Displaying items by tag: Portraiture

Leading authorities in the folk art field will present talks on the themes and ideas explored in the exhibition "A Perfect Likeness": Folk Portraits and Early Photography, part of Fenimore Art Museum’s Annual Americana Series.

The exhibition, “A Perfect Likeness”: Folk Portraits and Early Photography, which opens the same day and is on view through December 31, 2015, illustrates how early photography contributed to the demise of folk portraiture in the 1840-50 period. Established painters were deeply affected by the invention of the daguerreotype and their reactions to this early photographic method varied.

Andy Warhol (1928–1987) and Robert Mapplethorpe (1946–1989) are well known for significant work in portraiture and self-portraiture that challenged gender roles and notions of femininity, masculinity, and androgyny. This exciting and original book is the first to consider the two artists together, examining the powerful portraits they created during the vibrant and tumultuous era bookended by the Stonewall riots and the AIDS crisis. Several important bodies of work are featured, including Warhol’s Ladies and Gentlemen series of drag queen portraits and his collaboration with Christopher Makos on Altered Image, in which Warhol was photographed in makeup and wigs, and Mapplethorpe’s photographs of Patti Smith and of female body builder Lisa Lyon.

The new exhibit at Wadsworth Atheneum Museum of Art, "Aspects of Portraiture," is divided into three categories: traditional portraiture, symbolic portraiture and narrative portraiture. But the exhibit shows that even within the categories, there are categories.

Four charming traditional portraits of Roxbury sculptor Alexander Calder show different aspects of one man. One, taken in 1975 by Pedro Guerrero, shows Calder smiling in a ratty straw hat. In "Last Photograph of Calder," a 1975 photo by Calder's neighbor and friend, Inge Morath, he glares at the camera, silently ordering Morath to go away. In Morath's 1964 "Calder with Maquette for Stabile with Gunrest," he proudly presents his creation, a field full of cows in the background. In Morath's "Calder at Roxbury, 1969," he hides behind one of his sculptures.

Portraits make up a third of Goya’s output – and more than 150 still survive today – but there has never been an exhibition focusing solely on Goya’s work as a portraitist, until this autumn when almost half this number will come together at the National Gallery, London.

Francisco de Goya y Lucientes (1746–1828) is one of Spain’s most celebrated artists. He was an incisive social commentator, considered (even during his own lifetime) as a supremely gifted painter who took the genre of portraiture to new heights. Goya saw beyond the appearances of those who sat before him, subtly revealing their character and psychology within his portraits.

Life Lines: Portrait Drawings from Dürer to Picasso at the Morgan Library & Museum may not venture very far beyond canonical European artists, but it uncovers richness and diversity within a circumscribed field, especially in the work of its two anchors, Albrecht Dürer and Pablo Picasso.

Of the 51 drawings on display, only five were made the 20th century, with most dating from the 1600s and 1700s.

LONDON — A rare full-length portrait by Gustav Klimt sold for 24.8 million pounds with fees, or about $39 million, at a Sotheby’s auction in London on Wednesday.

Sotheby’s had placed an estimate of £12 million to £18 million (about $19 million to $28 million) on Klimt’s 1902 portrait of Gertrud Loew, the 19-year-old daughter of Dr. Anton Loew, the director of a prominent Viennese private sanatorium that treated fin-de-siècle luminaries such as Mahler, Ludwig Wittgenstein, and Klimt himself.

The portrait, which had never previously been offered on the open market, was won by an unknown buyer...

The Dallas Museum of Art today announced the acquisition, for its European painting collection, of a remarkable life-size triple portrait by the neoclassical painter Jean Antoine Théodore Giroust (1753–1817). The painting, "The Harp Lesson (La leçon de harpe)," created a sensation when it debuted at the Paris Salon exhibition of 1791. The work is a significant addition to the Museum’s holding of 18th-century portraits and is an important example historically of the art of portraiture. The painting goes on view today, included in the Museum’s free general admission, in the DMA’s European Painting and Sculpture galleries on Level 2.

“This monumental painting is a transformative addition to the Museum’s galleries of European art at the end of the 18th century.

Since the colonial period, the Atlantic Ocean has operated both as a barrier between America and Europe and as a conduit for international exchanges of peoples, goods, and ideas. It spurred commerce and enterprise that was the basis for both national economic activity and personal fortune. The activities in America’s great harbors and port cities also supported the nation’s cultural development, prompting the rise of schools of maritime and landscape painting, as well as portraiture.

The exhibition "The Coast & the Sea: Marine and Maritime Art" in America explores these themes and the breadth of experiences through which artists and their audiences engaged our coastlines, while simultaneously highlighting substantial developments in American artistic currents. With fifty-two paintings and ten maritime artifacts dating from the eighteenth- through the early-twentieth centuries, the exhibition illustrates the sublime drama of the oceanic environment; the importance of America’s early naval battles; breathtaking vistas where water, land, and light meet; and depictions of the men and women who animated Northeastern port cities.

Visit InCollect.com to read the full marine paintings article.

The final installment of the “American Encounters” exhibition series co-organized by the musée du Louvre, the High Museum of Art, the Crystal Bridges Museum of American Art and the Terra Foundation for American Art, the exhibition “The Simple Pleasures of Still Life” explores the rise of still-life painting in 19th-century America. In the wake of the exhibitions on landscape, genre painting, and portraiture, this exhibition provides a new opportunity to foster dialogue on American painting.

Featuring 10 artworks from the collections of the four partner institutions, this final exhibition follows on from the previous ones to illustrate how American painters like Raphaelle Peale, Martin Johnson Heade, and William Michael Harnett adapted European models to their time and country, and thus contributed to the creation of a national voice.

The Delaware Art Museum unveiled its renovated and reinstalled 18th- and 19th-century American Art galleries—Galleries 1, 2, and 3—to the public. Just in time for the holiday season, the beautifully redesigned space displays over 50 works of art, including many permanent collection objects that have not been on view for over 10 years. As part of this reinstallation, the galleries highlight 150 years of portraiture, sculpture, landscape painting, still life, and history painting.

“I am excited to be able to present our regional history within the context of the dynamic national art scene,” explains Heather Campbell Coyle, Curator of American Art at the Delaware Art Museum. “The product of more than two years of research and planning, the redesigned space gives us the opportunity to showcase the Museum’s outstanding collection of American art to the local community, visitors, and school groups in new and exciting ways.”