Displaying items by tag: public collections

For its 2015 exhibition season, Boscobel House and Gardens will host Every Kind of a Painter: Thomas Prichard Rossiter (1818-1871) -- the first retrospective of the work of an important American artist long overdue for reappraisal.

Rossiter was a peer and friend to many better-known Hudson River School contemporaries such as John Frederick Kensett, Thomas Cole and Asher B. Durand. Rather than limit himself to landscapes, Rossiter painted a diverse range of subjects. Approximately 25 paintings and works on paper from public and private collections will demonstrate the deftness with which he approached portraits, still lifes, landscapes, genre scenes and history paintings.

The early work of artist Alex Katz (b. 1927) is the subject of a major new exhibition at the Colby College Museum of Art, on view from July 11 through October 18, 2015. Brand-New & Terrific: Alex Katz in the 1950s explores the first decade of the artist’s career, a period characterized by fierce experimentation and innovation from which Katz’s signature style emerged. The exhibition is the first museum survey to focus on the artist’s output from this formative decade.

Curated by Diana Tuite, Katz Curator at the Colby Museum, Brand-New & Terrific draws from the Colby Museum’s deep collection of artworks by Alex Katz and will include many rarely seen loans from the artist and other public and private collections.

"Rembrandt: A Decade of Brilliance (1648-1658)" now at the Hoehn Family Galleries at the University of San Diego, teams a core group of outstanding etchings owned by local resident Robert Hoehn—one of the world’s foremost private collectors of Rembrandt prints—with distinguished examples from public and private collections in the U.S. and Europe. The show focuses on the years of Rembrandt’s most intense experimentation with etching, when the Dutch master harnessed the medium’s demanding technical processes to his artistic vision, particularly in his biblical narratives, creating some of the most ambitious and fully realized works in the history of printmaking. The show allows us to compare multiple versions of significant images side-by-side to tease out the specific procedures Rembrandt employed to achieve the resplendent effects of his greatest graphic masterpieces.

The Royal Academy of Arts presents the first major retrospective of Anselm Kiefer’s work to be held in the UK. Considered to be one of the most important artists of his generation, the exhibition spans over forty years from Kiefer’s early career to the present time, bringing together artwork from international private and public collections. The exhibition has been arranged chronologically, presenting the epic scale of his artwork and the breadth of media he has used throughout his career, including painting, sculpture, photography and installation. Kiefer has also created a number of works conceived specifically for the Royal Academy’s Main Galleries, showcasing his continued interest in seeking new challenges and producing ever more ambitious artwork.

Works by two world-famous artists will go on display in Birmingham next year.

A selection of rarely seen artworks by Andy Warhol and William Morris, who both pioneered a style of art that helped define the centuries in which they lived, will be coming to Birmingham Museum and Art Gallery between April and June 2015.

‘Love is Enough’ will bring together works from public and private collections across the UK and USA to show in Birmingham after exhibiting at Modern Art Oxford in December.

From July 20 through October 13, the Parrish Art Museum presents William Glackens—the first comprehensive survey of the artist’s work since 1966. The exhibition spans Glackens’s career from the 1890s through the 1930s, with more than 70 important paintings and works on paper from some of America's finest private and public collections, including the Metropolitan Museum of Art, Fine Arts Museum of San Francisco, the National Gallery of Art, and the Cleveland Museum, among others. Several works in the exhibition are on view to the public for the first time since 1966.

William Glackens, co-organized and presented by the Parrish Art Museum; Nova Southeastern University Museum of Art | Fort Lauderdale (where it was on view earlier this year); and the Barnes Foundation, Philadelphia (where the exhibition will also travel), spans the full career of the artist, who painted on Long Island from 1911–1915. Curated by writer and art historian Avis Berman, the exhibition focuses on Glackens’s most distinctive and adventurous works.

‘Seurat: Master of pointillism’ opens this week at the Kröller-Müller Museum in Otterlo, Netherlands. We spoke to the curator, Toos van Kooten, to find out more about the exhibition and how it came about.

Can you tell us a bit about the exhibition?

Georges Seurat is known for his meticulously stippled paintings and his eerily illuminated black-and-white drawings. His oeuvre comprises some 50 paintings and about 200 drawings, which became highly sought-after following his untimely death. The Kröller-Müller Museum is the only museum in the world that has five paintings to its name, including the famous painting Le Chahut. This valuable collection, assembled by Mr and Mrs Kröller-Müller in the early 20th century, is the basis for an exhibition devoted entirely to this great painter, with the underlying question: what makes his work so special and so well loved?

This fall, New York’s Museum of Modern Art (MoMA) will present a monumental exhibition devoted to Henri Matisse’s cut-outs. Late in his career, Matisse developed his cut-out technique, which involved cutting organic shapes out of painted sheets of paper and arranging them into lively compositions on his studio’s walls. The process gave Matisse a renewed sense of freedom and he lauded the technique for its immediacy and simplicity, which he believed helped him express his artistic urgencies more completely.

“Henri Matisse: The Cut-Outs” will be the largest and most extensive presentation of these unique works. The exhibition will present approximately 100 cut-outs -- borrowed from public and private collections around the world -- alongside a selection of related drawings, prints, illustrated books, stained glass, and textiles.

MoMA’s own Matisse cut-out, “The Swimming Pool,” recently underwent a multi-year conservation effort and will serve as a centerpiece of the exhibition. The cut-out, which was composed specifically for Matisse’s dining room in his apartment in France, was acquired by MoMA in 1975 and has been off view for over 20 years.

“Henri Matisse: The Cut-Outs” will be on view at the Museum of Modern Art from October 25, 2014 through February 8, 2015.

Although he was one of the most celebrated portrait painters of his era, Swedish artist Anders Zorn is not widely recognized today. San Francisco’s Legion of Honor aims to highlight many rarely seen works by Zorn in the exhibition ‘Anders Zorn: Sweden’s Master Painter.’

Zorn, who rivaled John Singer Sargent as the most sought-after portraitist of the members of high society including presidents, industry giants, and various other aristocrats, was also an accomplished watercolorist and etcher. The Legion of Honor’s exhibition features 100 works by the artist from public and private collections throughout Europe and the United States and spans Zorn’s prolific career.

‘Anders Zorn: Sweden’s Master Painter’ will be on view at the Legion of Honor through February 2, 2014.

A four-year investigation led by the Netherlands Museum Association revealed that 139 artworks in Dutch public collections may have been stolen or forcibly acquired by the Nazis during World War II, many from Jewish owners. 162 Dutch museums took part in the probe, which targeted artworks acquired between 1933 and 1945. Around a quarter of the institutions were found to house objects with “potentially problematic histor[ies].”

The release of the investigation’s findings coincides with the launch of the website www.musealeverwervingen.nl, which details the objects and their histories in hopes of attaining missing information. Names of the original owners have been attributed to 61 objects and museum officials will make ongoing attempts to contact relatives or heirs of the artworks’ original owners. So far, about a dozen works have been returned to their original owners or their descendants.

According to a study conducted by the United States National Archives in 1997, the Nazis plundered 20% of the art in Europe.