Os traigo una nueva tanda de exposiciones actuales. En esta ocasión, se trata de una recopilación de las exposiciones estrenadas -o por estrenarse próximamente- de los meses de septiembre y octubre.
Caixaforum (Madrid)
Delacroix (1798-1863)
18 de octubre de 2011 - 19 de enero de 2012
Eugène Delacroix es el protagonista de lujo elegido por CaixaForum Madrid para estrenar su programa de exposiciones para la nueva temporada. El 18 de octubre se inaugurará Delacroix (1798-1863), la mayor retrospectiva del pintor francés que se ha organizado en el último medio siglo. Organizada en colaboración con el Museo de Louvre, la muestra reunirá 144 obras entre óleos, obra sobre papel y grabado. Algunas de las piezas se exhiben por primera vez en España. Instituciones como la National Gallery londinense, el Metropolitan Museum de Nueva York o el Art Institute de Chicago han cedido obras para esta exposición, la más importante que se realiza desde la gran retrospectiva que se organizó en París en 1963, con motivo del centenario de la muerte del artista, ha explicado Ignasi Miró, director del área de cultura de la Fundación La Caixa.
Museo Thyssen-Bornemisza (Madrid)
Arquitecturas pintadas
18 de octubre de 2011 - 22 de enero de 2012
Plazas, calles, edificios y rincones emblemáticos sirvieron a los artistas como fondo en el que ubicar las escenas y episodios que retrataban. Poco a poco la arquitectura fue adquiriendo más protagonismo en la pintura, hasta convertirse en un género propio. Esta exposición recorre la arquitectura en el relato pictórico entre los siglos XIV y XVIII. El Museo Thyssen-Bornemisza y la Fundación Caja Madrid organizan esta muestra conjunta en la que se recorre la presencia de la arquitectura desde el Renacimiento hasta el XVIII. Cada una de las salas acoge una parte de la muestra en la que se aprecia el protagonismo creciente de la arquitectura en la pintura. El museo centra su muestra en los trabajos de artistas que como Duccio empezaron a dar a sus pinturas marcos urbanos y arquitectónicos para ubicar sus escenas, ya fueran religiosas como la anunciación o costumbristas. Las salas del museo se llenarán de ciudades reales, imaginarias, sorprendentes, de ensueño o de pesadilla que sirvieron de marco a los creadores de aquel momento.
Museo Picasso (Málaga)
Alberto Giacometti. Una retrospectiva
17 de octubre de 2011 - 5 de febrero de 2012
El Museo Picasso Málaga presenta Alberto Giacometti. Una retrospectiva. Colección de la Fundación Alberto y Annette Giacometti, Paris. una exposición que muestra con precisión las diferentes etapas de la trayectoria artística de uno de los creadores más destacados del pasado siglo. Su obra es clave para entender el desarrollo de las vanguardias y la posterior evolución del arte contemporáneo, siendo a pesar de ello un autor inclasificable. Salvo leves excepciones, todas las obras provienen de las colecciones de la Fundación Alberto y Annette Giacometti, creada por la viuda del artista. Ésta es la primera retrospectiva de Alberto Giacometti que se realiza en España en más de 20 años, y reunirá en el Palacio de Buenavista alrededor de 160 obras y cerca de 20 fotografías de otros autores que documentan el trabajo del creador suizo. Se trata de un proyecto que cuestiona la visión reduccionista con la que frecuentemente ha sido considerada la obra de este artista.
Guggenheim (Bilbao)
Brancusi-Serra
8 de octubre de 2011 - 15 de abril de 2012
Esta exposición, organizada en colaboración con la Fondation Beyeler, explora el significado de los conceptos de tiempo y espacio en la obra de Constantin Brancusi y Richard Serra, dos de los máximos exponentes de la escultura del siglo XX. Una selección de aproximadamente treinta esculturas de Brancusi, que se mostrarán en grupos temáticos, evidenciará aspectos esenciales de su obra, al tiempo que se enfrentará y dialogará con una treintena de obras del artista Richard Serra. En ambos casos se pondrá especial énfasis en el efecto producido por los diferentes materiales que emplean, ya sea el mármol, la madera, el cemento, el yeso o el bronce en el caso de Brancusi, o el acero, el caucho, el plomo o los tubos de neón en el de Serra. La presentación se realiza de forma yuxtapuesta, en ocasiones, o dedicando espacios individuales a cada uno de los creadores, poniendo de manifiesto sus similitudes y diferencias, y revelando el dinámico poder espacial de la escultura. La arquitectura de las dos sedes de la muestra juega un destacado papel, sumando una tercera voz a la selección de esculturas.
Musée du Luxembourg
Cézanne et Paris
12 de octubre de 2011 - 26 de febrero de 2012
Cézanne (1839-1906), qu’une légende tenace décrit comme "le Maître d’Aix" solitaire et retiré en Provence, ne s’est en réalité jamais éloigné de la capitale et de l’Ile-de-France : entre 1861et 1905, il n’a cessé d’y revenir et de s’en inspirer. Son œuvre témoigne de ces séjours au cours desquels il fréquente les impressionnistes, Pissarro, Guillaumin, Renoir, Monet. Quelques amis le soutiennent comme le Docteur Gachet à Auvers-sur-Oise. À Paris, Cézanne se confronte tout autant à la tradition qu’à la modernité. Il trouve les "formules" avant de les exploiter en Provence (plus de vingt fois il fait l’aller/retour Paris/Provence). L’exposition nous éclaire sur les grands thèmes qu’il explore alors : quelques vues dans Paris, les paysages d’Ile-de-France, les nus, natures mortes et portraits. Son amitié avec Zola est privilégiée. Après 1890, critiques, marchands, et collectionneurs commencent à s’intéresser à son œuvre. Cézanne se montre attentif à cette reconnaissance qui ne peut venir que de Paris. Ainsi imprime-t-il sa marque dans l’art moderne : l’avant-garde le considèrera comme un précurseur, "notre père à tous", selon la formule de Picasso. Organisée en collaboration avec le Petit Palais, musée des Beaux-Arts de la Ville de Paris, l’exposition réunit environ 80 œuvres majeures issues du monde entier.
Musée d'Orsay (París)
Beauté, morale et volupté dans l'Angleterre d'Oscar Wilde
13 de septiembre de 2011 - 15 de enero de 2012
Cette exposition explore l'"aesthetic movement" qui, dans l'Angleterre de la seconde moitié du XIXe siècle, se donne pour vocation d'échapper à la laideur et au matérialisme de l'époque, par une nouvelle idéalisation de l'art et de la beauté. Peintres, poètes, décorateurs et créateurs définissent un art libéré des principes d'ordre et de la moralité victorienne, et non dénué de sensualité. Des années 1860 à la dernière décennie décadente du règne de la reine Victoria, qui s'éteint en 1901, ce courant est étudié à partir des oeuvres emblématiques de Dante Gabriel Rossetti, Edward Burne-Jones et William Morris, James McNeill Whistler, Oscar Wilde et Aubrey Beardsley. Tous sont réunis dans une même quête associant la création artistique à l'art de vivre et qui trouve des terrains d'expression féconds dans les domaines de la photographie, des arts décoratifs, du vêtement et de la littérature.
Musée de l'Orangerie (París)
L'Espagne entre deux siècles: de Zuloaga à Picasso (1890-1920)
7 de octubre de 2011 - 9 de enero de 2012
Si les peintres du Siècle d'or espagnol sont bien connus du public français, c'est sans doute moins le cas des artistes de la période charnière entre les XIXe et XXe siècles, à l'exception, peut-être, de Sorolla. Ils furent nombreux pourtant, comme Zuloaga, Casas, Camarassa ou Rusiñol, à séjourner longuement à Paris et à exposer régulièrement aux Salons. Cette génération a ouvert la voie à ceux qui allaient devenir des géants de l'Histoire de l'art : Dalí, Miró et Picasso. Le parcours exalte deux visions de l'Espagne. Une Espagne noire, dont Zuloaga et Solana sont les meilleurs représentants, et une Espagne blanche magnifiée par la palette lumineuse et chatoyante de Sorolla. Entre ces deux sensibilités et dans le foisonnement des mouvements artistiques qui se superposent à l'orée du XXe siècle, l'exposition montre qu'en constante relation avec Paris, capitale de la peinture nouvelle, la plupart de ces artistes adoptent de nouveaux langages, mais restent aussi les héritiers de Greco, Ribera, Goya en préservant leur part d'hispanité.
Grand Palais (París)
Matisse, Cézanne, Picasso: The Steins Collect
5 de octubre de 2011 - 16 de enero de 2012
This exhibition is a rare opportunity to see one of the most adventurous collections of modern art ever assembled. “Matisse, Cezanne, Picasso: The Steins Collect” features works by artists supported by the avant-garde writer Gertrude Stein, her brothers Leo and Michael, and Michael’s wife Sarah, American expatriates who settled in early 20th century Paris. The visionary Steins were the first to buy works by Picasso and Matisse. This exhibition explores how their patronage of the Parisian avant-garde helped to shape the way we think of modern art today. The reinvention of French painting in the first decade of the 20th century was made possible by the passionate support of patrons like the Steins, who helped struggling artists by creating a space in their home where artists could exchange new ideas and exhibit their work. Walking through the Grand Palais galleries recreates the sense of discovery the Steins must have experienced in collecting, from their initial acquisitions to the close friendships that grew between them and their artists. It also reveals the extraordinary foresight that prompted them to acquire misunderstood works that would eventually become icons of modern art—not only by Picasso and Matisse, but also Manguin, Bonnard, Vallotton, Gris, and Masson. By bringing together this outstanding ensemble of works from the Steins’ collections, “The Steins Collect” demonstrates how one exceptional family helped shape the story of modern art.
Tate Britain (Londres)
John Martin: Apocalypse
21 de septiembre de 2011 - 15 de enero de 2012
Visionary, eccentric, populist and epic, John Martin was a controversial but key figure in nineteenth century art. Like his canvases, this wildly dramatic artist with his visions of heaven and hell, was larger than life. Organised in partnership with the Laing gallery, Newcastle, this is the first major exhibition dedicated to Martin's work in over 30 years. It brings together his most famous paintings of apocalyptic destruction and biblical disaster from collections around the world, as well as previously unseen and newly-restored works. Hugely popular in his time, Martin was derided by the Victorian Art establishment as a 'people's painter', for although he excited mass audiences with his astounding scenes of judgement and damnation, to critics it was distasteful. In a sense ahead of this time, his paintings - full of rugged landscapes and grandiose theatrical spectacle - have an enduring influence on today's cinematic and digital fantasy landscapes. This exhibition presents a spectacular vision, capturing the full drama and impact of John Martin's paintings as they were originally displayed. Just as in the nineteenth century, these epic and often astounding works must be seen to be believed.
Royal Academy of Arts (Londres)
Degas and the Ballet: Picturing Movement
17 de septiembre - 11 de diciembre de 2011
Degas and the Ballet: Picturing Movement will comprise around 85 paintings, sculptures, pastels, drawings, prints and photographs by Degas, as well as photographs by his contemporaries and examples of early film. It will bring together selected material from public institutions and private collections in Europe and North America including both celebrated and little-known works by Degas. The exhibition will explore the fascinating links between Degas’s highly original way of viewing and recording the dance and the inventive experiments being made at the same time in photography by Jules-Etienne Marey and Eadweard Muybridge and in film-making by such pioneers as the Lumière brothers. By presenting the artist in this context, the exhibition will demonstrate that Degas was far more than merely the creator of beautiful images of the ballet, but instead a modern, radical artist who thought profoundly about visual problems and was fully attuned to the technological developments of his time.
Dulwich Picture Gallery (Londres)
Painting canada: Tom Thomson and The Group of Seven
19 de octubre de 2011 - 8 de enero de 2012
In the early twentieth century in Toronto, Canada, the first stirrings of a new movement of painting were being felt. A group of artists started to engage with the awesome Canadian wilderness, a landscape previously considered too wild and untamed to inspire ‘true’ art. Tom Thomson paved the way for this artistic collective, the Group of Seven, and their works have become revered in Canada. This exhibition will reintroduce their stunning impressions of the Canadian landscape to the British public for the first time since the 1920s. Ian Dejardin, director at Dulwich Picture Gallery, said: “These artists produced some of the most vibrant and beautiful landscapes of the twentieth century. The Canadians have kept this particular light under a bushel for far too long – I am proud, and frankly amazed, that this is to be the very first major exhibition of their work to be held in this country since the sensation of their first showing here in 1924. As for Tom Thomson – what he achieved in his tragically short career (just 5 years) is extraordinary. He is Canada’s very own Van Gogh.
MOMA (Nueva York)
de Kooning: A Retrospective
18 de septiembre de 2011 - 9 de enero de 2012
This is the first major museum exhibition devoted to the full scope of the career of Willem de Kooning, widely considered to be among the most important and prolific artists of the 20th century. The exhibition, which will only be seen at MoMA, presents an unparalleled opportunity to study the artist’s development over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. Bringing together nearly 200 works from public and private collections, the exhibition will occupy the Museum’s entire sixth-floor gallery space, totaling approximately 17,000 square feet. Representing nearly every type of work de Kooning made, in both technique and subject matter, this retrospective includes paintings, sculptures, drawings, and prints. Among these are the artist’s most famous, landmark paintings—among them Pink Angels (1945), Excavation (1950), and the celebrated third Woman series (1950–53)—plus in-depth presentations of all his most important series, ranging from his figurative paintings of the early 1940s to the breakthrough black-and-white compositions of 1948–49, and from the urban abstractions of the mid 1950s to the artist’s return to figuration in the 1960s, and the large gestural abstractions of the following decade.
Metropolitan (Nueva York)
Infinite Jest Caricature and Satire from Leonardo to Levine
13 de septiembre de 2011 - 4 de marzo de 2012
The exhibition explores caricature and satire in its many forms from the Italian Renaissance to the present, drawn primarily from the rich collection of this material in the Museum's Department of Drawings and Prints. The show includes drawings and prints by Leonardo da Vinci, Eugène Delacroix, Francisco de Goya, Henri de Toulouse-Lautrec, and Enrique Chagoya alongside works by artists more often associated with humor, such as James Gillray, Thomas Rowlandson, Honoré Daumier, Al Hirschfeld, and David Levine. Many of these engaging caricatures and satires have never been exhibited and are little known except to specialists. In its purest form, caricature—from the Italian carico and caricare, "to load" and "to exaggerate"—distorts human physical characteristics and can be combined with various kinds of satire to convey personal, social, or political meaning. Although caricature has probably existed since artists began to draw (ancient examples are known), the form took shape in Europe when Leonardo da Vinci's drawings of grotesque heads were copied by followers and distributed as prints.
Metropolitan (Nueva York)
The Art of Dissent in 17th-Century China Masterpieces of Ming Loyalist art from the Chih Lo Lou Collection
7 de septiembre de 2011 - 2 de enero de 2012
The collapse of the Ming dynasty (1368–1644) and subsequent conquest of China by semi-nomadic Manchu tribesmen from northeast of the Great Wall comprised some of the most traumatic events in Chinese history. This wrenching era also spurred an enormous outpouring of creative energy as many former Ming subjects turned to the arts to express their loyalty to the noble but doomed cause of Ming restoration and to assert their defiance and moral virtue. Drawn from one of the finest and most comprehensive private assemblages of the art of the Ming-Qing transition, this exhibition showcases more than sixty landscape paintings and calligraphies that highlight the intensely personal styles created by the leading artists of that time. Particularly noteworthy are the clusters of exceptional works by Huang Daozhou, Hongren, Bada Shanren (Zhu Da), and Shitao.
Metropolitan (Nueva York)
Stieglitz and His Artists. Matisse to O'Keeffe
13 de octubre de 2011 - 2 de enero de 2012
This exhibition is the first large-scale presentation of paintings, sculptures, drawings, and prints from Alfred Stieglitz's collection, acquired by the Metropolitan in 1949. In addition to being a master photographer, Stieglitz (1864–1946) was a visionary promoter of modern American and European art, and he assembled a vast art collection of exceptional breadth and depth. Through a succession of influential galleries that he ran in New York City between 1905 and 1946, Stieglitz exhibited many of the most important artists of the era, and he collected works by Pablo Picasso, Henri Matisse, Constantin Brancusi, Gino Severini, Vasily Kandinsky, Georgia O'Keeffe, Marsden Hartley, John Marin, Charles Demuth, and Arthur Dove. For more than sixty years, The Alfred Stieglitz Collection has been the cornerstone of the Museum's holdings of modern American art. The exhibition will feature some two hundred major works by American and European modernists, supplemented by photographs by the Photo-Secessionists and publications by Stieglitz—all from the Metropolitan's holdings. Highlights include Picasso's Woman Ironing and Standing Female Nude, Kandinsky's Improvisation 27 (Garden of Love), Brancusi's Sleeping Muse, O'Keeffe's Black Iris and Cow's Skull: Red, White, and Blue, Demuth's I Saw the Figure 5 in Gold, and Hartley's Portrait of a German Officer.
Guggenheim (Nueva York)
Pop Objects and Icons from the Guggenheim Collection
30 de septiembre de 2011 - 8 de febrero de 2012
Pioneered in Europe in the late 1950s, the American Pop art movement took off after finding support from critics such as Guggenheim curator Lawrence Alloway. Encouraged by the economic vitality and consumerist culture following World War II, artists including Roy Lichtenstein, Claes Oldenburg, and Andy Warhol explored the image world of popular culture and took inspiration from advertisements, pulp magazines, billboards, movies, television, and comic strips. This focused exhibition demonstrates various artists’ engagement with Pop art and the Guggenheim's ongoing interest in the legacy of the style.
Guggenheim (Nueva York)
Kandinsky's Painting with White Border
21 de octubre de 2011 - 15 de enero de 2012
Vasily Kandinsky’s canvas, Painting with White Border (Bild mit weissem Rand, May 1913) was inspired by a trip the artist took to Moscow in fall 1912. Upon his return to Munich, where he had been living intermittently since 1896, Kandinsky searched for a way to visually record the “extremely powerful impressions” of his native Russia that lingered in his memory. Over a period of five months, he explored various motifs and compositions in study after study, moving freely between pencil, pen and ink, watercolor, and oil. After he produced at least 16 studies, Kandinsky finally arrived at the pictorial solution to the painting: the white border. In his seminal 1911 treatise Über das Geistige in der Kunst. Insbesondere in der Malerei (On the Spiritual in Art: And Painting in Particular), Kandinsky wrote that the color white expresses a “harmony of silence . . . pregnant with possibilities.” The Frick Collection (Nueva York)
Picasso's Drawings, 1890–1921: Reinventing Tradition
4 de octubre de 2011 - 8 de enero de 2012
Pablo Picasso (1881–1973) is generally acknowledged to be the greatest draftsman of the twentieth century. The Frick Collection, New York, and the National Gallery of Art, Washington D.C., have co-organized an exhibition for 2011–12 that will look at the dazzling development of Picasso's drawings, from the precocious academic exercises of his youth in the 1890s to the virtuoso classical works of the early 1920s. Through a selection of more than fifty works at each venue, the presentation will examine the artist's stylistic experiments and techniques in this roughly thirty-year period, which begins and ends in a classical mode and encompasses the radical innovations of Cubism and collage. The show (which opens at the Frick in the fall of 2011 and moves on to the National Gallery of Art in February of 2012) will demonstrate how drawing served as an essential means of invention and discovery in Picasso's multifaceted art, while its centrality in his vast oeuvre connects him deeply with the grand tradition of European masters. Indeed, the exhibition will bring to the fore his complex engagement with artists of the near and distant past and will explore the diverse ways he competed with the virtuoso techniques of his predecessors and perpetuated them in revitalized form. Picasso's Drawings, 1890–1921: Reinventing Tradition will feature loans from important public and private collections in Europe and the United States and will be accompanied by a full-length catalogue of the same name.
Alte Pinakothek (Berlín)
Perugino - Raphael's Master
13 de octubre de 2011 - 15 de octubre de 2012
Pietro Perugino was one of the most successful artists of the Italian Renaissance around 1500. Prominent patrons courted his attention even some distance from Florence and Perugia, the centres in which he worked. It was not just the classical harmony and technical skill of his paintings that his contemporaries admired, but their contemplative, lyrical mood in particular. In 1829, King Ludwig I of Bavaria managed to acquire one of the master’s principal works, The Vision of Saint Bernard, for the Alte Pinakothek. This altarpiece is an invitation to rid Perugino of the shadow cast by his pupil Raphael. The Munich exhibition is the first major show outside Italy to be devoted entirely to Perugino. It comprises 40 exquisite paintings on loan from international collections (including the Uffizi Gallery, the Louvre and the Hermitage), focussing in particular on the heyday of the artist’s career. Apart from the impressive religious works, unique examples of Perugino’s skill as a portraitist and of his mythological creations vividly illustrate the humanist ideals of the times.
Pergamonmuseum (Berlín)
Pergamon. Panorama of the Ancient City
30 de septiembre de 2011 - 30 de septiembre de 2012
The National Museums in Berlin presents the first major exhibition dedicated entirely to the ancient city of Pergamon. To accompany the exhibition, the company asisi erects a new monumental 360° panorama of the city in the cour d'honneur of the museum on the Museum Island. The city, situated on the west coast of Turkey, famous for its impressive monumental structures, its sculpture workshops, its important library and school of philosophers, was a flourishing centre of Greek art and culture in the Hellenistic period. The Pergamenian kings ruled over great parts of Asia Minor and exerted considerable power in the Eastern Mediterranean region. Now over a surface of approx. 4000 square metres many exhibits, never seen before, from the Collection of Classical Antiquities in Berlin will go on show in the north wing of the Pergamonmuseum. Ancient sculptures, architectural elements, mosaics, tools, musical instruments, votive offerings and technical devices all reveal something of the city's art and culture.
Belvedere (Viena)
Gustav Klimt / Josef Hoffmann Pioners of Modernism
25 de octubre de 2011 - 4 de marzo de 2012
The Belvedere owns the world’s largest collection of paintings by Gustav Klimt. In autumn 2011, it will present this world-famous artist together with the congenial architect and designer Josef Hoffmann. Their intense collaboration, such in the Beethoven Exhibition at the Vienna Secession (1902) and the Stoclet Palace in Brussels (1905-12), set new standards in Europe when it comes to the concept of the Gesamtkunstwerk. Numerous works, such as Klimt’s Portrait of Fritza Riedler, which clearly reflects Hoffmann’s characteristic hand, attest to the two pioneers’ mutual influence, which in this comprehensive exhibition is also explored with regard to their involvement in the Wiener Werkstätte.