Princeton University Art Museum Feb. 24 through May 13, 2018
Among the artists exploring radical new approaches to space, brushstroke and drawing was Paul Cézanne (1839-1906), whose work also figures in Landscapes Behind Cézanne, curated by the Princeton University Art Museum’s John Elderfield, who is Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer, with Calvin Brown, associate curator of prints and drawings. This intimate exhibition will be on view from Feb. 24 through May 13, 2018; Princeton is its only venue.
Paul Cézanne, Pine Tree in Front of the Caves above Château Noir, ca. 1900. Watercolor and graphite on cream wove paper. Princeton University Art Museum. Anonymous gift
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Cézanne is widely acknowledged to have transformed landscape painting, most radically in his late watercolors. These works do not so much attempt to depict the actual appearance of a scene as to translate it into self-sufficient sequences of patches and lines of a restricted range of vivid colors.
This installation juxtaposes Cézanne’s work with landscapes drawn, printed or painted by earlier artists. The resulting dialogue between images both reveals the extent to which Cézanne employed standard types of landscape depictions – close-up views, woodland panoramas, rocky landscapes, wide vistas, landscapes with buildings – but also suggests how Cézanne goes further, explicitly acknowledging that what is real in art is different and independent from what is experienced in nature. It is not, therefore, an exhibition about causalities, but rather a profound way of illuminating the path of Cézanne’s investigation.
“The vision of these path-breaking European and American artists of the modern era richly reward our close consideration a century later,” said James Steward, Nancy A. Nasher–David J. Haemisegger, Class of 1976, Director. “We are delighted to partner with the Phillips Collection in exploring both the formal vocabularies of art and the ways in which it responded to broad cultural and political shifts through new visual and formal means
Vatican Micromosaic of Saints Valeria and Martial Everyone loves a good story. In the realm of fine art and antiques, a good story, or what we call “provenance”, has the power to take a work of art from exceptional to awe-inspiring. In terms of workmanship, subject matter and sheer size, this incredible micromosaic detailing the Biblical story of Saints Valeria and Martial has it all. Measuring over 10 feet tall, the precision and detail required to execute such a piece is baffling. Combined with the high cost of materials, micromosaics of this immense size and artistry are beyond rare. When you factor in its provenance of being crafted by the prestigious Vatican’s Mosaic Studio and displayed in St. Peter’s Basilica, you’re dealing with an undeniable masterpiece of historical significance. It took a team of seven skilled mosaicists over two and a half years to complete this majestic masterpiece. Given that Vatican relics, especially ones on such a grand scale as this, almost never lea...
Museum of Fine Arts, Boston February 25 through May 28, 2018 Marking the centenary of the deaths of Gustav Klimt (1862–1918) and Egon Schiele (1890–1918), the Museum of Fine Arts, Boston (MFA), presents a special exhibition of drawings on loan from the Albertina Museum in Vienna. Klimt and Schiele: Drawn , on view from February 25 through May 28, 2018 in the Lois B. and Michael K. Torf Gallery, examines the separate, yet parallel experiences of the acclaimed Austrian modernists, as well as the compelling ways in which their work relates—particularly in their provocative depictions of the human body. Organized thematically, the selection of 60 works on paper extends from the artists’ early draftsmanship to explore how each shifted away from traditional training to more incisive and unconventional explorations of humanity over the course of their careers. The MFA is one of three museums—and the only U.S. venue—hosting exhibitions of the Albertina’s rarely loaned drawings b...
Grant Wood's American Gothic—the double portrait of a pitchfork-wielding farmer and a woman commonly presumed to be his wife—is perhaps the most recognizable painting in 20th century American art, an indelible icon of Americana, and certainly Wood's most famous art work. But Wood's career consists of far more than one single painting. Grant Wood: American Gothic and Other Fables brings together the full range of his art, from his early Arts and Crafts decorative objects and Impressionist oils through his mature paintings, murals, and book illustrations.
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