HOUSTON, TX.- Inspired by the possibilities of painting in nature, rather than in the studio, artists traveled to the rugged Forest of Fontainebleau near Paris from the early 1820s to the mid-1870s forging innovations in art that would resonate for generations to follow. There, among the rural villages and the vast and varied wilderness, they laid the groundwork for Impressionism, influenced the development of landscape photography, and raised early advocacy for nature conservancy. In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet at the Museum of Fine Arts, Houston. The exhibition of 96 works will be on view through October 19.

Organized by the National Gallery of Art in association with the MFAH, the show is the first U.S. exhibition to trace the dual evolution of landscape painting and photography at Fontainebleau. It features multiple works by Jean-Baptiste-Camille Corot and Claude Monet, the artists who represent the ends of the experimental spectrum at Fontainebleau, and also highlights works by Jean-François Millet and Théodore Rousseau, who were among the most diligent students of the forest and eventually made it their permanent home. Other featured artists include Frédéric Bazille, Narcisse Diaz de la Peña, Auguste Renoir, and Alfred Sisley. Among the nine photographers represented are such pioneers of the field as Gustave Le Gray, Eugène Cuvelier, and Charles Famin.

“In the Forest of Fontainebleau celebrates a crucial, fertile period in art history,” said Aurisch. “Although the Impressionists are often credited with the innovation of painting outdoors directly in front of the motif, this exhibition wants to set the record straight by documenting the achievements of the earlier group of painters, who passed on their hard-earned experience to the young painters of Monet´s generation.”

The Forest
The Forest of Fontainebleau is located about 35 miles southeast of Paris. At about 50,000 acres, it is not only France´s largest forest, but its most topographically diverse with dramatic stands of centuries-old oak trees, rocky plateaus and gorges, and desolate, arid spaces. Corot was among the first artists to begin making regular visits to the forest in the early 1820s. Others soon joined him in experimenting with open-air painting and the challenge of capturing light, shadow, weather, and seasons in this “natural studio.” Those years quietly marked the beginning of a revolution in landscape painting in France that would spread throughout Europe and the United States.

By the 1830s, an informal artists´ colony was established in Barbizon, one of several villages situated along the perimeter of the forest, favored because it had the best accommodations. The artists who stayed at the inns there and embraced plein-air painting gave rise to the art movement known as the Barbizon School. Among the other villages first frequented by artists were Chailly and Marlotte. All offered easy access into the forest, but most artists didn´t venture too far into the wilderness because of the supplies they had to transport on their backs: typically, an umbrella, a folding easel, stool, paint boxes, and a canvas.

Photographers began making pilgrimages to Fontainebleau in the 1840s when the introduction of the paper negative process made it possible to travel without heavy equipment. They were working side-by-side with painters as early as 1849, contributing to the camaraderie and exchange of ideas. During this period, France surpassed Italy as the pre-eminent center for plein-air painting because of the activity at Fontainebleau, and landscape photography became an art.

The forest´s attraction for artists began to decline in the 1870s, but the artists working there then were already carrying out the experiments in painting outdoors that would lead to another revolution in art: Impressionism.

The Exhibition
The exhibition will be installed in sections, each devoted to an aspect of the forest and its role in the development of naturalistic landscape painting and landscape photography: Discovery of the Forest; Trees and Rocks; Nature and Observation; Fontainebleau on a Grand Scale; and Village Life. More than 56 private and institutional lenders contributed works to the show, including the MFAH. The museum´s Great Oaks of the Vieux Bas-Bréau (1864) by Rousseau, Gustave Courbet´s Gust of Wind (1865), and two photographs by Le Gray, Tree, Forest of Fontainebleau (c. 1856) and Le Pavé de Chailly (1852) are among the highlights.

•Discovery of the Forest
Corot had been to the forest before his 1825 trip to Italy where he practiced painting outdoors. He returned to France with a new appreciation for the wonders of the forest and continued to work there for five decades. The exhibition includes seven paintings by Corot ranging from 1822´s Study of a Tree Trunk in the Forest of Fontainebleau to 1872´s Woodcutters in a Forest Valley. Le Gray was among the first photographers to visit the forest, creating salted paper prints from paper negatives in the fall of 1849. The exhibition also includes seven works by Le Gray that demonstrate his painterly achievement in capturing the light, textures, and atmosphere of the forest.

•Nature and Observation
Artists who made regular trips to forest, and those who lived there, like Rousseau, were obsessed with capturing its many moods exposed in different seasons, in different weather, at different times of the day. Examples include Rousseau´s red-toned Sunset over the Sands of Jean de Paris (1864), De la Peña´s foreboding The Storm (1871), and Cuvelier´s Pathway in the Forest of Fontainebleau in the Snow (early 1860s).

•Fontainebleau on a Grand Scale
Because artists had to carry their supplies into the forest, they often worked on portable-size canvases. However, the forest also served as an inspiration for large-scale works completed in the studio after studies done outdoors. Courbet´s monumental Gust of Wind is one example. At more than seven-feet-wide, the painting is a fantasy scene combining elements from several sketches the artist made in the forest.

Visit : the Museum of Fine Arts, Houston at : www.mfah.org/

Source: www.artknowledgenews.com

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LONDON - The British Museum presents Hadrian: Empire and Conflict, on view through October 26, 2008. The Roman Emperor Hadrian (117 to 138 AD) is best known for his passion for Greek culture, interest in architecture, his love for Antinous, and of course the eponymous wall he built between England and Scotland, then Caledonia. This exhibition will look beyond this established image and offer new perspectives on his life and legacy, exploring the sharp contradictions of his personality and his role as a ruthless military commander.

Incorporating recent scholarship and the latest spectacular archaeological discoveries, the exhibition will feature over 180 objects from 28 lenders from Italy to Georgia, from Israel to Newcastle. Loans of dramatic sculpture, exquisite bronzes and architectural fragments will be brought together and displayed for the first time in the UK, alongside famous objects from the Museum’s own collection such as the iconic bronze head of Hadrian and the Vindolanda tablets. This exhibition will be held in the Round Reading Room, often compared to one of Hadrian’s architectural masterpieces, the Pantheon in Rome.

Hadrian’s family were originally from Spain. As the Roman Empire expanded and became more diverse in the 1st and 2nd century AD it became possible for people outside the traditional elite to come to power. Hadrian was adopted by his predecessor Trajan, also a Spaniard, on his deathbed. By the time of Hadrian’s accession, the Roman Empire covered much of Europe, northern Africa and the Middle East. But Hadrian recognized imperial overstretch and acted quickly to re-draw the empire’s borders, to consolidate and strengthen rather than continuing the expansive campaigns of his predecessor. His first act on coming to power was to withdraw the Roman forces from Mesopotamia, present- day Iraq. Another example of this consolidation was the wall he had built in the north of England to mark the furthest reach of his empire. Hadrian was remarkable in that he travelled extensively across his empire, meeting more of his people than any other emperor before him.

Hadrian was a man of great contradiction in both his personality and reign: a military man and homosexual, he combined ruthless suppression of dissent with cultural tolerance. He reacted with great ferocity against the Jewish Revolt in 132 AD (examples of poignant objects belonging to Jewish rebels hiding in caves near Jerusalem will be included in the exhibition), but he was also a dedicated philhellene, passionate about Greek culture. He took a young Greek male lover, Antinous, who accompanied him on his travels around the empire. In AD 130, Antinous drowned in mysterious circumstances in Egypt. Consumed by grief, Hadrian founded a new city, Antinoupolis, close to the spot where he died and had Antinous declared a god, linked to the Egyptian deity Osiris. A cult of Antinous-Osiris sprang up resulting in statues, busts and silverware featuring the image of the newly deified youth.

A central theme of Hadrian’s life and his legacy can be found in his strong personal interest in architecture. Under his patronage, highly innovative, iconic buildings were constructed throughout the empire and form a major part of his legacy. The most famous are the Pantheon in Rome and his magnificent residence at Tivoli, a few miles east of the capital. The villa was like a small city, the empire in miniature. It evoked famous sites in Greece and Egypt and was a playground for new architecture, filled with exquisite works of art. The villa is still being excavated and exciting new finds and research will be presented in the exhibition.

Thorsten Opper, curator of the exhibition said: “This will be a unique opportunity to see important objects related to Hadrian in one exhibition. Hadrian was an extremely successful emperor who left an immense and enduring legacy, but one that is often not recognized or appreciated. This exhibition will allow for a reassessment of his character, his life, love and legacy”.

Visit : www.britishmuseum.org/default.aspx

Source: www.artknowledgenews.com

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MADRID - The three great museums in Madrid, Spain. . . The Prado, Reina Sofia and Thyssen-Bornesmiza Museum, received during the fist six months of 2008 a total of 3,024,878 visitors, data that reveals an increase in visitors with respect to the numbers of 2007. The Prado Museum, which is ahead of the others, has received a total of 1,532,251 visitors. Of these six months the month that had more visitors was May with 287,826.

During that month the galleries of the museum exhibited Goya in times of war, which was open between April 15 and July 14. This exhibit has become the second most visited in the whole history of the museum with 438,000 visitors.

An interesting fact registered at the Prado is that since October 31, 2007 when the new galleries opened until this past Sunday, over 2,200,000 people have visited the museum. In the first semester of 2007, the number of visitors that the Prado received was 1,361,294 visitors, which gives a 30% increase from last year.

The number of visitors to the Reina Sofia has also increased, with 19% compared to last year’s numbers in the first six months of this year. During this period 1,037,485 people have visited while last year the number was 872,119.

This significant increase is due to the exhibit the Reina Sofia dedicated to the Collection of the Picasso Museum in Paris, which reached the record number of 547,810 visitors. No other exhibition at this museum had ever received as many visitors.

The exhibition that the Thyssen Bornemisza Museum dedicated to Modigliani and his time, which was seen at the museum by 226,355 people and at Caja Madrid by 182,052, was the biggest event this museum had this past season.

From January to June the Thyssen received 455,142 visitors compared to the 432,195 that it received in the same period last year when it was showing a van Gogh exhibit.

Visit the Museo del Prado at : www.museoprado.mcu.es/

Source: www.artknowledgenews.com

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BALSTA, SWEDEN - Two Warhol’s and three Roy Lichtenstein’s were stolen from the Abergs Museum. Carina Aberg, an official at the Abergs Museum, stated to Art Daily, “Early this morning, the 18th of July, burglars broke up a door in Abergs Museum, rushed in and quickly grabbed exactly what they wanted, they must have known where there were a couple of Warhol-pictures and three Lichtensteins. We send along pictures of the stolen artwork. Police have no trace of the burglars and the artwork could have already left the country.”

Police have been looking for witnesses in the neighborhood, stated Carina. The stolen pieces have a value of around $500,000.

About Lasse Åberg . . Lasse was born in Hofors on the 5th of May, 1940. That year the family moved to Stockholm, Kungsholmen, where Lasse grew up. He loved to draw and by the age of ten, he had already decided to be an artist. After secondary school, he first worked at Expressen’s Printer Department and later for Seelig’s book warehouse. He did his military service at LV3 (antiaircraft defence) at Norrtälje. After that, he applied for studies at the University College of Arts, Crafts and Design and started there in 1960 at the institution for Graphic Design and Illustration. He completed his studies in 1964.

During his summer holidays in 1962 and 1963, Lasse worked as a musician at jazz ballet performances. There he met Ardy Strüver, a Dutch artist. They started to make television programmes and were active during the 70’s. At the same time, Lasse was illustrating children’s books (with Lill Lindfors for example) and did illustrations for publishing houses and advertising companies.

Between 1976 – 1977 Lasse and Klasse Möllberg produced the “Trazan Apansson” series. By mistake, the videotapes were demagnetized. From 1980 to 1981, they made a new Christmas edition of “Trazan Apansson”, which was replayed on mornings during the summer holidays. Lasse made the film “The call up” in 1978.

At the beginning of the 1970’s, Lasse started collecting Disney artifacts because it was fun and sufficiently silly. He became very fond of pop art when it appeared in the beginning of the 1960’s and Lasse decided that if he would have an artistic activity in the future, it would be in the direction of pop art. He has held exhibitions at different galleries and museums since the 1970’s. To date, Lasse has created 276 lithographs.

In 1980, Lasse produced the film “The Package Tour”, which has been seen by 2.4 million people. He has made six feature films: ”The call up”, “The package tour”, “Snowroller”, “SOS”, “The involuntary Golfer” and “The health Trip”.

Lasse has produced many works for television, for example “Trazan Apansson”, “How do you behave, man?”, “Zwampen” and “Disneytajm”. “Trazan Apansson” was re-broadcast in the summer of 2007.

In 2002 the Åberg family opened the “Åberg’s Museum” where you can find Lasse’s Disney collection, which is one of the best in the world. There are also originals by cartoonists and art associated with cartoons.

Source: www.artknowledgenews.com

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SHANGHAI.- Less than one month before the Olympic Games begin in Beijing, the famous discus thrower and more than a hundred sculptures and porcelains from ancient Greece have visited China, where thanks to a temporary exhibit in Shanghai have been discovered by over 330,000 Chinese visitors at the Shanghai Museum.

The pieces, from the collection of the British Museum in London, where presented for the first time in the country in a show that, during two and a half months, has allowed citizens in Shanghai, who are very proud of the Olympic Games that will be held in China this year, to understand its origins and how the games were in ancient times.

“Between all the works of art, the discus thrower is a universal symbol of classic Greek art and of the Olympic Games and it is very extraordinary that it leave London to be shown here in China for a few months; this has been a great opportunity”, said Lu Pangliang, from the Department of Exhibitions at the Shanghai Museum.

“There are a lot of people who has been interested in the exhibit, because they know the modern Olympic Games, but they do not know where they come from and desire to comprehend how they were in ancient times, when everything was so different,” Lu explained.

For the Chinese expert, this exhibit is important because it allows people to see the origins of European art and to compare it, without leaving the building, with the bronzes that were made in China, at about the same time as the Greeks and to see that both “show a similar sensibility, with different aesthetics.”

As a museum of ancient Chinese art, Shanghai Museum possesses a collection of 120,000 precious works of art. Its rich and high-quality collection of ancient Chinese bronze, ceramics, painting and calligraphy is specially celebrated in the world.  In 1992, the Shanghai municipal government allocated to the Museum a piece of land at the very center of the city, the People’s Square, as its new site. The whole construction took three years, from August 1993 to its inauguration on October 12th, 1996. The 29.5 meters high new building has a construction space of 39,200 square meters. Its unique architectural form of a round top with a square base, symbolizing the ancient Chinese philosophy that the square earth is under the round sky, is a distinguished architectural combination of traditional feature and modern spirit. The present Shanghai Museum has eleven galleries and three special temporary exhibition halls. It extends warm welcome to the visitors from all over the world.  Visit : www.shanghaimuseum.net/en/index.asp

Source www.artknowledgenews.com

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GRASMERE, UK - Outstanding works by Joseph Mallord William Turner (1775-1851), from The Courtauld in London, will be displayed together for the first time in this exciting exhibition at the Wordsworth Museum and Art Gallery. The variety of style and technique seen in these works is evidence of the Turner’s extraordinarily inventive approach to the making of landscape in watercolour.

The works to be displayed in the exhibition are the product of a lifetime of journeying through Britain and the Continent in search of appealing subject matter. Intensely ambitious, Turner was constantly aware of the need to attract attention to his art. Following in his footsteps, the exhibition will pursue his aims and ambitions, stressing the vital contribution of patronage and print publication and the role of collectors and friends, most notably the influential art critic, John Ruskin, as champions and promoters of his work. Sketchbooks, single prints and book illustrations will be shown alongside complimentary works to illustrate the artist’s working process and to explore the transmission of his ideas and visual images through the different media.

The exhibition on view through 12 October includes the following sections:

• Early Ambition
• Picturesque Britain
• The Lure of the Continent
• Sand, Sea and Sky: Margate and Ruskin

Romanticism is a general, collective term to describe much of the art and literature produced during the late 18th and early 19th centuries. During this period there was a broad shift of emphasis in the arts, away from the structured, intellectual, reasoned approach of the 18th century (which is often called the ‘Age of Reason’, or the ‘Enlightenment’) towards ways of looking at the world which recognised the importance of the emotions and the imagination.  Visit : www.wordsworth.org.uk/

Source www.artknowledgenews.com

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Everything that’s in my mind that I think should be important to notice I can easily post it.

Modern world is world of contrasts, at one side we have problems with weight, at the other side we have hungry people. Someone will buy a cart that is worth as a completely equipped house at the other side we have people living in a carton box,…

Then my favorite… Donations!
Ok you have some extra money, and you want to share it with world, or you with someone will say “you are so noble”, what will you do. The answer is correct you will make donations!

BRAAAVOOO! You will give US$ 10.000.000 to some organization to fight cancer, aids,… that is very nice

But, if you give 10M, someone else 15M,………..
What do you think will they find ever that cure=NO.

Q: Why not?

A: Search is better than discovery (better funds)
… and if you find that real cure for some diseases a lot of people will stay without US$ 100.000/year salary!

Situation is the same wit eco and cheap fuel.

Let’s back to art…

Last week here in my hometown was a charity auctions of artworks for Safe Children house. 800 invitations was sent! Was it successful? NO Why? No one has appeared (800 invitations!)

There is no benefit from safe house, buying art,…

In past artists has patrons, sponsors, and they could live, create, paint and live proper like artists. These days we have auctions with millions of dollars for masterpieces of death artists. Imagine for example musicians, what if popular would be only classics, and music of death composers and performers and only several contemporary!?! …Or actors?! … or what if I die… and nothing no benefit even form my grandchildren?!
I can only hope and pray that my grand grand children will have some benefit from my art and artworks.

What if, or what would I do with some extra $?

Rearrange my house, make some extra space for painting,… or go to some island first, on a whole month vacation, then rearrange,…:)

If you have some suggestions, how to profit now instead of in 2118, please comment or send me a mail!

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LONDON.- Christie’s Impressionist and Modern Art Evening Sale took place this evening (24 June 2008) and realised £144,440,500 / $283,970,023 / €182,428,352 - the highest ever total for an art auction held in Europe. The top lot of the auction was Le bassin aux nymphéas, a masterpiece painting by Claude Monet which realised £40,921,250 / $80,451,178 / €51,683,539, a world record price for the artist at auction.

34 works of art sold for over £1 million (44 for over $1 million), and buyer activity at the auction (by lot) was 62% Europe including United Kingdom, 34% Americas, 3% Asia and 1% other. The auction saw a total of 8 artist records established, including for Claude Monet, Henry Moore and Natalia Goncharova.

Olivier Camu, Director and Head of Impressionist and Modern Art, Christie’s London and Thomas Seydoux, International co-head of Impressionist and Modern Art at Christie’s: “This evening’s auction realised the highest total for any art auction ever held in Europe, and illustrates the continuing strength and confidence of the art market. We saw particularly strong bidding for works of the highest quality which were fresh to the market. The leading lot of the auction was ‘Le bassin aux nymphéas’, a masterpiece painting by Claude Monet which witnessed a bidding battle involving many international collectors, before selling to a client in the saleroom for £41 million, a new world record price for the artist at auction. A further highlight was ‘Danseuse a la barre’, an extremely rare early masterpiece in pastel by Edgar Degas, which also drew bidding from a number of international clients and far exceeded its pre-sale estimate, selling for £13.5 million, the second highest price for the artist at auction.”

The top 5 prices of the evening were:

- Le bassin aux nymphéas, a masterpiece painting by Claude Monet which was offered from the Estate of J. Irwin and Xenia S. Miller and which realised £40,921,250 / $80,451,178 / €51,683,539, a world record price for the artist at auction.

- Danseuse a la barre, an extremely rare early masterpiece in pastel by Edgar Degas (1834-1917) which realised £13,481,250 / $26,504,138 / €17,026,819 far exceeding its pre-sale estimate of £4,000,000 to £6,000,000.

- Les Fleurs, circa 1912, a rare and powerful work by Natalia Goncharova (1881-1962) which sold for £5,529,250 / $10,870,506 / €6,983,443, a world record price for the artist at auction, and a world record price for a work by a female artist at auction.

- Draped Reclining Woman by Henry Moore (1898-1986) which was also offered from the Estate of J. Irwin and Xenia S. Miller and which realised £4,297,250 / $8,448,394 / €5,427,427, a world record price for the artist at auction.

- The Portrait of Yanaihara by Alberto Giacometti (1906-1966) which was painted in 1958 and which sold for £4,297,250 / $8,448,394 / €5,427,427.

Property from the Estate of J. Irwin and Xenia S. Miller

The auction was led by a selection of seventeen works from the Estate of J. Irwin and Xenia S. Miller. J. Irwin Miller, an industrialist from Columbus, Indiana, and his wife Xenia Simons Miller, who were major philanthropists and patrons of the arts and who were instrumental in turning the American city of Columbus, Indiana, into a showcase for modern architecture. The seventeen Impressionist and Modern works together realised £67,540,050 / $132,783,738 / €85,303,083, and was led by Claude Monet’s Le bassin aux nymphéas which realised £40,921,250 / $80,451,178 / €51,683,539, a world record price for the artist at auction.

Works from the Collection of the late Simon Sainsbury

A selection of 7 works from the collection of Simon Sainsbury were sold this evening for a total of £10,424,750 / $20,495,059 / €13,166,459, led by Collioure. Les Balancelles, 1887, an early Pointillist picture by Paul Signac (1836-1935) which sold for £2,953,250 / $5,806,090 / €3,729,955. One of Britain’s most generous philanthropists and discerning collectors, the late Simon Sainsbury assembled throughout his lifetime one of the finest private British collections of the 20th century, from which a selection of furniture, ceramics and art was sold at a landmark auction on 18 June 2008 at Christie’s in London for £16,512,025 / $32,214,961 / €20,772,127, bringing the total to £26,936,775 / $52,710,020 / €33,938,586. Proceeds from the sale of the collection as a whole will benefit the charity established by Simon Sainsbury in 1965, The Monument Trust.

Works from a Distinguished European Collection

A selection of 11 works from a Distinguished European Collection assembled nearly half a century ago realised £9,494,550 / $18,666,285 / €11,991,616, and was led by Les Sapins, Varengeville, a luminous coastal landscape by Claude Monet (1840-1926) which was painted in the Summer of 1882, when the artist was staying at Pourville on the Norman coast in France and which sold for £3,177,250 / $6,246,474 / €4,012,867.

The Hoh Collection

The auction sold 7 works from the impressive collection of 20th century avant-garde works assembled by Alfred and Elisabeth Hoh, which toured various German institutions between 1998 and 2000 as the ‘Languages of Art’ exhibition and which realised £12,816,750 / $25,197,730 / €16,187,555. Leading the selection was Les Fleurs, circa 1912, a rare and powerful work by Natalia Goncharova (1881-1962) which sold for £5,529,250 / $10,870,506 / €6,983,443, a world record price for the artist at auction, and a world record price for a work by a female artist at auction.

ARTIST RECORDS:

Claude Monet (1840-1926), Le bassin aux nymphéas, 1919
Sold: £40,921,250 / $80,451,178 / € 51,683,539
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION
HIGHEST PRICE PAID FOR A WORK OF ART SOLD BY CHRISTIE’S IN EUROPE

Natalia Goncharova (Russian, 1881-1962), Les Fleurs
Sold: £5,529,250 / $10,870,506 / €6,983,443
WORLD AUCTION RECORD FOR ARTIST
WORLD RECORD PRICE FOR A WORK BY A FEMALE ARTIST AT AUCTION

Henry Moore (1898-1986), Draped Reclining Woman, 1957-1958
Sold: £4,297,250 / $8,448,394 / €5,427,427
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION

Vladimir Baranoff-Rossiné (Russian, 1888-1944), The Rhythm (Adam and Eve), 1910 Sold: £2.729.250 / $5.365.706 / €3.447.143
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION

Vera Rockline (Russian, 1986-1934), The Card Player
Sold: £2,057,050 / $4,044,554 / €2,598,307
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION

Oscar Dominguez (1906-1957), Machine à coudre électro-sexuelle
Sold: £1,497,250 / $2,943,594 / €1,891,027
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION

Leo Gestel (1881-1941), Gladiolen
Sold: £505,250 / $993,322 / €638,131
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION

Frits Van Den Berghe (Belgian, 1883-1939), Bloemen over de stad (Fleurs sur la ville) Sold: £241,250 / $474,298 / €304,699
WORLD RECORD PRICE FOR THE ARTIST AT AUCTION

source: www.artknowledgenews.com

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