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Truth and Beauty: The Pre-Raphaelites and the Old Masters

In 1848—a year of political revolution across Europe—seven young Englishmen formed an artistic alliance aspiring to rebel against the contemporary Victorian art world. The Pre-Raphaelite Brotherhood, including William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, defied idealized figures popularized by Raphael and other High Renaissance artists to reflect the simplicity, spirituality, and beauty they found in late medieval and early Renaissance art. Truth and Beauty: The Pre-Raphaelites and the Old Masters is the first major exhibition to juxtapose examples by the Pre-Raphaelite Brotherhood with works that inspired its members, including Italian old masters Fra Angelico and Pietro Perugino and their Northern contemporaries Jan van Eyck and Hans Memling. It reveals how the Brotherhood’s aesthetic evolved over time to embrace artistic influences from the High and late Renaissance, such as Botticelli, Raphael, Titian, and Veronese. It also offers a rich multimedia opportunity to examine the artists’ attraction to stained glass, domestic decorations, and sixteenth-century textiles. Truth and Beauty: The Pre-Raphaelites and the Old Masters is the first major international loan exhibition to assemble works of art by members of England’s nineteenth-century Pre-Raphaelite Brotherhood with the early Italian, Netherlandish, and German art that inspired them. Organized by the Fine Arts Museums of San Francisco, this presentation will demonstrate the Pre-Raphaelites’ fascination with the Italian old masters, including Fra Angelico (ca. 1400–1455) and Pietro Perugino (ca. 1450­–1523), and their northern contemporaries such as Jan van Eyck (ca. 1390–1441) and Hans Memling (1430/1440–1494). Truth and Beauty will trace the Brotherhood through the nineteenth-century “rediscovery” of Sandro Botticelli (1444 or 1445–1510) by the English art critics John Ruskin (1819–1900) and Walter Pater (1839–1894), which paralleled the tempera-paint revival executed by the second-generation Pre-Raphaelites. The visual affinities between these works will create evocative juxtapositions that will also demonstrate the influence of High Renaissance painter Raphael (1483–1520) and artists of the late Renaissance, such as Titian (ca. 1488–1576) and Paolo Veronese (1528–1588), on the Pre-Raphaelites and select contemporaries. Their attraction to the art of the past was not limited to paintings, however, and the presentation will also feature stained glass and tapestries in emulation of Flemish and French textiles. The varied sources that informed the Pre-Raphaelite’s aesthetic vocabulary in dialogue with their own nineteenth-century creations will demonstrate the importance of the work that inspired the PRB and redefine more broadly the PRB’s style. These arrangements will highlight the nuanced paradoxes of the Pre-Raphaelite mission, namely, their efforts to be fundamentally modern by emulating the past, as well as their dichotomous criticism and veneration of Raphael and his artistic impact. Pre-Raphael: The Inspiration of Early Italian and Early Netherlandish Art The jewel-toned color palette of the Pre-Raphaelites emulated that of early Netherlandish artists, including Jan van Eyck (ca. 1390–1441) and Hans Memling (1430/1440–1494), whose panels Rossetti and Holman Hunt admired in Bruges on an 1849 “Pre-Raphaelite pilgrimage.” As students training at the Royal Academy, they also could study works from the national collection, which was housed in the same building. There they would have known a rare example from the early Flemish school on public view in London at that time, Van Eyck’s Arnolfini Portrait (1434, National Gallery, London). The Rediscovery of Botticelli and the Tempera Revival Pre-Raphaelite artists, including Holman Hunt, Millais, and second-generation Pre-Raphaelite Edward Burne-Jones (1833–1898), all traveled to Italy. Burne-Jones, known as the “English Quattrocentist,” made four visits and filled his sketchbooks with depictions of the works that impressed him, especially in Florence’s Uffizi Gallery. During his second trip, in 1862, he traveled with Ruskin, who, along with Pater, is credited with the “rediscovery” of Botticelli in the nineteenth century. On his third visit, in 1873, Burne-Jones spent time with the English artist John Roddam Spencer Stanhope (1829–1908), who owned a villa in the hills outside of Florence. Stanhope’s own works—including his masterpiece, Love and the Maiden (1877, Fine Arts Museums of San Francisco)—reflect access to Botticelli’s paintings in the Uffizi Gallery. Such unmediated observations revealed subtleties that reproductions of the paintings of the time could not supply, and encouraged attempts by the Pre-Raphaelites to recover old master painting techniques. The Influence of Raphael and the “Post-Raphaelites” Although the Pre-Raphaelites’ initial style ostensibly rejected the idealized aesthetics of Raphael, his followers, and the Baroque artists, these parameters fluctuated over the course of each artist’s career. Paradoxically, the Pre-Raphaelites’ “Immortals” list also included Raphael himself along with select “Post-Raphaelites” such as Veronese and Tintoretto (1560–1635). Examples from Rossetti’s mature period are perhaps the most evocative examples of this development, and in paintings such as Monna Vanna (1866, Tate, London) and Veronica Veronese (1872, Delaware Art Museum, Wilmington), the artist overtly emulated Raphael and Veronese, respectively. Given Rossetti’s early proclamations of disdain for the “Post-Raphaelite” aesthetic, these sumptuous paintings reveal a surprising shift in his appreciation for the Italian Renaissance, particularly sixteenth-century Venetian paintings. Decorative Arts: Tapestries, Stained Glass, and Ecclesiastic Decorations First- and second-generation Pre-Raphaelites collected works by the old masters and filled their homes with harmonious decorative arts. They lived among these objects and also designed “medievalized” merchandise, including lush tapestries with figures and flora that quote from Flemish and French precedents. This final section of the exhibition will suggest compelling connections between sixteenth-century and nineteenth-century textiles, punctuated by complementary stained glass and decorations, together creating a rich multimedia experience in Rosekrans Court.

New York
Obsession : Nudes by Klimt, Schiele and Picasso

This exhibition at The Met Breuer will present a selection of some fifty works from The Met's Scofield Thayer Collection—a collection that is best known for paintings by artists of the school of Paris, and a brilliant group of erotic and evocative watercolors, drawings, and prints by Gustave Klimt, Egon Schiele, and Pablo Picasso, whose subjects, except for a handful, are nudes. The exhibition will be the first time these works have been shown together and will provide a focused look at this important collection; it also marks the centenary of the deaths of Klimt and Schiele. An aesthete and scion of a wealthy family, Scofield Thayer (1889–1982) was co-publisher and editor of the literary magazine the Dial from 1919 to 1926. In this avant-garde journal he introduced Americans to the writings of T. S. Eliot, Ezra Pound, D. H. Lawrence, Arthur Schnitzler, Thomas Mann, and Marcel Proust, among others. He frequently accompanied these writers' contributions with reproductions of modern art. Thayer assembled his large collection of some six hundred works—mostly works on paper—with staggering speed in London, Paris, Berlin, and Vienna between 1921 and 1923. While he was a patient of Sigmund Freud in Vienna, he acquired a large group of watercolors and drawings by Schiele and Klimt, artists who at that time were unknown in America. When a selection from his collection was shown at the Montross Gallery in New York in 1924—five years before the Museum of Modern Art opened—it won acclaim. It found no favor, however, in Thayer's native city, Worcester, Massachusetts, that same year when it was shown at the Worcester Art Museum. Incensed, Thayer drew up his will in 1925, leaving his collection to The Metropolitan Museum of Art. He withdrew from public life in the late 1920s and lived as a recluse on Martha's Vineyard and in Florida until his death in 1982. Accompanied by a catalogue.

Visite guidée - L'art nouveau à Saint-Etienne

Visite à 2 voix entre un guide conférencier et un collectionneur passionné d'art nouveau. Téléphone : 04 77 48 76 27 Téléphone : 04 77 49 39 00 Maill : Tarif : Plein tarif : de 5 à 6 €. Tarif réduit : Personnes handicapées et leurs accompagnateurs, 16/25 ans, plus de 65 ans, familles nombreuses, adhérents des associations des amis des Musées, employés municipaux de la ville de Saint-Etienne. Gratuité : bénéficiaires du RSA, presse, titulaires de cartes professionnelless de guides, Pass Loisirs Seniors, Sainté Pass 16-25 ans. A noter : • Départ de la visite à partir de 2 personnes • Afin de veiller au confort de tous durant la visite, le guide se réserve le droit de limiter à 30 maximum le nombre de visiteurs. Merci de prévoir l'appoint pour l'achat de tickets en début de visite. Organisateur(s) : Ville d'art et d'histoire Date(s) : Jeudi 5 juillet 2018 à 14h30.

Palau Güell : open doors

Special day of open doors on the occasion of the centenary of the death of Eusebi Güell

Inauguration of the exhibition "Eusebi Güell i Bacigalupi, patrician of the Renaixença. In the centenary of his death, 1918-2018 "

The exhibition draws a tour of the life and legacy of Eusebi Güell: the landowner; the industrial one; the politician; the lover of architecture, the arts, the sciences, the music and the literature; the humanist and the patron; the committed Catalan nationalist; the traveler and the entrepreneur; the dreamer and the realist; the observer and the altruistic ... the impatient researcher. It is a unique opportunity to discover Güell beyond the public figure. Curated by Raquel Lacuesta and Xavier González

Become an architect of Güell

Visit and workshop "Become an architect of Güell" : Families will work on the design process of the facades that follow the architect. Then they will try to explore their creativity and elaborate one by themselves

Conférence Les créateurs verriers dans l'Art Nouveau et leurs techniques

Gallé, Lalique, Daum, etc, ont réinventé le verre à la fin du XIXeme siècle en puisant leur inspiration dans la nature.Conférence,par Pascale Chauvel Conférencière des Musées Nationaux,peintre et Jean-Pierre Deguillemenot Plasticien verrier. Durée : 2h. Tarif : 5 €. Infos & réservations : 06 86 89 88 26 ou

With the support of the Culture Programme of the European Union

Responsible publisher: Bety Waknine, General Director,
Bruxelles Urbanisme & Patrimoine,
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium