Visit Museums and Exhibitions: A Bigger Splash – Painting after a Performance – T...

Visit Museums and Exhibitions: A Bigger Splash – Painting after a Performance – T...: A Bigger Splash – Painting after a Performance – Tate Modern from 7 November 2012 until 1st April 2013 The Tate Modern has put together...

A Bigger Splash – Painting after a Performance – Tate Modern from 7 November 2012 until 1st April 2013

A Bigger Splash – Painting after a Performance – Tate Modern from 7 November 2012 until 1st April 2013

The Tate Modern has put together an extensive and significant exhibition of modern and Avant-Garde art with the aim of exploring the actual process of creating art. There is a fair amount of shocking, violent and graphic artwork in the exhibition so I would say that it is not for the fainthearted. In a nutshell we are made to understand that the making of a work of art is as important as the final product. International artists such as Hockney, Niki de Saint Phalle, Helena Almeida and Edward Krasinsky, who were all working in the 1950’s to 1980’s, all feature in this daring and explosive expose, to name a few.

As you enter the exhibition there are two pivotal works by Pollock and Hockney. Standing proud is a beautiful Hockney piece, from which the exhibition takes its name. ‘A Bigger Splash’ is a large, luminous painting of a swimming pool in Los Angeles where as an onlooker you can almost feel the heat of the scene. Hockney’s actual splash is created by the layering of white acrylic over many thin washes. He said of this painting: “When you photograph a splash you’re freeing a moment and it becomes something else. I realise that a splash can never be seen in this way in real life, it happens too quickly. And I was amused by this so I painted it in a very slow way” The different blues he uses and the palm trees that frame the painting don’t deter from the central subject – that of the splash. Alongside this is a film of Pollock at work in this studio produced by Hans Namuth and Paul Fallenberg, whose photos of Pollock held such a pivotal role in establishing his reputation. Placed in front of the film cleverly is the finished art work itself. One critic describes Pollock’s work in this way : “We see how Pollock in his dance of dripping, slashing, squeezing, daubing and whatever else went into a work placed an almost absolute value upon a diaristic grandeur.” The artist and what he does whilst creating his work of art becomes an integral part of the painting.

I was very much drawn to Niki de Saint Phalle’s work as she is one of my favourite modern artists. In the exhibition we see a thirty second film of her in a white bodysuit and her partner Jean Tinguely, entitled ‘The Least Effort’. Both artists are shooting red paint, presumably to represent blood, at one of her installation works. As such, the creative process of making the work of art is what is firing both artist’s imagination. The violence and destructiveness of abstract art is scrutinised and next to the film is a plaster, paint, polythene work of the finished product, called ‘Shooting Picture’. To further explore their creativity Tinguely and Saint Phalle would often invite critics and artists to shoot at their constructions in their studios, releasing the paint that was layered beneath it.

Another artist who liked to play with notions of paint and creation was Yves Klein. Famous for his blue art works Klein made a film in 1960 called ‘The Anthropometry of Blue Era’ whereby female nudes were covered in blue paint and employed as ‘living brushes’ to make an imprint on canvases. In this rather dramatic and graphic film one notices how weirdly devoid of sexuality and femininity the models become. The art work seems to become more and more violent and thought provoking as you go through the exhibition. ‘3rd Action’ by Rudolf Schwarzkogler, for example, shows evocative black and white photos of clinical scenes such as gutting fish and bound body parts. Like with Saint Phalle there is a strong suggestion of violence, instability and painful psychology. Likewise the gory pictures of nudes on top of each other by Herman Nizsch, called ‘The Festival of Psycho’ is another rather violent portrayal of the creative process. One wonders here though how this can connect to the Pollock and Hockney works at the beginning of the exhibition. It seems rather tenuous.

Themes of identity, feminism and beauty and gender are explored by artists like Helena Almeida and the installation artist Karen Kilimnik. In the room featuring the abstract artist Edward Krasinki we see how twelve mirrors are suspended from the ceiling with a single blue tape across each one of them. There is the feeling that space is receding and advancing and is not fixed and the viewer is drawn into reflected images of himself. In Jutta Kroether’s work we see a large, evocative painting suspended and notebooks where people who were invited to view the painting wrote down their thoughts and emotions. In this sense the notebooks became as important as the painting itself and we see the real, whole process of painting unravelling in front of us.

To be honest I did not know what to make of this exhibition finding some of the more graphic and violent art works unappealing and shocking. The message of the artists as a group is not always clear and in fact I left the room feeling overloaded with information. Perhaps this is the type of exhibition that merits a second or even third viewing before the concept of its subject can really be understood as a whole.

By Larissa Woolf, Arts Editor, VisitMuseums.com

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Visit Museums and Exhibitions: The Pinacotheque Museum, Paris

Visit Museums and Exhibitions: The Pinacotheque Museum, Paris: The Pinacotheque Museum, Paris The Pinacotheque Museum is in the heart of Paris, in the elegant Place de la Madeleine, and is one of the ...

The Pinacotheque Museum, Paris

The Pinacotheque Museum, Paris

The Pinacotheque Museum is in the heart of Paris, in the elegant Place de la Madeleine, and is one of the capital’s newest museums. It has been directed by Marc Restellini since 2007 – a daring and inspiring curator who has welcomed diverse and interesting exhibitions as well as secured some of the most amazing masterpieces in the world to put on show.

The Museum’s own collection is normally housed on the lower ground floor and is made up of long term loans from private collectors. Restellini has advocated an unusual and never-done-before philosophy of assembling the paintings and sculptures in no particular school or period. In this sense, for example, a painting by the illustrious Renaissance painter Domenico Ghirlandaio (1449-94) is placed alongside the twentieth century French artist Gaston Chaissac (1910 –64) Similarly a piece by Eugene Delacroix (1826) is neighbours with a painting by Theodore Gericault (1791-1824) The aim of this modern and rather audacious idea is to bring out each painting’s individuality and radiance. The comparison between each painting or set of paintings becomes very rich and exciting. Restellini’s self proclaimed aim is to try to evoke the same magic a work of art has in a private home as in the Pinacotheque.

There are many masterpieces and works of art to admire. One of my favourite paintings in this collection is by Pieter de Hooch, the renowned genre painter of the Dutch Golden Age, 1629-1684. He was a contemporary of Jan Vermeer whose themes and styles he adopted in his work. The painting on display called ‘A Man reading a letter to his wife’ is one of his most famous and reveals his clever and delicate mastery of light, colour and perspective . He was renowned for choosing intimate family scenes and tableaux. The Modigliani painting that is exhibited is also incredible. Called ‘Hanka Zborowska’ it leapt out at me both because of the intensity of the colours he used and the force of his sitter’s gaze. Modigliani, we learn, was an Italian painter and sculptor who worked and lived mainly in France. He was primarily a figurative artist who worked in a modern style and became famous for his mask like faces and elongation of form just like this Hanka painting.

Another glorious painting on display is by Renoir and is entitled ‘Portrait of Georgette–Marie Malivernet ’. This is a side profile of a young lady, her head bending low in peaceful contemplation. The warm pastel colours are in tune with the feeling of serenity the painting conveys.

I would have to warn any potential visitor that the room housing the permanent collection is a little claustrophobic and the lighting is poor. Many people have complained of long queues to get into the museum so it is advisable to buy a ticket before hand. Yet notwithstanding this the quality of the exhibitions that are on show and the calibre of the pieces on display in the permanent collection make The Pinacotheque an imperative museum to visit.

By Larissa Woolf, Arts Editor, VisitMuseums.com

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Visit Museums and Exhibitions: Van Gogh – Dreaming of Japan – Pinacotheque Museum...

Visit Museums and Exhibitions: Van Gogh – Dreaming of Japan – Pinacotheque Museum...: Van Gogh – Dreaming of Japan – Pinacotheque Museum in Paris, 3rd October 2012 to 17th March 2013 The Pinacotheque museum in the heart ...

Van Gogh – Dreaming of Japan – Pinacotheque Museum in Paris

Van Gogh – Dreaming of Japan – Pinacotheque Museum in Paris, 3rd October 2012 to 17th March 2013

The Pinacotheque museum in the heart of the Madeleine district in Paris is hosting a retrospective of the renowned artist Van Gogh. Forty works, mainly landscapes, are on show and are devoted exclusively to this Dutch great master of Post-Impressionism. Moreover, as the title of the show reveals, the exhibition simultaneously depicts the works of the famous Japanese artist, Hiroshige, alongside Van Gogh, and daringly exposes the profound influence he had on the Dutch painter. The importance of Japanese art and philosophy in the Impressionist era becomes the central subject of the exhibition whilst also showing a significant number of Van Gogh’s evocative and stunning paintings – some of which I certainly have never seen before.

Vincent Van Gogh was born in Holland in 1853 and his artistic career is marked by his legendary tortured personality and fragile psychology. Whether he was suffering from bi-polar disorder, schizophrenia or some kind of psychological disorder, we see how strongly it affected his view of the world and his artistic output. In comparison Hiroshige conveys a different psychology – one of inner peace, serenity, calm within nature and solidity. We see how the majority of Van Gogh’s landscapes in the exhibition are constructed around a referential system at the centre of which is Hiroshige’s world vision. By almost each Van Gogh painting is placed a corresponding Hiroshige painting and the similarities between the two are marked. Van Gogh discovered Japan in a Parisian prints seller and it had a dramatic effect on him; soon all that corresponded to Japan became a haven for him. In his painting Oliveraie, painted in June 1889, we see hundreds of trees in an olive grove in the South of France. The combination of yellows, greens and blues make for an astoundingly beautiful and luminous picture. The rough beauty of the painting and its emotional intensity is astounding. The corresponding Hiroshige print next to it portrays how closely Van Gogh based this painting on the Japanese artist.

In Van Gogh’s painting Tree Trunks in the grass, one of my favourite paintings in the exhibtion, there is an immensely intense quality to the painting yet all we can see in the picture is tree trunks and flowering grass. The zig zag of the tree trunks and their form and shape are resolent of Japanese art. Van Gogh thus transformed all the paintings he was painting during that part of his life into celebrations of nature based on Japanese principles of form and style. He wanted to find in the South of France a reflection of Japan. In his painting Cyprus and two silhouettes we see how the women look very Japanese and are wearing what looks to be traditional Japanese dress. The swirls of paint and rich colours of the composition combine to create an amazing masterpiece of light, form and colour. In many ways Van Gogh was searching for the inner peace in his paintings that alluded him in real life. The symbiosis of the works and nature, colour and beauty, the trees and the sky combine to create amazing masterpieces.

The number and variety of Van Gogh and Hiroshige’s paintings on show is incredible. The expose becomes a moving testament to the demons in Van Gogh’s soul and his attempt to squash them and create for himself a peaceful and serene life which, sadly, he never ultimately achieved. Perhaps the only problem to be aware of before going to the museum is that there are no english translations of the factual commentaries and no audioguides. If you are not familiar with french this might present a problem to you however the paintings are so beautiful and mesmerising that they merit seeing in their own right.

As always with a Van Gogh exhibition one leaves the show feeling a sense of sadness that such a great artist died so young. He was only 37 when he died after years of mental illness from a self inflicted gun wound. He had far reaching influence on 20th century art.

By Larissa Woolf, Arts Editor, VisitMuseums.com

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Visit Museums iPhone App

Visit Museums and Exhibitions: Visit Museums iPhone App: Visit Museums has recently published an App for iPhone. This is a great way of finding great Museums, Private Galleries and Art Exhibiti...

Visit Museums and Exhibitions: Raphael in Rome, The Mature Years, Louvre Museum, ...

Visit Museums and Exhibitions: Raphael in Rome, The Mature Years, Louvre Museum, ...: Raphael in Rome, The Mature Years , Louvre Museum, Paris – October 11th 2012 – January 14th 2013 The Louvre Museum in Paris, in partn...

Raphael in Rome, The Mature Years, Louvre Museum, Paris

Raphael in Rome, The Mature Years, Louvre Museum, Paris – October 11th 2012 – January 14th 2013

The Louvre Museum in Paris, in partnership with the Prado Museum in Rome, is hosting a spectacular retrospective of the great 16th Century Renaissance painter and artist Raphael. The exhibition specifically portrays the latter years of the artist when he was living in Rome; his triumphant popularity and the golden opportunity he seized of working for two Popes and their acquaintances.

Raffaello Sanzio, better known as Raphael, was born in 1483 and was not just a painter but a mural decorator, tapestry designer, architect and prolific artist of easel pictures. The exhibition portrays him as a master of painting with a highly tuned sense of imagination and strong intellect who borrowed ideas from a number of painters he respected. Moreover we are able admire the monumental tapestries he both designed and created. The exhibition features the works of artists who surrounded and worked with Raphael such as Giulio Romano and Gian Francesco Penni. We see Raphael in his mature years when he had reached the pinnacle of his career and when he was submerged with commissions from the Pope and the papal court as well as from foreign princes and patrons.

Raphael had a huge demand to meet, particularly when he was given the task of decorating the papal rooms and the Basilico of St Peter and so he needed helpers and sought out artists to help him. In 1518 Pope Leo X commissioned three paintings to give to Francis 1st. Raphael produced a masterpiece called Large Holy Family which shows a gathering of saints around the Mary and child. It was innovative and dynamic as it was classical yet with a change in the narrative; Raphael had created a new genre. In the painting is a reference to the Resurrection and a tribute to Leonardo da Vinci. Another painting that revealed the influence of Leonardo was St John the Baptist in the Desert where Raphael announces the coming of Christ for the salvation of humanity in bold, bright colours. The expressions on the figures are full of intensity and violence and the painting is both virile and awe inspiring.

Raphael during his lifetime became a veritable master of portraiture. He was extremely talented and managed to capture the presence of every one of his sitters. In the Woman in The Veil, one of my favourite paintings, we see the minute folds of the lady’s dress, her sensuality and the sweetness of her face. Her right hand on her heart implies affection and we ask ourselves was this beautiful lady, captured in time for us, Raphael’s mistress? The intensity of her gaze and smile is such that it is as if we are in dialogue with her. Similarly one of Raphael’s fellow artists, Giulio Romano, painted another astounding portrait of a lady. Entitled The woman in the Mirror we see a woman with dark hair, wearing a scarf around her neck, interrupted in her toilette and trying to hide her nudity. Her pose is one of awkwardness yet there is a subtle insolence in her gaze. The artist cleverly displays her nudity whilst at the same time hiding it so that the painting is filled with eroticism. The interior is intimate and she is wearing precious jewellery indicating that she may be a courtisan. Her pose is slightly cold and affected and one wonders if the painting was intended for the private use of someone or a courtesan portrait which was very popular in sixteenth century Florence.

It is astonishing to think how very young Raphael was during his career – he died at the tender age of 37. One can only imagine the number of masterpieces he may have produced had he lived longer By the time he died Raphael was to become equal to his great teachers ; Michelangelo and Leonardo Da Vinci and indeed some may claim that his talent and reputation exceeded theirs. At any rate it is an exhibition that is well worth seeing so book your tickets early.

By Larissa Woolf, Arts Editor www.visitmuseums.com

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Rodin Museum, Paris

Rodin Museum, Paris

Although I have visited the Rodin museum on so many occasions I can barely count them it still never fails to enchant me. As you walk into the gardens there is a sense of tranquillity and calm; a feeling for me that I have escaped the city and can, for a brief period in time, lose myself in the gardens and admire the immensely moving and grand bronze sculptures - masterpieces of design and intensity - that they house. Having just recently visited the Musee Rodin this October I could really feel the sense that Nature and Art are living alongside each other, the oranges and yellows of the tree’s leaves providing a colourful and vibrant contrast to the many dark, lifelike sculptures that are housed in the property.

Auguste Rodin was born in 1840 and is now generally considered to be the progenitor of modern sculpture. He was drawn to the works of Donatello and Michelangelo when he visited Italy in 1875 and we see how it had a profound effect on his work. Not interested in mythology or allegory Rodin was a Naturalist; concerned with character and emotion and he modelled the human body with realism, individual character and physicality. He was also a master of form, light and shadows as seen, for example, in his tremendous sculpture, Gates of Hell. In this awe inspiring and monumental sculpture of Dante’s Inferno we see the details of the sculptures and forms that Rodin intricately moulds on the walls of the door. The Thinker, being one of the sculptures on the Gates of Hell began life as a 27.5 inch high bronze piece on the lintel of the gate from which the figure would gaze down on Hell. Also known as The Poet, we see aspects of the biblical Abraham, the renowned poet Dante and Rodin himself in the sculpture. Rodin was not enormously popular during his life time and he survived on commissions. The Gates of Hell was paid for by his Japanese patron Mastsukate Kojiro and was won as a commission in 1880 for a planned museum of decorative arts in Paris that eventually never came into fruition. Yet it is interesting to think that Rodin was never accepted into Paris’ foremost school, the “Grand Ecole” and throughout his life had to fight the negativity and criticism of his peers.

Many of the portal figures in the Gates of Hell became sculptures in their own right such as his most famous sculptures The Thinker and The Kiss. Rodin’s bigger version of The Thinker is grand and awe inspiring, staring up at the sculpture one feels one’s own smallness and humanity. Rodin was known to have said “What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips but with every muscle of his arms, back and legs, with his clenched fist and gripping toes”. The emotional intensity and virility of the sculpture as well as its physical force is what makes it stand out so much in the museum and as a timeless masterpiece in the modern world.

Rodin was incredibly talented and productive during his lifetime. His sculptures may obscure his total creative output as he created thousands of busts, figures, sculptural fragments over five decades. He also painted in oils and watercolours and the Musee Rodin in fact have 7,000 of his drawings and prints in chalk, charcoal and drypoint; many of which can be seen inside the museum. Added to this is the delightful café at the back of the gardens which serves delicious hot and cold food. The audioguides are well worth renting especially if you are visiting with children as they have a special audioguide specifically tailored for them.

To this day the Rodin museum will remain one of my favourite museums in Paris, my favourite in the world. An exquisite haven in a busy metropolis. A museum where I can lose myself in a world of timeless sculptures and beauty. If you haven’t been you must go! The museum should not be missed, by Larissa Woolf, Arts Editor, www.VisitMuseums.com

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Canaletto in Venice - Maillol Museum, Paris

Canaletto in Venice – 19th September to 10 February 2013, Maillol Museum, Paris

Canaletto in all of his splendour! If you are intending to go to Paris then a visit to the Maillol museum, in the 7th district, to see the incredible Calanetto exhibition is a must . Feast your eyes on an amazing number of paintings, including some of his most well known masterpieces by this eighteenth century Italian master of oil landscapes. Venice and its romance; all its alleys, canals, gondolas and buildings is portrayed in minute detail and transports you back in time to a magnificent city in a splendid era.

Giovanni Antonia Canal, who became known as Canaletto, was born in 1697 and accompanied his father, the theatrical set designer and painter, Antonio Canal on many of his projects. It was from him we think that Canaletto inherited his amazing mastery of perspective. Canaletto often painted several copies of the same view in repetition and his unique ability to convey light in his paintings was legendary. In ‘The basilique of the Salute and the Duane seen from the Cornaro Palace” we see how the church of Salute stands proudly in the centre of the painting as we look out onto the bay of San Gregorio. Canaletto is looking down on the scene and conveys not only an amazing, majestic view of the church but also all the scenes of everyday life occurring around the church; such as the women washing laundry to the left of the painting. We learn how the church was so much part of everyday life in eighteenth century Venice as seen again in, for example, his luminous, small painting, “The Basilique of San Marco”.

The exhibition features not only his famous paintings but also the books, maps and sketches that Canaletto used in preparation for his work. In essence the creative process of the artist is recorded in minute detail. We learn that many of his paintings were drawn from memory with heavy use on elaborate drawings and sketches. My favourite painting in the exhibition is The bridge of Realtor. Here we see a cacophony of details of everyday life such as a dog barking and a parrot flying in the nearby street. But above all is the luminous light of the water and the bridge standing proud; a vital building in the life of Venice at the time. Canaletto executes scenes of the everyday with accuracy, precision and luminosity. We see in the exhibition how each painting is different, is unique in its own right whilst also belonging to the hand of this great master. Canaletto did not romanticise his art but painted what he saw – an accurate portrayal of a specific time and place.

The show is incredible in the breadth of paintings it exhibits and the details of Canaletto’s prolific career. It is a monumental undertaking and one that has been achieved with amazing precision

It should certainly be at the top of your exhibition visit list.

by Larissa Woolf, Arts Editor, www.VisitMuseums.com

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Edward Hopper Exhibition – Grand Palais, Paris

Edward Hopper – Grand Palais – 10 October 2012 to 28 January 2013

The Grand Palais in Paris is putting on an incredible show of one of America’s most famous 20th century artists: Edward Hopper. An in depth expose of his work and his ideals with a new emphasis on the European themes that so strongly influenced his work can be seen. The emotional intensity of his vision charges through his art and gives it a unique and dynamic quality. Moreover the exhibition also ambitiously displays alongside Hopper’s works many illustrious and beautiful Impressionist paintings by the likes of artists such as Manet, Degas and Pissarro.

Edward Hopper was born in 1882 and until he was 42 he earned his living as an advertising illustrator. Hopper visited Paris three times in his lifetime – in 1906, 1909 and 1910- and he became an avid Francophile, enchanted especially by Paris and its cafes and boulevards and by the French scene. He learnt to adopt Impressionist techniques in his work and he particularly liked three artists: Albert Marquet, Vermeer and Degas, whose influences can be seen in his work. We see in the exhibition three paintings by Marquet, all of which figure views of bridges with muted colours, clever perspectives and fluid objects. In Vermeer, Hopper admired his clever use of light – something that became an essential element of Hopper’s own work. It is not until about half way through the exhibition that we start to see Hopper’s paintings - before this are the European paintings that so influenced him. In ‘American Style’, definitely one of my favourite Hopper paintings we see how a house rises out of the middle of nowhere, uprooted from the ground by a track. There are no human people in the picture and there is a uniform blue background which helps to create its eerie atmosphere, suffused with an out of this world stillness. Hopper excelled at the geometry of landscape, seen for example in his painting ‘Lighthouse Hill, painted in 1927. His use of light, inspired by Vermeer cries out to his audience.

Hopper lived a quiet life with his wife Josephine who was his only muse and figures in almost all of his paintings with people. His masterpiece ‘Nighthawks’, (1942) probably his best known painting, is an eloquent account of man’s alienation from his surroundings. The only light in the deserted street is the artificial light of the bar, where we see a spartan interior through a medium of glass window panes. It is a paranomic view where the strong lines and colours only emphasize the impression of alienation and a hostile city. In it is a half interior view of a café which has 3 sombre customers. It is a sterile place – somewhere where people go that have nowhere else to go. The banality of life, specifically modern life, is portrayed. We see how he combined his central subjects so deftly in his art- the isolation of modern urban man, the harmony that nature gives to man and the impact of European art on his perspective. He became known in the latter half of the twentieth century as the painter of light.

Hopper was not a prolific artist and only produced about 100 paintings in his lifetime : most of which, amazingly, figure in this collection of his works.He was one of the first major American artists of the twentieth century to entertain an international reputation. And the Grand Palais does justice to this reputation and to his mastery of his subject. It is well worth a visit.

The exhibition should not be missed, by Larissa Woolf, Arts Editor, www.VisitMuseums.com

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