Exposiciones temporales actuales (IV)
Fundación Mapfre (Madrid)
Eugène Atget: el viejo París
27 de mayo - 27 de agosto de 2011
La Fundación Mapfre tiene el placer de presentar por primera vez en Madrid la obra del fotógrafo francés Eugène Atget (1857-1927), singular maestro, cuya aportación a la historia de la fotografía ha sido fundamental. Sus enigmáticas imágenes han inspirado y siguen inspirando a muchos artistas a lo largo del siglo XX. La muestra se compone de 9 secciones que pretenden seguir las agrupaciones temáticas organizadas por el propio Atget: pequeños oficios, tipos comercios parisinos, las calles de París, Ornamentos, Interiores, Los coches, Jardines, El Sena, Extramuros y Alrededores de París. Como un apéndice a esta selección, se presentan 43 fotografías del álbum de Man Ray, que contiene tipos y amientes parisinos fechados entre 1899 y 1926, seleccionados por él mismo. Con ello, se aprecia el inmediato interés que su obra despertó entre los surrealistas. Los primeros en reconocer su interés y talento fueron la fotógrafo Berenice Abbot y el propio Man Ray, quienes defendieron la conservación de su fotografía.Museo Carmen Thyssen (Málaga)
La tradición moderna en la Colección Carmen Thyssen. Monet, Picasso, Matisse, Miró
14 de junio - 16 de octubre de 2011
La exposición La tradición moderna en la Colección Carmen Thyssen. Monet, Picasso, Matisse, Miró presenta una selección de las obras más contemporáneas de la Colección Carmen Thyssen-Bornemisza. El recorrido está estructurado en torno al arte español realizado entre 1890 y 1960, aunque también figuran algunos ejemplos relevantes del arte internacional. El objetivo que se persigue con ello es establecer un diálogo entre las principales propuestas plásticas protagonizadas por artistas españoles y determinadas corrientes europeas y americanas que jugaron un papel fundamental en la configuración de la modernidad en nuestro país. Y todo ello gracias a la propia riqueza de los fondos de la Colección Carmen Thyssen. Museu Picasso (Barcelona)
Devorar París. Picasso 1900-1907
1 de julio - 16 de octubre de 2011
Esta exposición, coproducida por el Museu Picasso con el Van Gogh Museum de Ámsterdam, presentará la evolución artística de Picasso desde su llegada en 1900 a París, donde descubrió una floreciente comunidad artística internacional, hasta 1907, cuando asumió el papel de líder de la vanguardia en la capital francesa. El primer contacto directo con las obras de los artistas que en aquel momento lideraban la escena artística en París fue una revelación para el pintor. Su reacción, que fue inmediata, se reflejó tanto en el descubrimiento de nuevas técnicas pictóricas y gráficas, como en la adopción de una temática nueva, basada en sus propias experiencias de la vida y el arte modernos. Esta muestra reunirá obras de Picasso realizadas en soportes diferentes, y obras de artistas como Cézanne, Toulouse-Lautrec, Bonnard, Rodin, Steinlen y Gauguin y, en particular, Van Gogh, entre otros - cuyo prestigio se encontraba en su cenit en el París de la época-, con la voluntad, no de compararlas entre sí, sino de dar una idea del estímulo visual que la vida y el arte parisinos representaron para Picasso durante la primera década del siglo XX.Tate Liverpool
René Magritte: The Pleasure Principle
24 de junio - 16 de octubre de 2011
René Magritte (1898–1967) is one of the most revered and popular artists of the 20th century. This summer, Tate Liverpool presents René Magritte: The Pleasure Principle, the biggest exhibition of the Belgian surrealist’s work in England for twenty years. Renowned for witty images depicting everyday objects such as apples, bowler hats and pipes in unusual settings, Magritte’s art plays with the idea of reality and illusion. Tate Liverpool’s exhibition will reveal the inspiration behind the artist’s celebrated style, focusing on the less explored aspects of Magritte’s life and artistic practice.Paintings will feature alongside drawings, collages, examples of Magritte’s early commercial work and rarely seen photographs and films. The exhibition will include iconic pieces by the artist as well as some more surprising works, offering visitors a fresh insight into the intriguing world of Magritte.Royal Academy of Arts (Londres)
Eyewitness: Hungarian Photography in the 20th Century
Brassaï, Capa, Kertész, Moholy-Nagy, Munkácsi
30 de junio - 2 de octubre de 2011
Brassaï, Robert Capa, André Kertész, László Moholy-Nagy and Martin Munkácsi each left Hungary to make their names in Germany, France and the USA, and are now known for the profound changes they brought about in photojournalism, as well as abstract, fashion and art photography. Others, such as Károly Escher, Rudolf Balogh and Jószef Pécsi remained in Hungary producing high-quality and innovatory photography. A display of approximately two hundred photographs ranging in date from c.1914–c.1989 will explore stylistic developments in photography and chart key historical events. These striking images will reveal the achievements of Hungarian photographers who left such an enduring legacy to international photography.British Museum (Londres)
Treasures of Heaven: saints, relics and devotion in medieval Europe
23 de junio - 9 de octubre de 2011
This major exhibition brings together for the first time some of the finest sacred treasures of the medieval age. It features over 150 objects from more than 40 institutions including the Vatican, European church treasuries, museums from the USA and Europe and the British Museum’s own pre-eminent collection. It was during the medieval period that the use of relics in devotional practice first developed and became a central part of Christian worship. For many, the relics of Christ and the saints – objects associated with them, such as body parts or possessions – continue to provide a bridge between heaven and earth today. Relics were usually set into ornate containers of silver and gold known as reliquaries, opulently decorated by the finest craftsmen of the age. They had spiritual and symbolic value that reflected the importance of their sacred contents. The earliest items date from the late Roman period and trace the evolution of the cult of the saints from the 4th century to the peak of relic veneration in late medieval Europe.Forests, Rocks, Torrents: Norwegian and Swiss Landscapes from the Lunde Collection
22 de junio - 18 de septiembre de 2011
This landmark exhibition will display what is arguably one of the most complete collections of 19th-century Norwegian and Swiss landscape paintings outside their respective nations. The exhibition introduces a British audience, familiar with great artists of the tradition of Constable and Turner, to skilled and innovative practitioners of landscape who enjoyed great reputations elsewhere in Europe. The 45 works displayed demonstrate the similarities of the Norwegian and Swiss traditions, but also the differences that climate, character, national temperament and political regimes impose on art. Norway was engaged in a long struggle for freedom from Sweden and was poor, isolated and dependent for survival on its natural resources. Switzerland had been proudly independent for centuries and was prosperous, cosmopolitan and an early centre of industry. The exhibition includes works by Johan Christian Dahl, who, in a sense, invented Norwegian landscape painting, along with work by his student Thomas Fearnley. It also features work by Alexandre Calame, the father of the Swiss tradition. It aims to expand our understanding of the vital role national landscape painting played in European culture 150 years ago.Guggenheim Bilbao
Abstracción pictórica, 1949-1969: Selecciones de las Colecciones Guggenheim
14 de junio de 2011 - 8 de enero de 2012
Tras el caos provocado por la Segunda Guerra Mundial y al amparo de la filosofía existencialista, los artistas europeos recurrieron a la hibridación y a la síntesis, en contra de los valores utópicos y experimentales que habían caracterizado a los artistas de generaciones anteriores. Para los artistas de la España de Franco y del Este de Europa, aún oprimidos por la tiranía política y estética, esas obras de arte fueron un símbolo de liberación política. El Arte Informal, o arte sin forma, abarca una gran variedad de prácticas abstractas y métodos pictóricos que emergieron en esa posguerra. Rechazando los últimos baluartes del humanismo clásico y sus principios artísticos más significativos, como la armonía tonal, el equilibrio y la composición integral, la pintura informal abogó por la libertad en la expresión artística. Este movimiento es conocido, en sus diversas manifestaciones, como Pintura Gestual, Abstracción Lírica, Arte Matérico y Tachismo (del francés tache, "mancha").Artistas como Alberto Burri en Italia, JeanDubuffet en Francia y Antoni Tàpies en España, utilizaron materiales distintos al óleo en sus lienzos, mientras que otros exploraron estrategias que consideraban más científicas, objetivas e interactivas por naturaleza, en particular las pinturas monocromas y el Arte Cinético, como demuestran las obras de Yves Klein, Piero Manzoni y Jean Tinguely. Dürer - Cranach - Holbein
31 de mayo - 4 de septiembre de 2011
The exhibition “Dürer – Cranach – Holbein. The German Portrait around 1500” focuses on the artist’s view of man at the beginning of the Modern Era. Five hundred years on, the exhibition attempts to retrace the footsteps of Albrecht Dürer and his celebrated fellow artists, Lucas Cranach and Hans Holbein the Younger. Until now, early German portraiture has never been the focus of a major exhibition. Important artworks illustrate how at the turn of the 16th century man became the focus of artistic endeavors, turning artists into inventors and explorers of humanity. This unique presentation combines the extraordinary holdings of the Picture Gallery of the Kunsthistorisches Museum with artworks from our Kunstkammer and other in-house collections as well as with celebrated masterpieces from important international collections. Over 140 main works from the time of Albrecht Dürer invite visitors to enter into a fascinating dialogue with Early German art.
The exhibition “Dürer – Cranach – Holbein. The German Portrait around 1500” focuses on the artist’s view of man at the beginning of the Modern Era. Five hundred years on, the exhibition attempts to retrace the footsteps of Albrecht Dürer and his celebrated fellow artists, Lucas Cranach and Hans Holbein the Younger. Until now, early German portraiture has never been the focus of a major exhibition. Important artworks illustrate how at the turn of the 16th century man became the focus of artistic endeavors, turning artists into inventors and explorers of humanity. This unique presentation combines the extraordinary holdings of the Picture Gallery of the Kunsthistorisches Museum with artworks from our Kunstkammer and other in-house collections as well as with celebrated masterpieces from important international collections. Over 140 main works from the time of Albrecht Dürer invite visitors to enter into a fascinating dialogue with Early German art.Belvedere (Viena)
Makart. Painter of the Senses
9 de junio - 9 de octubre de 2011
Like no other artist of the nineteenth century, Hans Makart influenced an era whose embodiment he became and which went down in the annals of history as the ‘Makart period’. The Belvedere devotes a comprehensive exhibition to this exceptional artist, which is being compiled in cooperation with the Wien Museum and is going to investigate the myth of Makart. Called to Vienna’s imperial court when still a young talent, the artist quickly climbed the ladder of success. His paintings were popular among the rising bourgeoisie and were eventually considered an indicator of social recognition and repute. Makart knew how to take advantage of the new possibilities of the emerging industrial age to market his works and use them for his own aesthetic language. His pictures and subjects became emblematic mirror images of his time and attracted attention both at home and abroad. Makart’s international recognition and appreciation, but also his painterly approach to colour, which relied on Delacroix, invite comparison with the international art of his period.
Van Gogh in Antwerp and Paris: New perspectives
22 de junio - 18 de septiembre de 2011
Vincent van Gogh resided in Antwerp and Paris from the end of 1885 to the beginning of 1888. The 93 paintings from that period in the Van Gogh Museum’s permanent collection have been extensively studied, yielding many new insights. For example, there are two small portraits that are identical in style, which appear to represent different men. Did Van Gogh depict himself and his brother Theo here? There is also news regarding Van Gogh’s experiments with materials and techniques in this particular period. For instance, he re-used more canvases than we previously knew. And with the information from an analysis of the pigments used, some works could be dated more precisely. Finally, Van Gogh’s artistic development in this period is traced. He arrived in Paris at the beginning of 1886 as a painter with an old-fashioned taste strongly determined by realism and left that city two years later as a genuine modernist. Thanks to this investigation, we now know fairly precisely how this intriguing process unfolded step by step, and the exhibition presents the most crucial moments along the way.
Makart. Painter of the Senses
9 de junio - 9 de octubre de 2011
Like no other artist of the nineteenth century, Hans Makart influenced an era whose embodiment he became and which went down in the annals of history as the ‘Makart period’. The Belvedere devotes a comprehensive exhibition to this exceptional artist, which is being compiled in cooperation with the Wien Museum and is going to investigate the myth of Makart. Called to Vienna’s imperial court when still a young talent, the artist quickly climbed the ladder of success. His paintings were popular among the rising bourgeoisie and were eventually considered an indicator of social recognition and repute. Makart knew how to take advantage of the new possibilities of the emerging industrial age to market his works and use them for his own aesthetic language. His pictures and subjects became emblematic mirror images of his time and attracted attention both at home and abroad. Makart’s international recognition and appreciation, but also his painterly approach to colour, which relied on Delacroix, invite comparison with the international art of his period. The Frick Collection (Nueva York)
Turkish Taste at the Court of Marie-Antoinette
8 de junio - 11 de septiembre de 2011
France has long been fascinated by the Ottoman Empire, and for hundreds of years the taste for turquerie was evident in French fashion, literature, theater and opera, painting, architecture, and interior decoration. Turquerie, a term that came into use in the early nineteenth century, referred to essentially anything produced in the West that evoked or imitated Turkish culture. It was during the late eighteenth century at the court of Marie-Antoinette that the Turkish style reached new heights, inspiring some of the period’s most original creations, namely boudoirs or cabinets decorated entirely in the Turkish manner. In 1776 and 1777, several operas and plays with Turkish themes were performed at the French court, increasing the nobility’s interest in Turkish style. Soon thereafter, three interiors à la turque were created for the comte d’Artois, Louis XVI’s younger brother, and Marie-Antoinette commissioned boudoirs turcs for her apartments at Versailles and Fontainebleau.
Van Gogh Museum (Amsterdam)Turkish Taste at the Court of Marie-Antoinette
8 de junio - 11 de septiembre de 2011
France has long been fascinated by the Ottoman Empire, and for hundreds of years the taste for turquerie was evident in French fashion, literature, theater and opera, painting, architecture, and interior decoration. Turquerie, a term that came into use in the early nineteenth century, referred to essentially anything produced in the West that evoked or imitated Turkish culture. It was during the late eighteenth century at the court of Marie-Antoinette that the Turkish style reached new heights, inspiring some of the period’s most original creations, namely boudoirs or cabinets decorated entirely in the Turkish manner. In 1776 and 1777, several operas and plays with Turkish themes were performed at the French court, increasing the nobility’s interest in Turkish style. Soon thereafter, three interiors à la turque were created for the comte d’Artois, Louis XVI’s younger brother, and Marie-Antoinette commissioned boudoirs turcs for her apartments at Versailles and Fontainebleau.Van Gogh in Antwerp and Paris: New perspectives
22 de junio - 18 de septiembre de 2011
Vincent van Gogh resided in Antwerp and Paris from the end of 1885 to the beginning of 1888. The 93 paintings from that period in the Van Gogh Museum’s permanent collection have been extensively studied, yielding many new insights. For example, there are two small portraits that are identical in style, which appear to represent different men. Did Van Gogh depict himself and his brother Theo here? There is also news regarding Van Gogh’s experiments with materials and techniques in this particular period. For instance, he re-used more canvases than we previously knew. And with the information from an analysis of the pigments used, some works could be dated more precisely. Finally, Van Gogh’s artistic development in this period is traced. He arrived in Paris at the beginning of 1886 as a painter with an old-fashioned taste strongly determined by realism and left that city two years later as a genuine modernist. Thanks to this investigation, we now know fairly precisely how this intriguing process unfolded step by step, and the exhibition presents the most crucial moments along the way.
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6 comentarios:
¡Gracias por avisar, seguramente me acerque a ver la del viejo París! Se lo comentaré también a mi profa de francés! :)
Saludos.
Seguro que debe ser preciosa. Si te acercas por allí, ya comentarás qué te ha parecido :D
Por cierto, imagino que se podrá comprar en la expo de Atget... la Taschen publicó un tomo llamado "París", con muchas de sus fotos. Imprescindible (o muy útil al menos) para documentarse sobre cómo era la ciudad a principios del XX.
El otro día en la Fnac vi un par de libros sobre fotografías de París, editados por Taschen, y creo que uno de ellos era de Atget.
Seguramente te refieres a éste:
http://www.taschen.com/pages/en/catalogue/photography/all/01598/facts.eugene_atget_paris.htm
Yo me lo apunto :)
¡Gracias! ;)
Hola Beldz!
Gracias por las exposiciones temporales of course pero me paso principalmente para agradecerte todas tus fantásticas y maravillosas entradas, no sabes cuanto disfruto de cada una de ellas, me encanta entrar a pasear por tu blog. Es admirable el trabajo que haces.
Un abrazo.
Me conmueven tus palabras, Chari. ¡¡Muchísimas gracias!! Te lo agradezco mucho :)
Siempre hago las cosas de la mejor manera que puedo, y me alegra mucho de que a alguien le guste mi trabajo.
Gracias de nuevo ;)
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