Displaying items by tag: still lifes

On October 28 the Reiss Engelhorn Museum (REM) in Mannheim, Germany, filed a lawsuit against the Wikimedia Foundation for making high-resolution images of public domain artworks from its collection available for download. The contested images include photos of works by the Rococo painter Anna Dorothea Therbusch, the Flemish still life painter Alexander Coosemans, and the Dutch Golden Age painter Jacob Ochtervelt, as well as a drawing of Michelangelo’s Moses by Peter Anton von Verschaffelt and Cäsar Willich‘s circa-1862 portrait of Richard Wagner.

On Saturday, November 14, the American Art Fair (TAAF) will kick off its eighth iteration with a gala preview at New York’s Bohemian National Hall. The fair, which spotlights American nineteenth and twentieth century works of art, will present a tightly curated selection of landscapes, portraits, still lifes, and sculpture from seventeen exceptional exhibitors.

Participating galleries include some of the...

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.

On July 19, the Denver Art Museum opened In Bloom: Painting Flowers in the Age of Impressionism, the centerpiece exhibition for a campus-wide summer celebration. In Bloom explores the development of 19th-century French floral still-life painting, and features about 60 paintings by world-renowned French artists Édouard Manet, Edgar Degas, Pierre-Auguste Renoir, Paul Cézanne, Vincent Van Gogh and others. On view through Oct. 11, 2015, In Bloom is a ticketed exhibition, and free for museum members.

The colorful exhibition demonstrates how a traditional genre was reinvented by 19th-century artists, as the art world's focus was shifting to modernism.

Only a short time remains for a special exhibition of the work of American modernist Gershon Benjamin (1899-1985), a Romanian-born, Montreal-educated artist remembered as an Expressionist for his individualistic style and use of color. The exhibition, Gershon Benjamin: Modern Master features more than 60 portraits, still lifes, landscapes and city scenes in oil, watercolor and charcoal—all representing more than seven decades of work.

Benjamin was part of a 1920s New York scene of progressive artists who favored European modernism to the popular American Scene and Regionalist art of the day.

In the spring of 1889, following his mental breakdown in Arles, which culminated with the infamous ear-cutting incident, Vincent van Gogh voluntarily committed himself to an asylum in nearby Saint-Remy. The doctor there diagnosed his mania and hallucinations as the result of a kind of epilepsy. Van Gogh, lucid by this time but feeling in need of a rest, settled in and did what he always did: He painted.

In fact, the restorative year he spent at Saint-Remy was remarkably productive. He painted the asylum's garden and the view from his bedroom window.

A stunning presentation of American folk art made primarily in rural areas of New England, the Midwest, and the South between 1800 and 1925 opened at The Nelson-Atkins Museum of Art in Kansas City March 28. "A Shared Legacy: Folk Art in America" celebrates art rooted in personal and cultural identity and made by self-taught or minimally trained artists and artisans. Drawn from the prestigious collection of Barbara L. Gordon, "A Shared Legacy" highlights 63 outstanding examples of American folk art. Vivid portraits, still lifes, and landscapes, as well as distinctive examples of painted furniture from the German American community, carved boxes, sculpture and decorative arts of the highest quality offer an introduction to more than a century of America’s rich and diverse folk art traditions and exemplify the breadth of American creative expression.

Dutch painters of the 17th century vastly expanded the artist's palate — and his palette. Suddenly, a new array of subjects was deemed suitable for depiction: including peasant life, landscapes, townscapes, maritime paintings, flower paintings and a variety of still lifes. "The era was a huge turning point in terms of opening up the realms of what could be painted," said John Nolan, curator of the Bob Jones University Museum and Gallery.

A new exhibition at BJU's Museum and Gallery explores the vivid paintings of the Dutch Golden Age. Twelve works from a private New York collector are being displayed in addition to the museum's permanent collection of dozens of Dutch and Flemish works by Rembrandt, Rubens, van Dyck and many others.

On Monday, November 10, Sotheby’s offered works from the collection of Rachel “Bunny” Mellon -- a gardening and design icon, an ardent philanthropist, and the wife of Paul Mellon, the heir to the Mellon banking fortune. The auction, which took place in New York, fetched a total of $158.7 million, far exceeding the sale’s presale estimate of $82.9 million to $120.1 million. All of the forty-three lots offered sold -- a testament to Mellon’s keen eye and impeccable taste. 

“Property from the Collection of Mrs. Paul Mellon: Masterworks” presented a curated selection of fine art, ranging from seventeenth-century still lifes to masterpieces of the twentieth century.

It has been several years since I have seen a more beautiful exhibition than “Bouquets: French Still Life From Chardin to Matisse” at the Dallas Museum of Art. Although not as packed with famous masterpieces as the Kimbell Art Museum’s current, exemplary “Faces of Impressionism,” “Bouquets” operates at the same consistently high level of quality, with major and minor artists represented in top form.

Initially, I was afraid that so many paintings of flowers in vases — nearly 70 — would overwhelm a delicate subgenre of French paintings. But the exhibition proves so interesting and the galleries build on one another so confidently that one feels refreshed by each room.