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The Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin, celebrates the homecoming of one of its most famous and frequently borrowed art works, the Mexican artist Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird” (1940). The painting will be on display through March 31, 2015.

Since 1990 the painting has been featured in exhibitions in more than 25 museums in the United States and in countries such as Australia, Canada, France, Spain and Italy.

The painting was most recently on view at the Scuderie del Quirinale in Rome. The work travels next to The New York Botanical Garden for the exhibition “Frida Kahlo’s Garden,” running from May 16 to Nov. 1, 2015, in the LuEsther T. Mertz Library’s Rondina and LoFaro Gallery.

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In accordance with a 10-year partnership with the city of Arras and the Nord Pas de Calais region, the Château of Versailles is to loan some of its artwork and artifacts to the Musée des Beaux-Arts in Arras, Art Daily has reported.

Initiated by the regional council, the partnership aims to disperse Versailles’ vast cultural heritage for public display in other parts of France.

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Rome’s modern art museum, the Galleria d’Arte Moderna di Roma Capitale, is planning an extension that will display contemporary works on loan from its commercial neighbour Gagosian, La Repubblica reports.

Rome’s urban planning commissioner Giovanni Caudo is working on the development of a new wing in an area that lies between the two buildings on Via Francesco Crispi and was formerly used by AMA, the capital’s waste collection agency. The projected 2265 sq. m expansion will allow the museum to exhibit more of its collection.

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Not much surprises people outside King's Cross station in London, where the new square is usually a seething mob of anxious commuters, loungers dozing off hangovers on the hard stone benches and lost foreign students.

But when what looked like the white filmy curtains of a giant shower cubicle fell and revealed a huge bronze sculpture by Henry Moore, people stopped in their tracks to stare.

"It's … yeah … different," said Raymond Van Aubel and Michell Chew, holidaymakers from Holland and Indonesia, struggling for the courteous response. "Big. We were stunned, actually."

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One of the largest private collections of Anselm Kiefer works has finally found a public home. Hans Grothe, the German construction magnate and art collector, has offered 38 pieces by Kiefer on loan to the Kunsthalle Mannheim for at least ten years. He had previously considered lending them to institutions in Palma de Mallorca, Spain, and his hometown of Duisburg, Germany.

In a statement released by the kunsthalle, Peter Kurz, Mannheim’s mayor, said that the long-term loan will “strengthen [the institution’s] profile in the German and European museum scene and is in itself an attraction.”

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The Museum of Fine Arts in Boston is already under pressure this week for loaning out its most popular pieces. Now, human rights group Edo United for Homeland Empowerment is renewing controversy over a series of Benin artworks in the collection of the MFA and demanding their return to the state of Nigeria. Over two years ago, the National Commission for Museums and Monuments in Nigeria called for the return of the same 32 artifacts, which were part of a collection donated by Robert Owen Lehman and are now housed in the museum’s Benin Kingdom Gallery.

“To protect cultural heritage is a basic requirement of human civilization,” the organization said in a statement from president Frank Ekhator, vice president Dickson Iyawe, and secretary Omolayo Omoruyi-Ukhuedoba.

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El Greco’s Vincenzo Anastagi, acquired a century ago by Henry Clay Frick, is one of The Frick Collection’s most celebrated paintings and one of only two full-length portraits by the master. It was executed during the artist’s six-year stay in Rome, before he moved to Spain, where he spent the rest of his career. Much of the force of this work emanates from the resplendent half-armor worn by Anastagi. Rich highlights applied with broad brushstrokes accentuate the steel, its metallic sheen contrasting with the velvety texture of Anastagi’s green breeches and the dark crimson curtain. To mark the 400th anniversary of El Greco’s death, the Frick will pair Vincenzo Anastagi with the rarely seen Jacopo Boncompagni by the artist’s Roman contemporary Scipione Pulzone. With its gleaming, highly detailed polish, Pulzone’s portrait of Boncompagni, on loan from a private collection, epitomizes the elegant style that dominated high-society portraiture in Rome during the last quarter of the sixteenth century. El Greco’s painterly portrayal of Anastagi stands in stark contrast, underscoring the artist’s innovative departures from convention. The exhibition, held in the Frick’s East Gallery, is organized by Jeongho Park, Anne L. Poulet Curatorial Fellow. It is generously funded by gifts from The Andrew W. Mellon Foundation and Sidney R. Knafel and Londa Weisman in memory of Vera and Walter A. Eberstadt. The Frick will continue its celebration of El Greco this autumn and winter with a collaboration with The Metropolitan Museum of Art.

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Edouard Manet’s portrait of an actress will star at Christie’s fall auction where it’s estimated to bring $25 million to $35 million.

The work is widely known by its French title, “Le Printemps” (lu PRAHN’-tahm), which means “spring.” It’s been on loan at the National Gallery of Art for two decades.

The 1881 painting depicts actress Jeanne Demarsy (zhahn day-mahr-SAY’) with a frilly parasol, lacy bonnet and floral dress.

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A special guest is pulling into the Norton Simon Museum just in time for Christmas.

Edouard Manet's 1873 painting "The Railway" will take up temporary residence in the museum's Impressionist Art Wing on Dec. 5. The painting, which depicts a young woman reading beside the Gare Saint-Lazare, will remain there until March 2, 2015.

After that  it will return to its home at the National Gallery of Art in Washington D.C., which acquired it in 1956.

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The most famous bed in contemporary art, a tangle of stained and rumpled sheets bearing expensive witness to a time of heartbreak for the artist Tracey Emin, is coming to the Tate gallery on long loan from its new owner, the German businessman and collector Count Christian Duerckheim.

Although Emin described the Tate as "the natural home" for her 1998 "My Bed," the gallery couldn't afford to bid at the recent Christie's auction where it eventually sold for £2.54m, more than twice the top pre-sale estimate.

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