Displaying items by tag: Van Gogh

The Philippine government will launch a website to crowd-source tips on the whereabouts of some 200 missing art works, including paintings by Van Gogh, Picasso, and Rembrandt that were owned by former first lady Imelda Marcos, an official said Friday.

The family of late dictator Ferdinand Marcos allegedly amassed billions of dollars' worth of ill-gotten wealth.

If you’ve been meaning to make it to MoMA to check out “Picasso Sculpture,” you’ll need to plan ahead starting next week. Beginning November 10, MoMA is requiring visitors to purchase timed entrance tickets for the five-month exhibit, which opened September 14.

This isn’t the first time MoMA has implemented timed ticketing. Over the past seven years, the Tim Burton, Van Gogh, Bjork and two Matisse exhibits have also required viewers to enter at a particular time.

The Van Gogh irises that brighten refrigerator magnets and wrap around coffee mugs are sweet. But they don’t compare to the real deal, unveiled Friday morning at the Minneapolis Institute of Art.

Vincent van Gogh’s 1890 “Irises, Saint-Rémy-de-Provence” is the third and final “mystery masterpiece” that the museum has presented as part of its centennial celebration. One of the Dutch artist’s most famous and appealing pictures, “Irises” is a big, exuberant bouquet — 3 feet tall and about 2 feet wide — of blue-violet blossoms and spiky green leaves in a gold vase by a sunny yellow wall.

While it may not feel like the first day of spring across much of the U.S., the canvases are in full bloom at the Virginia Museum of Fine Arts in Richmond.

“Van Gogh, Manet, and Matisse: The Art of the Flower” traces the evolution of the floral still life genre from the late 18th century to the early 20th century. It features 65 masterpieces from more than 30 artists including Henri Matisse, Edouard Manet, Paul Cézanne and Vincent Van Gogh.

With lilacs, roses, and peonies abounding, the bouquets are a feast for the eyes, from the most exquisitely crafted floral displays to the humblest of arrangements.

The IRS taxed a Texas tycoon $40.6 million on the false belief he had taken ownership of a treasure trove of art including works by Picasso, Monet and van Gogh, his widow claims in court. Barbara B. Allbritton sued the United States for herself and the estate of her husband, self-made millionaire Joe L. Allbritton, on Jan. 30 in Federal Court.

Joe Allbritton died in 2012 at 87, ending a life fit for the big screen. After a stint in the Navy during World War II, and graduating from Baylor College of Law, Allbritton took out a $5,000 loan to buy land outside Houston. He made a nice profit selling the land, which was used to build a freeway from Houston to Galveston, and founded San Jacinto Savings and Loan.

165 years ago, the Knoedler Gallery opened its doors in New York and went on to help create some of the country’s most celebrated collections including those of Paul Mellon, Henry Clay Frick, and Robert Sterling Clark. Throughout the years, top-notch works by artists such as van Gogh, Manet, Winslow Homer, John Singer Sargent, Louise Bourgeois, and Willem de Kooning passed through the gallery. When the Soviet government sold hundreds of paintings from the State Hermitage Museum in Leningrad in the 1930s, they chose to work with Knoedler to sell paintings by masters like Rembrandt, Raphael, and Velazquez.

Knoedler’s exemplary past is often forgotten as the gallery’s present has been mired in lawsuits and accusations that the company’s former president, Ann Freedman, was in the business of selling fakes. Last year, Knoedler Gallery closed its doors for good.

This week, Los Angeles’ Getty Research Institute announced that it had bought the Knoedler Gallery archive. Spanning from around 1850 to 1971, the archive includes stock books, sales books, a photo archive and files of correspondence, including letters from artists and collectors, some with illustrations. The Getty was interested in Knoedler’s archive because it offers an expansive glimpse into the history of collecting and the art market in the United States and Europe from the mid-19^th century to modern times.

The archive was purchased from Knoedler’s owner, Michael Hammer, for an undisclosed amount. Meticulously preserved, the archive will be available to scholars and digitized for online research after the Getty catalogues and conserves it all.

Taking over two galleries at New York City’s Morgan Library & Museum, Dürer to de Kooning: 100 Master Drawings from Munich, spans the sixteenth through the twentieth centuries. The show includes rarely seem works by old masters such as Michelangelo, Rembrandt, Raphael, and Rubens as well as nineteenth century sheets by van Gogh and contemporary works by Pablo Picasso, David Hockney, and Georg Baselitz. The drawings, which are on loan from the Staatliche Graphische Sammlung in Munich, have never before been on view in the United States.

Comprised of a complex of buildings on Madison Avenue, the Morgan began as the private library of the financier Pierpont Morgan. In 1924, eleven years after Pierpont’s death his son, J.P. Morgan, Jr., turned the library into a public institution.

100 Masters will be on view through January 6, 2013.

This past Sunday, 75 Van Gogh paintings including Sunflowers, Irises, and Bedroom, were pulled off the walls of Amsterdam’s Van Gogh Museum and transported across the city in an armored car. The masterpieces will be on view for the next seven months at the Hermitage, an Amsterdam dependency of the Russian state museum, while the Van Gogh Museum undergoes renovations.

Moving irreplaceable works of art proved to be no easy task. Each painting was loaded onto felt-covered trolleys and taken to a workshop where they were wrapped in protective insulation and then packed into hard-shell carrying cases. The cases were then assigned code numbers to keep the paintings’ identities under wraps. The decidedly huge undertaking went off without a hitch.

The Hermitage’s Van Gogh exhibit opens on Saturday, September 29^th and will run through mid-April. The revamped Van Gogh Museum is slated to re-open on April 25, 2013.

Could Vincent van Gogh's acidic sense of color and preference for bright, clashing hues, long the province of the Fauves, be a result of colorblindness and not just an aesthetic judgment? An essay by Kazunori Asada, a Japanese medical scientist and poet, has recently come to the attention of science blogs drawn to its argument that the famous painter wasn't so much an artistic revolutionary as he was visually impaired. Asada’s article was sparked by an experience in Hokkaido, Japan’s “Color Vision Experience Room,” an immersive simulator that makes it possible to perceive color the way people with different types of colorblindness might experience it. When Asada saw replicas of the artist’s canvases, he had a revelation.