Displaying items by tag: albrecht durer

Old Master works by artists including Durer, Raphael, Rembrandt, Rubens and François Boucher will be coming to New York in 2017, some for the first time, in an exhibition of paintings and drawings from Sweden’s Nationalmuseum, the Morgan Library & Museum announced.

While it is closed for renovation the Nationalmuseum, in Stockholm, is lending 76 works – 14 paintings and 62 drawings — to the Morgan for a show scheduled to run Feb. 5-May 14, 2017.

In its only North American presentation, The Age of Albrecht Dürer: German Drawings from the École des Beaux-Arts, Paris, has opened at the Crocker Art Museum in Sacramento. The panoramic exhibition of German drawings is centered on Albrecht Dürer (1471-1528), considered one of the greatest and most influential artists of the Northern Renaissance and a pivotal figure of German humanism. This iconic artist's life is seen in an exceptional selection from one of the world's best drawings collections.

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.

Both rare works of art missing from the Boston Public Library have been found inside the main branch where they were "misfiled," library President Amy Ryan said today.

The art was discovered in the library's print stacks just 80 feet from where they should have been, Ryan added.

We’re thrilled to have found these treasures right here at home,” Ryan, who announced her resignation yesterday amid the probe, said in a statement. “They were found safe and sound, simply misfiled."

Two treasured pieces of art — an etching by Rembrandt and an engraving by Albrecht Dürer — have gone missing from the Boston Public Library’s vaunted print collection, and investigators are probing whether the artwork was stolen through an inside job, the Herald has learned.

The library reported both pieces missing to police on April 29, after a BPL supervisor discovered they had gone missing on or around April 8, according to a police report obtained by the Herald.

“Picturing Mary” is the most ambitious exhibition mounted by the National Museum of Women in the Arts in years, and given its subject — images of the Virgin Mary — it is likely to be one of its most popular as well. It opens in the middle of the Christmas season, when the subject of Mary is particularly resonant, and it includes more than 60 works, some of them by the most celebrated artists of the Renaissance and baroque eras, including Michelangelo, Botticelli, Caravaggio and Dürer. If this show, which opens Friday, doesn’t fill the museum’s galleries with throngs of visitors, nothing will.

The subject is vast, and doing it justice in one exhibition is impossible. One might organize such a show based on the archetypal narrative moments in Mary’s life — the Annunciation, the Pieta, the Assumption — that have inspired artists for centuries.

The Norton Museum of Art presents "Master Prints: Dürer to Matisse," featuring astonishing works on paper including woodcuts, etchings, engravings, aquatints, and lithographs that range from the 15th to 20th centuries. This not-to-be-missed exhibition brings together several of the earliest as well as later examples of the golden age of printmaking. Works by old masters Dürer, Rembrandt, Goya, and Canaletto, will be displayed alongside those of modern masters Degas, Matisse, Picasso, and Cezanne. The exhibition is on view through Sunday, Feb. 15, 2015, and is accompanied by a video demonstrating printmaking processes, and texts describing the role prints held in society before the advent of photography.

“Each and every work in this exhibition is rare, and of a breathtaking quality that is no longer available on the market,” says Jerry Dobrick, the Norton’s Curatorial Associate for European Art.

A measure of respect is due any artist who has the nerve to take on a revered masterpiece in the history of art, aspiring to remake it according to a conception of new conditions in the present. That's what Jim Hodges did in 2008 with a sculpture born of Albrecht Dürer's famous watercolor that shows a chunk of wet mud sprouting a clump of bristling weeds.

Arguably, Dürer's "The Great Piece of Turf" (1503) is the greatest drawing in all of Western art. Hodges' take on it, a delicate glass sculpture sealed inside a nearly 3-foot-tall bell jar, is one of 56 works in the 25-year retrospective of his career concluding its national tour at the UCLA Hammer Museum. "Jim Hodges: Give More Than You Take," jointly organized by the Dallas Museum of Art and Minneapolis' Walker Art Center, continues through Jan. 18.

Throughout the autumn season visitors to the National Gallery of Denmark can see the museum’s conservators at work, restoring Albrecht Dürer’s 500 year-old masterpiece "The Arch of Honour of Maximilian I."

For many years, this artwork by Albrecht Dürer – the largest Renaissance woodcut ever made – was on display at the Royal Collection of Graphic Art’s premises in Prinsens Palæ, now the home the National Museum of Denmark. Here, the 3.5 x 3m artwork was exposed to light and changing climate conditions, and eventually it yellowed and deteriorated to such an extent that it was no longer fit for display. Since then it has been rolled up and tucked away in the SMK storage facilities.

In the spring of 2015 Dürer’s large-scale work will see the light of day again – and be the main feature of an exhibition arranged by the Royal Collection of Graphic Art.

A young woman hangs sheer white linens on a clothesline. A refulgent angel descends from the heavens while shepherds tend their flocks by night. And an early motion-picture camera captures the fairyland allure of a world’s fair, slowly panning its illuminated buildings.

These vastly different images — from a 19th-century painting, a 17th-century print and a 20th-century film — are among the treasures in the current exhibition at Vassar’s Frances Lehman Loeb Art Center. What brings them together is “Mastering Light: From the Natural to the Artificial,” a quirky, thought-provoking show that divides its subject into three sometimes overlapping areas: interiors and exteriors illuminated by daylight; nighttime events made visible by moonlight or firelight; and scenes either lighted by or on the subject of artificial light.