com/ https://vien-sui-trang-da-gluwhite.blogspot.com/ https://vien-sui-gluwhite.blogspot.com/

Anthony Van Dyck Lucy Percy, Countess of Carlisle 1637 Oil on canvas 2184 x 1308 mm The Trustees of the Rt Hon. Olive Countess Fitzwilliam's Chattels settlement by permission of Lady Juliet Tadgel Sir Anthony van Dyck (1599-1641) was the greatest painter in seventeenth-century Britain. Though trained in Flanders, he had a huge impact on British cultural life as the principal painter at King Charles I’s ostensibly elegant court, where his impact was similar to that of Hans Holbein at the court of Henry VIII. Van Dyck was born and trained in the great art centre of Antwerp. He made a brief visit to London in 1620-21 before returning in 1632 to King Charles I’s court. Intensely ambitious and hugely productive, he re-invented portrait-painting in Britain, retaining his pre-eminence until his premature death at the age of 42. Working in a period of intense political ferment during the run-up to the British Civil War, van Dyck portrayed many of the leading characters of the period. His i

Pablo PicassoThe Three Dancers 1925 Tate © Succession Picasso/DACS 2011 Picasso remains the twentieth century’s single most important artistic figure, a towering genius who changed the face of modern art. In a major new exhibition at Tate Britain, Picasso and Modern British Art, 15 February – 15 July 2012 explores his extensive legacy and influence on British art, how this played a role in the acceptance of modern art in Britain, alongside the fascinating story of Picasso’s lifelong connections to and affection for this country. It brings together over 150 spectacular artworks, with over 60 stunning Picassos including sublime paintings from the most remarkable moments in his career, such as Weeping Woman 1937 and The Three Dancers 1925. It offers the rare opportunity to see these celebrated artworks alongside seven of Picasso’s most brilliant British admirers, exploring the huge impact he had on their art: Duncan Grant, Wyndham Lewis, Ben Nicholson, Henry Moore, Francis Bacon, Graham S

Peter Paul Rubens (1577–1640), Helena Fourment, c. 1630, black, red, and white chalk and pen and ink, 24 x 21 1/2 inches; The Courtauld Gallery (Samuel Courtauld Trust) In keeping with its tradition of exhibiting masterworks from collections outside of New York, the Frick will present fifty-eight drawings from The Courtauld Gallery, London from October 2, 2012, through January 27, 2013. This exhibition marks the first time that so many of the principal drawings in The Courtauld's renowned collection — one of Britain's most important — have been made available for loan. The prized sheets represent a survey of the extraordinary draftsmanship of Italian, Dutch, Flemish, German, Spanish, British, and French artists active between the late Middle Ages and the early twentieth century. The survey features works executed in a range of drawing techniques and styles and for a variety of purposes, including preliminary sketches, practice studies, aide-mémoires, designs for other artworks,

Johannes Vermeer (1632-1675), Girl with a Pearl Earring, c. 1665, oil on canvas, 44.5 x 39 cm, Mauritshuis, The Hague The Frick Collection will be the final venue of an American tour of paintings from the Royal Picture Gallery Mauritshuis, The Hague in the fall of 2013, (October 22, 2013, through January 12, 2014). This prestigious Dutch museum, which has not lent a large body of works from its holdings in nearly thirty years, is undergoing an extensive two-year renovation that makes this opportunity possible. Between January 2013 and January 2014, the Mauritshuis will send thirty-five paintings to the United States, following two stops at Japanese institutions. The American exhibition opens next winter at de Young/Fine Arts Museums of San Francisco, traveling on to the High Museum of Art in Atlanta for the summer of 2013. A smaller selection of ten masterpieces will be on view at The Frick Collection in New York from October 22, 2013, through January 12, 2014. Among the works going

Pierre-Auguste Renoir (1841–1919), La Promenade, 1875–76, oil on canvas, 67 x 42 5/8 inches, The Frick Collection, New York, photo: Michael Bodycomb The Frick Collection presents an exhibition (February 7 through May 13, 2012) of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist's engagement with the full-length format, which was associated with the official Paris Salon in the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by La Promenade of 1875–76, the most significant Impressionist work in the Frick's permanent collection. The exhibition explores Renoir's portraits and subject pictures of this type from the mid-1870s to mid-1880s. Intended for public display, these vertical grand-scale canvases are among the artist's most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. On view only at

Above: Ludolf Bakhuizen, Ships in a Gale on the IJ before the City of Amsterdam, 1666. Oil on canvas. Rose-Marie and Eijk van Otterloo Collection This exhibit, at the Museum of Fine Arts, Boston, March 10, 2012 - June 24, 2012, features masterpieces from the collection of Rose-Marie and Eijk van Otterloo, including Rembrandt’s sublime Portrait of Aeltje van Uylenburgh (1632) and Dou’s sympathetic little Sleeping Dog (1650). These favorites and dozens of other paintings from the Van Otterloo collection, like Bakhuizen’s Ships in a Gale (above), return to the MFA after a sojourn in Holland and yearlong tour of the United States. https://gluwhite-platinum.blogspot.com/ https://gluwhite2022.blogspot.com/ https://vien-sui-trang-da-gluwhite.blogspot.com/ https://vien-sui-gluwhite.blogspot.com/   Prime examples of 17th-century Dutch and Flemish painting include architectural views; landscapes and seascapes; still lifes; portraits and tronies (head studies); and figure paintings. Seen together

Edouard Manet’s friend, the poet Charles Baudelaire, described black as the color of the nineteenth century. Manet was a master in the use of black, asserting his bold and subtle imprint on a range of subjects, from exotic Spanish dancers to the horses and spectators at a thrilling Paris racetrack. This exhibition, at the Museum of Fine Arts, Boston from February 18, 2012 - October 28, 2012, celebrates Manet’s brilliant achievements as a graphic artist. Known as the painter of modern life and the father of Impressionism, Manet was also an exceptionally gifted printmaker and draftsman, among the most daring and innovative of the nineteenth century. https://gluwhite-platinum.blogspot.com/ https://gluwhite2022.blogspot.com/ https://vien-sui-trang-da-gluwhite.blogspot.com/ https://vien-sui-gluwhite.blogspot.com/ Drawn primarily from the MFA’s collection and featuring a selection of some 50 prints and drawings by Manet and related artists—including Rembrandt and Degas—the exhibition spans

Paul Gauguin: Where Do We Come From? What Are We? Where Are We Going? (1898) Paul Cézanne: The Large Bathers (1906) Henri Matisse: Bathers by a River (1909-17) Philadelphia Museum of Art: June 20, 2012 - September 3, 2012 The theme of an earthly paradise, or Arcadia, has been popular in theater, poetry, music, and art since antiquity. In France during the early 1900s, this idea of a mystical place of contentment and harmony was especially potent--illustrated in mural-sized paintings which were often commissioned for public viewing. This exhibition explores the theme in three such paintings of the time: Paul Gauguin’s Where Do We Come From? What Are We? Where Are We Going? (1898), Paul Cézanne’s The Large Bathers (1906), and Henri Matisse’s Bathers by a River (1909-17). Placed on view together, in a dialogue of sorts, these three masterpieces take visitors to the very foundations of modern art. Inspired by his travels in Tahiti, Gauguin painted Where Do We Come From? as an embodiment of

Philadelphia Museum of Art May 19, 2012 - July 29, 2012 Famous in his own time as a painter, author, arctic adventurer, and political activist, Rockwell Kent (1882–1971) left his most enduring legacy as a printmaker and illustrator of books. His bold and enigmatic images of mysterious, statuesque figures in spiritual communion with the natural world proved equally effective in corporate advertising campaigns and book projects alike. This exhibition follows the artist’s journey from Alaska to Newfoundland, and from the pages of Vanity Fair magazine to the deck of Captain Ahab’s ship in Moby Dick. The Philadelphia Museum of Art’s collection of Rockwell Kent prints, drawings, and illustrated books is virtually unmatched in its depth and diversity. Primarily assembled by Carl Zigrosser, Kent’s longtime friend and the founding curator of the Museum’s department of prints and drawings, the holdings of Kent’s works on paper includes important examples from throughout the artist’s career. http

Gerrit Dou (1613–1675) was one of the most accomplished painters of the Dutch Golden Age. In his own time, Dou was viewed as the very paragon of art, and was a great favorite of important and influential patrons. He and his fellow artists from Leiden, called fijnschilders (“fine painters”), captivated generations of collectors and art lovers with their scenes of contemporary life, rendered with painstaking detail and modeled in the subtle and rich chiaroscuro inspired by Rembrandt. His meticulously executed portraits and scenes of everyday life frequently use niches and windows to extend the space of the painting, heightening the viewer’s sense of reality and intensifying the painting’s illusions. These works also often contain hidden symbolism that encourage the viewer to search behind the mirror-like facade of visible reality. https://gluwhite-platinum.blogspot.com/ https://gluwhite2022.blogspot.com/ https://vien-sui-trang-da-gluwhite.blogspot.com/ https://vien-sui-gluwhite.blogspot.

Complete article La Primavera (ca 1482), by Sandro Botticelli. Photograph: George Tatge/Alinari Archives/Corbis ...Very early in its history, Sandro Botticelli's depiction of the goddess Venus, raising her hand in blessing over a gathering of mythological followers, acquired the name it bears today: La Primavera. It's a lovely word, the Italian for spring – and there's a good chance this is what Botticelli called it when he first unveiled it to the Medicis in 1481... Who does the season best? Monet and the impressionists captured spring's effervescent changes acutely. Van Gogh's paintings of fruit trees in blossom contain a desperate passion that is pure Vincent. William Blake, too, earns a place, for his picture of Chaucer's pilgrims heading out on a spring day, when April's sweet showers have ended the drought of March. Botticelli's Primavera was one of the first large-scale European paintings to tell a story that was not Christian, replacing the agony

Rain, 1889 Vincent Willem van Gogh, Dutch Oil on canvas 28 7/8 x 36 3/8 inches (73.3 x 92.4 cm) Philadelphia Museum of Art, February 1–May 6, 2012 (Dorrance Galleries) National Gallery of Canada, Ottawa, May 25–September 3, 2012 Vincent van Gogh was an artist of exceptional intensity, not only in his use of color and exuberant application of paint, but also in his personal life. Drawn powerfully to nature, his works--particularly those created in the years just before he took his own life--engage the viewer with the strength of his emotions. This exhibition focuses on these tumultuous years, a period of feverish artistic experimentation that began when van Gogh left Antwerp for Paris in 1886 and continued until his death in Auvers in 1890. Radically altering and often outright abandoning traditional painting techniques, van Gogh created still lifes and landscapes unlike anything that had ever been seen before. He experimented with depth of field and focus. He used shifting perspectives

Andrea Previtali (ca. 1470–1528 Bergamo). Madonna and Child with Saints Paul and Agnes and the Donors Paolo and Agnese Cassotti. Oil on canvas. Bergamo, Accademia Carrara, no. 110. https://gluwhite-platinum.blogspot.com/ https://gluwhite2022.blogspot.com/ https://vien-sui-trang-da-gluwhite.blogspot.com/ https://vien-sui-gluwhite.blogspot.com/ The Accademia Carrara, Bergamo, is a jewel among Italian museums and a haven for art lovers. Founded at the end of the eighteenth century by Count Giacomo Carrara and housed in a beautiful Neoclassical building, it contains a range of masterpieces dating from the fourteenth to the nineteenth century. At its core is a group of outstanding pictures from the Renaissance. Because of closure for restoration, it has been possible for the museum to lend to The Metropolitan Museum of Art fifteen masterpieces by Venetian and north Italian painters of the fifteenth and sixteenth centuries, including works by Bellini, Titian, and Lorenzo Lotto.

Giovanni Bellini (Italian, Venetian, active by 1459–died 1516). Madonna and Child, ca. 1470. Tempera, oil, and gold on wood; Framed: 31 x 26 in. The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.81) Venice’s territorial expansion in the surrounding mainland and its increasing power in the early 15th century, as well as its alliance with Florence in 1423, facilitated the influx of preeminent artists from Tuscany and other regions of Italy to execute important commissions in Venice and nearby Padua. These artists had a profound impact upon local masters, playing a fundamental role in introducing the Renaissance style to Venice. The installation illustrates the transition from the Late Gothic style of the early 15th century to mid-century, when Venetian artists began to respond to the Renaissance vocabulary of Florence and Padua. Art in Renaissance Venice, 1400–1515 is divided into four galleries beginning with a section on Gothic art, that includes Gentile

Hans Memling (Netherlandish, c. 1430–1494) ‘Portrait of a Man,’ c. 1470–75 Oil on oak panel 13-1/8 x 9-1/8 in. (33.5 x 23.2 cm) The Frick Collection, New York Photo: Michael Bodycomb Memling’s “Portrait of a Man” is a tour de force of early Netherlandish painting—remarkable in its truthfulness and humanity, and in an extraordinary state of conservation that allows the viewer to see practically every brushstroke. The identity of this sympathetic sitter, who holds the cornette or strap of his hat in his right hand, still remains to be discovered. Might the tiny steeple in the far left background and the impressive tower in the landscape at right offer some clue to his origins? Despite our best efforts, this is a work that has yet to reveal all its secrets.” About Hans Memling Hans Memling’s brilliance as one of the most formative early Netherlandish painters is clearly evident in The Frick Collection’s generous loan of their “Portrait of a Man.” The remarkable quantity of Memling’s exis