Displaying items by tag: longterm loan

A new exhibition at the Cloisters in Manhattan, "Treasures and Talismans: Rings From the Griffin Collection," put together by C. Griffith Mann, curator of the Department of Medieval Art and the Cloisters, explores the subtle meanings behind beloved pieces of jewelry.

A number of ancient and medieval rings, on long-term loan to the museum, are shown in a wider historical and cultural context in the exhibition. Displayed alongside the jewels is a curated selection of paintings and sculptures borrowed from the museum's Greek and Roman Art, European Paintings, and Robert Lehman Collection.

Gemeentemuseum Den Haag has acquired two large sculptures by Louise Bourgeois, the grande dame of modern art, on long-term loan. Bourgeois’ work is held in great affection all over the world, among both art-lovers and the general public. The Louise Bourgeois Studio owns a number of the artist’s larger sculptures, and it loans them to only a handful of museums in the world. This now includes Gemeentemuseum Den Haag, alongside Tate Modern, Louisiana Museum of Modern Art and DIA Art Foundation.

A suburban Kansas City school district has found a new home for a Thomas Hart Benton painting that it was keeping locked up because it was considered too valuable to display at a school.

The painting "Utah Highlands" will be on long-term loan at the Nelson-Atkins Museum of Art in Kansas City, starting in late April, the school and museum announced this past week.

The Shawnee Mission School District had kept the painting in a vault for safekeeping after it was appraised at $700,000. Students who donated the painting in 1957 as a class gift began asking where the painting was after The Kansas City Star reported earlier this year that it was no longer being displayed.

It’s a small work of art — precisely the size of an old Savarin coffee can jammed with artist’s paintbrushes — but in the history of postwar art and in the career of Jasper Johns, one of the most important artists of the last half century, it looms large.

Created in 1960, “Painted Bronze” has been a fixture for more than three decades at the Philadelphia Museum of Art, where it has been on long-term loan from Mr. Johns’s personal collection. But now it will migrate north to a permanent home at the Museum of Modern Art, which will receive the sculpture as a promised gift from the collectors Henry R. Kravis and his wife, Marie-Josée Kravis, the Museum of Modern Art’s president, who recently bought it.

The Swiss family foundation that reportedly sold a painting by Paul Gauguin to the Qatar Museums Authority for a record $300 million has withdrawn the long-term loan of its 19th- and 20th-century art collection from the Kunstmuseum Basel. Gauguin’s oil painting of two Tahitian girls, "Nafea Faa Ipoipo (When Will You Marry?)," was one of eighteen works lent to the museum by the Rudolf Staechelin Family Trust after the death of the Swiss collector in 1946.

The museum said in a statement that it “profoundly regrets” the loss of the collection, which includes Impressionist and Post-Impressionist pieces by Vincent Van Gogh, Paul Cézanne, Édouard Manet, Pierre-Auguste Renoir, and Camille Pissarro.

The Minneapolis Institute of Arts kicks off its centennial year this morning with an announcement of a major long-term loan of modernist painting.

The 400 paintings, drawings and prints collected by the late Myron Kunin, founder of the Regis Corporation, is believed to be one of the foremost collections of modernist painting in private hands.

"It's a rather important way to kick off the anniversary year," said MIA curator of painting Patrick Noon.

Gustav Klimt’s Adele Bloch-Bauer II, one of two formal portraits that the artist made of Adele Bloch-Bauer, an important patron of the artist, is on view at The Museum of Modern Art as a special long-term loan from a private collection.

Adele Bloch-Bauer was the wife of Ferdinand Bloch-Bauer, a wealthy industrialist in Vienna, where Klimt lived and worked. Completed in 1912, the composition emphasizes Bloch-Bauer’s social station within Vienna’s cultural elite. Her towering figure, in opulent dress, is set against a jewel-toned backdrop of nearly abstract patterned blocks that suggest a richly decorated domestic interior.

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.”

An enormous abstract sculpture, a sailboat of sorts, rests on a pedestal at the intersection of Beverly and San Vicente boulevards in West Hollywood. Its dark, carbon-fiber sails seem to billow in the wind, and corkscrew spirals of stainless steel, like twirling gusts of air, dance around it. Cedars-Sinai Medical Center rises up behind it, like towering, angry waves.

Frank Stella, the abstract artist who made the piece, circles it on foot, viewing it for the first time since it was installed. In a dapper sports coat and brown fedora, the 78-year-old New York artist — a fixture in the modern-art world for more than 50 years and one of the fathers of Minimalism — assesses the sculpture while in perpetual motion. He speaks quickly, pausing only to look up at the piece from different angles, hand on hip, squinting into the sunlight.

On Friday, April 18, the Parrish Art Museum in Water Mill, New York, will receive Roy Lichtenstein’s towering sculpture, “Tokyo Brushstroke I & II.” The work, which is being loaned to the museum by the Roy Lichtenstein Foundation, courtesy of Glenn and Amanda Fuhrman and the Fuhrman Family Foundation, will be placed on the Parrish’s front lawn, near the Montauk Highway. It will be the first long-term outdoor installation at the museum’s new Herzog & de Meuron-designed building, which opened in November 2012.

The two-part sculpture, which stands 33 feet tall at its highest point and weighs around 17,000 pounds, will be installed with a crane into a cement brace and joined together on site. The work is from Lichtenstein’s “brushstroke” sculpture series from the 1990s. Similar works can be found in Madrid, Paris, Singapore, and Washington, D.C.

Lichtenstein, a pioneer of the Pop art movement, relocated to Southampton (less than five miles from the Parrish’s current campus) in 1970 and began an enduring relationship with the museum.