Monday, April 23, 2018

Mary Cassatt, Asher B. Durand, Thomas Moran, Winslow Homer, Ernest Lawson, and Childe Hassam


The exhibition “Bloom Where You’re Planted: The Collection of Deen Day Sanders” features a vibrant and highly varied collection of American works of art, on view at the Georgia Museum of Art at the University of Georgia from May 19 to July 29, 2018.

“Bloom Where You’re Planted” is a singular opportunity for visitors to see that collection, and its presence in the state museum of art, on the campus of the state’s flagship public university is fitting. The exhibition will allow the public to view an impressively cohesive collection that tells a story both of American life and of Mrs. Sanders’ support of the State Botanical Garden, art and all things that grow.

Dating from the 19th to the early 20th century, the paintings, furniture, porcelain and other works in the exhibition emphasize the diversity of American art at this time. The exhibition focuses on themes of childhood, nature, still lifes, interiors and depictions of the American West and Native Americans. Together, they touch on every major trend in American art during the period, which speaks to Mrs. Sanders’ eye as a collector and to the quality and scope of the works in general.

The collection’s visual art in particular highlights a number of influential artists. One will find names such as Thomas Sully, Mary Cassatt, Asher B. Durand, Thomas Moran, Winslow Homer, Ernest Lawson, and the impressionist Childe Hassam among others. The show’s curator, Sarah Kate Gillespie (curator of American art at the museum), is especially proud of the inclusion of two rarely seen works by John Singer Sargent in the exhibition.

The exhibition “Bloom Where You’re Planted: The Collection of Deen Day Sanders” features a vibrant and highly varied collection of American works of art, on view at the Georgia Museum of Art at the University of Georgia from May 19 to July 29, 2018. The collector has a number of impressive distinctions, especially in relation to her philanthropy to the University of Georgia and the State Botanical Garden of Georgia. She has served as president of the Garden Club of Georgia, National Garden Clubs Inc. and, most recently, as vice president of the World Association of Floral Artists, as well as on the boards of the Atlanta Botanical Gardens, the US Botanic Garden and the Diplomatic Reception Rooms in Washington, D.C. She has also spent a significant portion of her life building one of the most notable art collections in the state of Georgia, at Bellmere, the home of Deen and Jim Sanders.



Raspberries and Sweet Pea by August Laux 

“Bloom Where You’re Planted” is a singular opportunity for visitors to see that collection, and its presence in the state museum of art, on the campus of the state’s flagship public university is fitting. The exhibition will allow the public to view an impressively cohesive collection that tells a story both of American life and of Mrs. Sanders’ support of the State Botanical Garden, art and all things that grow.

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Albert Bierstadt, "Pacific Coast"

Dating from the 19th to the early 20th century, the paintings, furniture, porcelain and other works in the exhibition emphasize the diversity of American art at this time. The exhibition focuses on themes of childhood, nature, still lifes, interiors and depictions of the American West and Native Americans. Together, they touch on every major trend in American art during the period, which speaks to Mrs. Sanders’ eye as a collector and to the quality and scope of the works in general.

Asher B.  Durand (American, 1796–1886), "Hudson River Scene," 1846.  Oil on canvas, 32 x 32 inches.  Collection of Deen Day Sanders.
Asher B. Durand (American, 1796–1886), "Hudson River Scene," 1846. Oil on canvas, 32 x 32 inches. Collection of Deen Day Sanders.

The collection’s visual art in particular highlights a number of influential artists. One will find names such as Thomas Sully, Mary Cassatt, Asher B. Durand, Thomas Moran, Winslow Homer, Ernest Lawson, and the impressionist Childe Hassam among others. The show’s curator, Sarah Kate Gillespie (curator of American art at the museum), is especially proud of the inclusion of two rarely seen works by John Singer Sargent in the exhibition.

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Frederick Childe Hassam, "The Giant Ailanthus October"

The museum will publish an exhibition catalogue including full-page color illustrations of every work on display as well as essays by Gillespie, Dale Couch, the museum’s curator of decorative arts,, Linda Chafin (conservation botanist at the State Botanical Garden of Georgia), UGA associate professor of history Akela Reason, UGA associate professor of education Jennifer Graff and others, which will be available for purchase in the Museum Shop.

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Jasper Francis Cropsey, "Sunset at Etretat" 

Friday, April 20, 2018

William Glackens and Pierre-Auguste Renoir


NSU Art Museum Fort Lauderdale 
October 21, 2018 through May 19, 2019
One of America’s leading modern artists, painter William Glackens (1870-1938) had a keen interest in the work of Pierre-Auguste Renoir that has long been recognized. He saw the French Impressionist's works in New York galleries as early as 1908 and had unique access to the growing collection of his friend and colleague, Albert C. Barnes. However, Glackens’ specific debt to the art of this important French modernist has never been fully explored. 


William J. Glackens, Lenna Dressed as Toy Soldier, c. 1923, Oil on canvas, Private Collection.

 
Pierre‑Auguste Renoir, The Young Soldier, c. 1880, Oil on canvas, National Gallery of Art, Washington,
Collection of Mr. and Mrs. Paul Mellon


William Glackens and Pierre-Auguste Renoir: Affinities and Distinctions fills this void by bringing together 25 works by each artist that illuminate Renoir’s influence on Glackens’ artistic development. It also reveals how changes in Glackens' work after 1920 illustrate his response to Renoir's late work, as well as that of other important European modernists in Barnes' collection in order to forge his own distinctive American modernism. On view at NSU Art Museum Fort Lauderdale from October 21, 2018 through May 19, 2019, the exhibition defines Glackens’ late style for the first time (c.1920 to 1938), and also sheds light on the history of taste in American collecting from the late-19th to the mid-20th century. 
 
William J. Glackens and Pierre-Auguste Renoir: Affinities and Distinctions is organized by NSU Art Museum Fort Lauderdale and is curated by Barbara Buhler Lynes, Ph.D., Sunny Kaufman Senior Curator. Following its presentation in Fort Lauderdale, the exhibition will also travel to other venues to be announced.
The exhibition demonstrates Glackens’ response to Renoir’s Impressionistic work from 1860 to the mid-1880s, which was avidly purchased by a wide variety of American collectors. Renoir’s late work from the mid-1880s to 1919 appealed to other influential collectors such as Leo Stein and Barnes. Glackens, who traveled to Paris in 1912 on behalf of Barnes, purchased works for his then fledgling collection. Glackens was the only American artist who subsequently had nearly carte blanche access to Barnes’ increasingly important collection of American and European modernist art, which consequently had a profound influence on Glackens' painting as demonstrated by Dr. Lynes in this exhibition.
Glackens presumably became aware of Renoir’s art as early as 1895, when he first visited Paris. However, his knowledge of Renoir did not play a role in the development of his work until after he attended the 1908 exhibition of 41 Renoir paintings at the Durand-Ruel Gallery, New York. When he was sent to Paris by Barnes in 1912, Glackens’ purchases included works by Renoir, Pierre Bonnard, Paul Cézanne, Paul Gauguin, Vincent van Gogh and others. These acquisitions sparked Barnes' growing interest in modem European art as well as his enthusiasm for the late work of Renoir. Glackens’ study of the late Renoirs and the other works in Barnes’ collection by Cezanne, Matisse and Charles and Maurice Prendergast, shaped his continuing realization of his own conception of the modern.

Publication
The exhibition will be accompanied by a fully-illustrated catalogue published by Skira, with essays by Bonnie Clearwater, Barbara Buhler Lynes of NSU Art Museum Fort Lauderdale, Avis Berman, independent scholar, and Martha Lucy, Deputy Director and Curator of the Barnes Collection.

The Water Lilies: American Abstract Painting and the Last Monet





In 1955, Alfred Barr brought one of Claude Monet’s large Water Lilies panels into the collection of the Museum of Modern Art, in New York, at a time when these great “decorations,” still in the studio in Giverny, were beginning to attract the attention of collectors and museums.

Monet was presented at that time as “a bridge between the naturalism of early Impressionism and the highly developed school of Abstract Art” in New York, with his Water Lilies seen in the context of Pollock’s paintings, such as  

 Autumn Rhythm (Number 30)

Autumn Rhythm (number 30), 1950.

The reception of these later Monet works resonated with American Abstract Expression, then coming into the museum collections.


 
 American Abstract Art Merges with Monet's Masterpieces at Musée de l’Orangerie
 
Claude Monet (1840-1926), "Blue Water Lilies," circa 1916-1919
(Paris, Musée d'Orsay © RMN-Grand Palais (Orsay Museum) / Hervé Lewandowski)


The exhibition The Water Lilies: American Abstract Painting and the Last Monet at the Musée de l'Orangerie in Paris, now though August 20, 2018, includes a selection of some of Monet’s later works and around twenty major paintings by American artists. Shown with Monet's works are pieces by such artists as Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, Helen Frankenthaler, Morris Louis, Philip Guston, Joan Mitchell, Mark Tobey, Sam Francis, Jean-Paul Riopelle and Ellsworth Kelly.

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Claude Monet (1840-1926), Weeping Willow, between 1920 and 1922 Oil on canvas. H. 1.1; W. 1 cm Paris, musée d'Orsay. Philippe Meyer donation, 2000 © RMN-Grand Palais (musée d'Orsay) / Adrien Didierjean

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Detail of Claude Monet (1840-1926), Weeping Willow, between 1920 and 1922 Oil on canvas. H. 1.1; W. 1 cm Paris, musée d'Orsay. Philippe Meyer donation, 2000 © RMN-Grand Palais (musée d'Orsay) / Adrien Didierjean

Thursday, April 19, 2018

Swann Old Master Through Modern Prints May 8

At Auction May 8


Old Master Through Modern Prints

The highlight of this wide-ranging event from our Prints & Drawings department is Tête de femme, de profil, 1905, an extremely early work by Pablo Picasso, executed when he was just 24 years old. Works by visionaries who shaped the trajectory of twentieth century art will also be offered, including Jean Arp, Marc Chagall, Salvador Dalí and László Moholy-Nagy. Iconic works by Thomas Hart Benton, Martin Lewis represent American art movements from the same period.

Pablo Picasso, Tête de femme, de profil
 Lot 398: Pablo Picasso, Tête de femme, de profil, drypoint, 1905. Estimate $80,000 to $120,000.


Henri Matisse, Grand Masque
Lot 424: Henri Matisse, Grand Masque, aquatint, 1948. Estimate $50,000 to $80,000.

Old Master Prints

Highlights from the dawn of printmaking include a premier selection of engravings by Albrecht Dürer, as well as a rare engraving and stipple-engraving by Giulio Campagnola of Saint John the Baptist, 1505. Self-portraits by Rembrandt van Rijn include one In a Cap, Laughing, 1630, as well as one In a Flat Cap and Embroidered Dress, circa 1642.
Also available is the four-volume set of Giovanni B. Piranesi’s Le Antichità Romane, 1756-84, featuring 220 engravings of ancient Roman structures. The book took eight years to research and produce, and established Piranesi as the authority in the field.

Rembrandt van Rijn, Abrahams Sacrifice
Rembrandt van Rijn, Abraham’s Sacrifice, etching & drypoint, 1655. Estimate $30,000 to $50,000.


Lot 196: Giovanni B. Piranesi, Le Antichità Romane, set of 220 engravings in four volumes, 1756-84. Estimate $40,000 to $60,000.

Eugène Delacroix, Tigre Royal
Lot 235: Eugène Delacroix, Tigre Royal, lithograph, 1829-30. Estimate $30,000 to $50,000.


Lot 231: Francisco José de Goya, Dibersion de España, lithograph, 1825. Estimate $60,000 to $90,000.

Picturing the Nineteenth Century

Important etchings by Eugène Delacroix, James Jacques Tissot and James A.M. Whistler illustrate the variety of styles covered in the nineteenth century, along with Francisco José de Goya’s Dibersion de España, 1825, a lithograph from The Bulls of Bordeau.

Chrsitie's FINE ART, DAY SALE Thursday 10 May, 10am

View catalogue

The Day Sale features a broad span of genres and eras, beginning with Impressionist and Modern Art, including works by Odilon Redon, Paul Klee, Kees Van Dongen, and Édouard Vuillard. The 19th Century European art section is highlighted by works from Jean-Baptiste-Camille Corot, Jean-Auguste-Dominique Ingres, and Édouard Manet. A fine selection of Post-War and Contemporary artists include Alexander Calder, Lucien Freud, Jasper Johns and Bridget Riley, underscoring the full breadth of David Rockefeller’s collecting, well into his later years.

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Dorothea Tanning (1910-2012), The Temptation of St. Anthony, painted in 1945-1946. Oil on canvas in the artist's painted frame. 47⅞ x 35⅞ in (121.4 x 91.2 cm). Estimate: $400,000-600,000. This work is offered in the Impressionist and Modern Art Day Sale on 16 May at Christie’s in New York,


Vanessa Fusco, Head of Day & Works on Paper Sales: ‘Dorothea Tanning’s Surrealist vision of the Temptation of St. Anthony is a fantastical painting, embodying the universal struggle between good and evil. The subject of St. Anthony has a long tradition in the history of art, from the medieval to modern era, and Tanning’s representation exquisitely renders the cowering Saint and the nude female bodies which emanate from his robes with expert precision.

‘In addition to the visual pleasure derived from this work, it has a fascinating history. Tanning entered her picture into an international competition in which artists were invited to submit paintings representing the Temptation of St. Anthony for inclusion in a film based upon Guy de Maupassant’s Bel-Ami. Fellow Surrealists Max Ernst, Salvador Dalí, Paul Delvaux, and Leonora Carrington all entered paintings into the contest, the jury for which included MoMA’s Alfred Barr, Jr., the collector and gallerist Sidney Janis and Marcel Duchamp.’


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Wednesday, April 18, 2018

Christie’s Evening Sale of Impressionist and Modern Art May 15

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Kazimir Malevich, Suprematist Composition, 1916, oil on canvas. © Christie’s Images Limited 2018. 
Kazimir Malevich’s Suprematist Composition, 1916, will lead Christie’s Evening Sale of Impressionist and Modern Art (estimate upon request). Suprematist Composition is among the groundbreaking abstract paintings executed by Malevich that would forever change the course of art history. The present canvas was last sold at auction in November 2008, when it established the world auction record for the artist, which it continues to hold today.* One decade later, Suprematist Composition is expected to set a new benchmark for the artist when it is offered at Christie’s New York on May 15.

Loic Gouzer, Co-Chairman, Post-War and Contemporary Art, remarked: “Malevich’s work provided a gateway for the evolution of Modernism. Malevich pushed the boundaries of painting to a point far beyond recognition, forever changing the advancement of art. Without the Suprematist Composition paintings, the art being made today would not exist as we now know it.”

Max Carter, Head of Department, Impressionist and Modern Art, New York, continued: “Malevich’s Suprematist abstractions didn’t break with the past so much as articulate the future. What an honor to offer Suprematist Composition, 1916 which has lost nothing of its revolutionary power in the century since it was painted, this spring.”

On 17th December 1915, the Russo-Polish artist Kazimir Malevich opened an exhibition of his new ‘Suprematist’ paintings in the Dobychina Art Bureau in the recently renamed city of Petrograd. These startling, purely geometric and completely abstract paintings were unlike anything Malevich, or any other modern painter, had ever done before. They were both a shock and a revelation to everyone who saw them. Malevich’s Suprematist pictures were the very first purely geometric abstract paintings in the history of modern art. They comprised solely of simple, colored forms that appeared to float and hover over plain white backgrounds. Nothing but clearly-organized, self-asserting painted surfaces of non-objective/non- representational form and color, these pictures were so radically new that they seemed to announce the end of painting and, even perhaps, of art itself.

Suprematist Composition
is one of the finest and most complex of these first, truly revolutionary abstract paintings. Comprised of numerous colored, geometric elements seeming to be dynamically caught in motion, it epitomizes what Malevich defined as his ‘supreme’ or ‘Suprematist’ vision of the world. The painting is not known to have been a part of the exhibition in the Dobychina Art Bureau but is believed to date from this same period of creative breakthrough and, if not included, was, presumably painted very soon after the show closed in January 1916.

It is clear, from the frequency with which Malevich later exhibited the picture, that he thought very highly of the painting. Malevich subsequently chose, for example, to include Suprematist Composition in every other major survey of his Suprematist pictures made during his lifetime. These exhibitions ranged from his first major retrospective in Moscow in 1919 to the great travelling retrospective showcasing much of his best work that he brought to the West in 1927. It was as a result of his last exhibition held in Berlin that Suprematist Composition came to form part of the extraordinarily influential group of Malevich’s paintings that remained in the West and represent so much of his creative legacy.

Hidden in Germany throughout much of the 1930’s, Suprematist Composition and the other works from this great Berlin exhibition, were ultimately to become part of the highly influential holdings of Malevich’s work in the Museum of Modern Art in New York and the Stedelijk Museum in Amsterdam. Until 2008, when it was restituted to the heirs of Malevich’s family in agreement with the Stedelijk museum, Suprematist Composition was on view in Amsterdam as part of the Stedelijk’s unrivalled collection of the artist’s work.

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Property of an Important Collector. Fernand Léger (1881-1955), Le grand déjeuner, 1921. Estimate: $15,000,000-25,000,000. This work is offered in the Impressionist and Modern Art Evening Sale on 15 May at Christie’s in New York © ADAGP, Paris and DACS, London 2018
The painting is the final of three preliminary versions Léger did of a masterwork, also called Three Women (Le grand déjeuner), that today ranks among the jewels of the Museum of Modern Art in New York. On 15 May, the work will be offered in the Impressionist and Modern Art Evening Sale  at Christie’s in New York
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  • Léger retained his modern aesthetic even as he drew from the art-historical canon
It is rare to sell one masterwork from the 1920s but this season we will be offering two, with the inclusion of Les trois femmes au bouquet  (1922), another classic depiction of women in a domestic interior, also offered on 15 May. Again, Léger chose to meld tradition with modernity.
Property from The Collection of Joan and Preston Robert Tisch. Fernand Léger (1881-1955), Les trois femmes au bouquet (1922). Estimate $12,000,000-18,000,000. This work is offered in the Impressionist and Modern Art Evening Sale on 15 May at Christie’s in New York © ADAGP, Paris and DACS, London 2018
Property from The Collection of Joan and Preston Robert Tisch. Fernand Léger (1881-1955), Les trois femmes au bouquet (1922). Estimate: $12,000,000-18,000,000. This work is offered in the Impressionist and Modern Art Evening Sale on 15 May at Christie’s in New York © ADAGP, Paris and DACS, London 2018
The grey trio look like they could have been fabricated out of steel and burnished chromium, yet they’re also clearly inspired by the Three Graces of Classical mythology, and here the interaction between the figures creates a dialogue and connection between the forms.
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  • The 1930s was both an experimental and an extremely productive decade for Léger
In 1931 Léger made the first of three trips to the United States, having been commissioned to decorate the New York apartment of Nelson Rockefeller. He returned in 1935 and 1938 to complete a similar project for Wallace K. Harrison’s Consolidated Edison Building at the 1939-40 World’s Fair.
In 1932 he resumed teaching at the Académie Moderne, a free school he had co-founded with Amédée Ozenfant in 1924. In 1935, just four years after his initial visit, he was given a major show at New York’s Museum of Modern Art.
The latter half of the decade saw the completion of the monumental mural paintings Adam and Eve  and Composition aux deux perroquets, a work he considered to be one of his most important. He also produced murals for expositions in Brussels and Paris, and set and costume designs for the Paris Opera.
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  • Fernand Léger was a painter with a definite social agenda
Léger’s murals of the late 1930s were inspired by his belief that modern art could be an agent of change, a means of communicating an optimistic vision of a forward-looking socialist society. In 1935 a coalition of leftist and centrist parties, organised labour and intellectuals formed the Front Populaire in France. Léger believed this represented the dawn of a new and potentially transformational social consciousness — precisely the opportunity that would allow him to bring modern art out of the studio and into the everyday sensibility of the public.
He spent the war in America, where he made a series of paintings inspired by the neon lights of New York. He returned to France December 1945 and, like Picasso, joined the French Communist Party. The optimism Léger felt at returning to his homeland was reflected in his painting — there is an easygoing vitality and an athletic physicality in the artist’s late works.
Léger believed that an essential part of peacetime reconstruction was to bring a sense of enjoyment to the lives of citizens from all walks of life, and, for him, the circus represented the public spectacle par excellence — a genuine art of the people. His final masterwork, La Grande parade, état définitif  (1954) capped a long line of circus scenes that he executed throughout his career.
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  • Art from two periods of his career is especially sought-after
Interest in Léger’s work is ‘very strong right now’, says Jessica Fertig, Senior Vice President for Impressionist and Modern Art at Christie’s in New York. Demand is particularly robust for pieces executed during two periods of his career: ‘Just before the First World War, and the work featuring female figures from the early 1920s.’
Last year, Christie’s broke a world record for the artist with an example of the former (Contraste de Formes). This May, we’re offering two very fine examples of the latter.
‘The works from before the War — both Cubist and those moving beyond Cubism — have always done well at auction,’ Fertig says. ‘What’s interesting is that the early 1920s pieces are now widely considered in the same rank.’
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  • Léger will be well-represented in exhibitions in 2018
Beyond the auction room, Léger’s unique style will be on view in a number of museum shows this year. In Brussels, a retrospective of his work is on display at BOZAR (until 3 June); a second retrospective will come to Tate Liverpool in November.






Fernand Leger (1881-1955)

Les trois femmes au bouquet

Previous sale  1999
Price realised
USD 4,402,500
Estimate
USD 5,000,000 - USD 7,000,000
Fernand Leger (1881-1955)
Lger, F.
Les trois femmes au bouquet
signed and dated 'F.LEGER 22' (lower right); signed and dated again and titled 'Les trois Femmes au bouquet F.LEGER 22' (on the reverse)
oil on canvas
25.5/8 x 36 in. (65.1 x 92.7 cm.)
Painted in 1922
Provenance
Galerie Simon (D.-H. Kahnweiler), Paris (acquired directly from the artist).
Galerie Pierre Loeb (Galerie Pierre), Paris (1926).
Dr. G.F. Reber, Lausanne.
Galerie Rosengart, Lucerne.
Dr. Charles Bensinger, Chicago (1949).
William Beadleston, Inc., New York .
Donald Morris Gallery, Inc., Birmingham, Michigan. (acquired from the above).
Acquired from the above by the present owners on 7 December 1982.