Tuesday, April 28, 2009

2 well-known French painters conquer China

2 well-known French painters conquer China


FU Ji Tsang & Denis RIBAS are two well-known French contemporary artists who are staging an exhibition of their latest works in China. The following are some current details:-


25th April – 20th June 2009


Please also refer below to some earlier information about David FU Ji Tsang at Autour de l'Art, an art gallery in Antibes.


Deux bien connus peintres français vainquent la Chine

FU Ji Tsang et Denis RIBAS sont deux bien connus artistes français contemporains qui mettent en scène une exposition de leurs œuvres derniers en Chine. Trouvez suivante des renseignements au courant:-


25th April – 20th June 2009


Référez-vous aussi ci-dessous à l'information précédente sur David FU Ji Tsang à Autour de l'Art, une galerie d'art à Antibes.

Monday, April 27, 2009

More than 70 Large-format Paintings by David Hockney on View at Kunsthalle Würth


British artist David Hockney poses in front of his painting “Three Trees in the Proximity to Thixendale Summer”, at Kunsthalle Wurth in Germany. More than 70 works of art made by this artist have been gathered in the exhibition titled “Just Nature”. The exhibition will be open from April 27 through September 27, 2009. Photo: 'EFE/Norbert Foersterling

David Hockney, Three trees in the proximity to Thixendale winters 2007, Oil on five canvases, ever 91.5 x 122 cm, 183 x 487.5 cm, © David Hockney Photo: Richard Schmidt.

KUNZELSAU.- British artist David Hockney (b. 1937), celebrated for decades as the “painter laureate of Southern California,” is doubtless one of the most interesting and important painters in contemporary art. Yet anyone who believes they are entirely familiar with Hockney’s art will be forced to reconsider in light of his recent work. Contrary to his earlier assertions, he has returned to his native Yorkshire and rediscovered the beauty of his home county’s landscapes, which held little inspiration for him as a young artist. Since then, he has been creating precisely observed, magically glowing natural scenes in which his new enthusiasm combines with his many experiences gained over a lifetime of experimental painting. Hockney’s broad interests and his knowledge of artistic techniques lend these works a special character – seemingly naturalistic, they nonetheless continually question the potential of painting. It is perhaps this masterful mixture of apparent simplicity and great conceptuality that makes Hockney’s art so popular, and at the same time manifests the aesthetic demands he places upon himself.

Hockney’s somewhat unreal-looking version of “realism” arises from the combination of emotion and perspective in his painting. In order to capture a motif as a whole, he not only relies on continual shifts from close-up to distant viewpoints but on a gradual development of the picture, which often consists of several equal-sized canvases. In this way, he creates extended formats that enable the viewer to virtually roam through the picture. The eye is drawn so close to the visual scenes that we have the feeling of actually standing inside the unframed views. In addition, there are entire series of works in which the artist observes selected landscape motifs at different times of day or different seasons and depicts his impressions with great precision. The colours, that change with the intensity of the sunlight, are translated into colourful, energetic images that reflect the immediacy of natural light. Yet here, too, it is not a faithful recording of actual appearances that is foremost but the subjectivity of human vision, an artistic transformation that always contains something unspoken and wonderful.

Over 70 large-format paintings, drawings and inkjet printed computer drawings of landscapes, selected by David Hockney especially for the Kunsthalle Würth, are on view here for the first time in such a comprehensive exhibition.

Wednesday, April 22, 2009

City of Linz to Return Gustav Klimt Painting to Descendants of Jewish Family


Portrait of a Woman (Ria Munk) made by Gustav Klimt.

LINZ.- The Mayor of Linz, Franz Dobusch, announced yesterday that the town will return the painting titled, Portrait of a Woman (Ria Munk) made by Gustav Klimt to the descendants of a Jewish family who were robbed of it by the Nazis.

An independent expert has confirmed the painting was seized from Mrs Munk by the Nazis after she was deported to a concentration camp where she died in 1941.

Family lawyer Alfred Noll applied in 2007 for the return of the painting, which made its way into Linz's collection from an art dealer after the Second World War.

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body, and his works are marked by a frank eroticism--nowhere is this more apparent than in his numerous drawings in pencil.

Klimt became one of the founding members and president of the Wiener Sezession (Vienna Secession) in 1897 and of the group's periodical Ver Sacrum (Sacred Spring). He remained with the Secession until 1908. The group's goals were to provide exhibitions for unconventional young artists, to bring the best foreign artists' works to Vienna, and to publish its own magazine to showcase members' work. The group declared no manifesto and did not set out to encourage any particular style -- Naturalists, Realists, and Symbolists all coexisted. The government supported their efforts and gave them a lease on public land to erect an exhibition hall. The group's symbol was Pallas Athena, the Greek goddess of just causes, wisdom, and the arts -- and Klimt painted his radical version in 1898.

In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall in the University of Vienna. Not completed until the turn of the century, his three paintings, Philosophy, Medicine and Jurisprudence were criticized for their radical themes and material, which was called "pornographic". Klimt had transformed traditional allegory and symbolism into a new language which was more overtly sexual, and hence more disturbing. The public outcry came from all quarters — political, aesthetic, and religious. As a result, they were not displayed on the ceiling of the Great Hall. This would be the last public commission accepted by the artist. All three paintings were destroyed by retreating SS forces in May 1945. His Nuda Verita (1899) defined his bid to further shake up the establishment. The starkly naked red-headed woman holds the mirror of truth, while above it is a quote by Schiller in stylized lettering, "If you cannot please everyone with your deeds and your art, please a few. To please many is bad."

In 1902, Klimt finished the Beethoven Frieze for the 14th Vienna Secessionist exhibition, which was intended to be a celebration of the composer and featured a monumental, polychromed sculpture by Max Klinger. Meant for the exhibition only, the frieze was painted directly on the walls with light materials. After the exhibition the painting was preserved, although it did not go on display until 1986.

During this period Klimt did not confine himself to public commissions. Beginning in the late 1890s he took annual summer holidays with the Flöge family on the shores of Attersee and painted many of his landscapes there. These works constitute the only genre aside from the figure that seriously interested Klimt, and are of a number and quality so as to merit a separate appreciation. Formally, the landscapes are characterized by the same refinement of design and emphatic patterning as the figural pieces. Deep space in the Attersee works is so efficiently flattened to a single plane, it is believed that Klimt painted them while looking through a telescope.

Klimt's 'Golden Phase' was marked by positive critical reaction and success. Many of his paintings from this period utilized gold leaf; the prominent use of gold can first be traced back to Pallas Athene (1898) and Judith I (1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907 - 1908). Klimt traveled little but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist, which was one of the grandest monuments of the Art Nouveau age. Klimt's contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative work, and as he publicly stated, "probably the ultimate stage of my development of ornament." Between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing she designed.

As he worked and relaxed in his home, Klimt normally wore sandals and a long robe with no undergarments. His simple life was somewhat cloistered, devoted to his art and family and little else except the Secessionist Movement, and he avoided café society and other artists socially. Klimt's fame usually brought patrons to his door, and he could afford to be highly selective. His painting method was very deliberate and painstaking at times and he required lengthy sittings by his subjects. Though very active sexually, he kept his affairs discreet and he avoided personal scandal. Like Rodin, Klimt also utilized mythology and allegory to thinly disguise his highly erotic nature, and his drawings often reveal purely sexual interest in women as objects. His models were routinely available to him to pose in any erotic manner that pleased him. Many of the models were prostitutes as well.

Klimt wrote little about his vision or his methods. He wrote mostly postcards to Flöge and kept no diary. In a rare writing called "Commentary on a non-existent self-portrait", he states "I have never painted a self-portrait. I am less interested in myself as a subject for a painting than I am in other people, above all women...There is nothing special about me. I am a painter who paints day after day from morning to night...Who ever wants to know something about me... ought to look carefully at my pictures."

In 1911 his painting Death and Life received first prize in the world exhibitions in Rome. In 1915 his mother Anna died. Klimt died three years later in Vienna on February 6, 1918, having suffered a stroke and pneumonia. He was interred at the Hietzing Cemetery in Vienna. Numerous paintings were left unfinished.

Klimt's paintings have brought some of the highest prices recorded for individual works of art. In November 2003, Klimt's Landhaus am Attersee sold for $29,128,000, but that was soon eclipsed by prices paid for other Klimts.

In 2006, the 1907 portrait, Adele Bloch-Bauer I, was purchased for the Neue Galerie in New York by Ronald Lauder for a reported US $135 million, surpassing Picasso's 1905 Boy With a Pipe (sold May 5, 2004 for $104 million), as the highest reported price ever paid for a painting. Adele Bloch-Bauer I is one of the five paintings referred to below in the Legacy section and an NPR report. On August 7, 2006, Christie's auction house announced it was handling the sale of the remaining four works by Klimt that were recovered by Maria Altmann and her co-heirs after their long legal battle against Austria (see Republic of Austria v. Altmann). Portrait of Adele Bloch-Bauer II was sold at auction in November 2006 for $88 million, the third-highest priced piece of art at auction at the time. 'The Apple Tree I' (ca. 1912) sold for $33 million, 'Birch Forest' (1903) sold for $40.3 million, and 'Houses in Unterach on Lake Atter' (1916) sold for $31 million. Collectively, the five restituted paintings netted over $327 million.

Friday, April 17, 2009

Amedeo Modigliani Exhibition Opens Today at The Art and Exhibition Hall in Bonn

Amedeo Modigliani Exhibition Opens Today at The Art and Exhibition Hall in Bonn


Amedeo Modigliani, Reclining Nude (Céline Howard), 1918, Private collection, Geneva.

BONN.- Amedeo Modigliani was one of the most important artists of the 20th century. His iconic works are deeply engrained in the collective pictorial memory. The Art and Exhibition Hall wants to celebrate this outstanding artist, who died tragically young at the age of only 35, with a comprehensive retrospective exhibition.

Born in Italy in 1884, Modigliani was painter, draughtsman and sculptor. With the exception of a handful of landscapes, his creative energy was entirely devoted to portraits and nudes. Modigliani's paintings are deeply rooted in Italian art history, drawing particularly on the formal languages of the Renaissance and Mannerism. These he combined with elements from Expressionism, Cubism and Symbolism as well as African sculpture, whose perceived primitivism and iconic presence fascinated him and many avant-garde artists of the time. His work cannot be easily classified as belonging to any of the contemporary styles like Cubism or Fauvism. Yet it bears eloquent testimony to the restlessness and exuberance of an artist who was only too aware of his own vulnerability and mortality and who needed the euphoria of intoxication in order to live and work. Modigliani’s idiosyncratic, at times melancholy portraits captivate the viewer to this day.
The exhibition follows the biography of the artist and reflects the decisive turning points of his life. The Art and Exhibition Hall hopes to be able to present a representative selection of some paintings, drawings and a few sculptures from 1900 to 1919 that allows viewers to form an impression of the oeuvre of this exceptional artist.

Tuesday, April 07, 2009

Important Works by Tamara de Lempicka From the Collection of Wolfgang Joop to be Sold at Sotheby's

Important Works by Tamara de Lempicka From the Collection of Wolfgang Joop to be Sold at Sotheby's


Tamara Lempika, Portrait de Marjorie Ferry, 1932. Est. $4/6 million. Photo: Courtesy of Sotheby´s.

Tamara Lempika, Portrait de La Duchesse de La Salle, 1925. Est. $4/6 million. Photo: Courtesy of Sotheby´s.

NEW YORK, NY.- On May 5 and 6, 2009 ten paintings by Tamara de Lempicka from the collection of noted fashion designer Wolfgang Joop will be offered at Sotheby’s New York. It is the finest group of paintings by the artist ever to appear at auction. Four paintings will be included in the evening sale of Impressionist and Modern Art on May 5th and six will be offered the following day. Highlights will be on view in London from April 22-25 prior to the exhibition and sale in New York.

Emmanuel Di-Donna, Vice Chairman, Impressionist and Modern Art Worldwide and Head of Sotheby’s Evening Sales, New York, commented, “This group of paintings, all from Lempicka’s prime period, embodies the spirit of the Art Deco era and its sense of style and modernity. These iconic images range from intimate and sensual to bold and monumental. As an artist, Lempicka drew on the avant-garde art and design around her, Cubism in particular, to derive a distinct aesthetic all her own.”

Recent decades have witnessed a resurgence of interest in Tamara de Lepmicka, a figure who occupied an important position in ‘Roaring Twenties’ Paris. Her glamour has inspired celebrity collectors in the movie, music and fashion worlds. A voracious collector, Wolfgang Joop has spent several decades amassing an extraordinary collection of modern and contemporary art and 20th century design. Benjamin Doller, a Vice Chairman of Sotheby’s commented, “As a key player in the fashion industry with his collection Wunderkind, it’s understandable that Mr. Joop would appreciate the Hollywood glamour and decadence celebrated in Lempicka’s work. A pioneer in many areas of collecting, he was among a handful of early enthusiasts to rediscover her in the 1970s. ”

“Tamara’s appeal to me is comparable to that of a blue diamond,” said Wolfgang Joop. “From the first moment I saw her paintings, I was captivated by the unique way in which she presented women, and I have been fortunate to enjoy a long and intimate history with her. In turn, she inspired my work with a distinctive style that embodies the image of a modern woman.”

Impressionist and Modern Art Evening Sale – May 5, 2009
Among the works that will be offered in the evening sale on May 5th is a painting that has become synonymous with Lempicka's style – Portrait de la Duchesse de la Salle (est. $4/6 million). Sexy, bold and monumental in its presentation, this spectacular picture from 1925 celebrates the strength and power of the modern woman.

Also included in the evening sale is a sultry portrait from 1932 - Portrait de Marjorie Ferry – which exemplifies the sleek and sexy aesthetic that defined Lempicka's art (est. $4/6 million). The model is the English-born Marjorie Ferry, a cabaret singer living in Paris, who is transformed by Lempicka into a modernday goddess, cloaked in marble-crisp drapery in front of a Doric column.

Lempicka's Portrait of Mademoiselle Poum Rachou from 1933 is one of her most recognizably Cubist-inspired compositions, calling to mind the 1920s Le Petit dejeuner series of Fernand Léger (est. $1.8/2.5 million). A dynamic still life from 1931, Arlette Boucard aux Arums, features a portrait of Arlette Boucard, a young woman whom Lempicka painted as an adolescent in 1928 (est. $800,000/1.2 million). For this new composition, Lempicka pairs a photograph of the girl with a bouquet of arums or calla lilies, a dual symbol of purity and seduction and an allusion to Arlette’s passage from youth to womanhood.

Impressionist and Modern Art Day Sale – May 6, 2009
Le Telephone II will be the cover lot of the Impressionist and Modern Art Day sale on May 6th. Painted in 1930, the year after Lempicka moved into a large Art Deco apartment with a studio on the Left Bank in Paris, the present work exemplifies the modernity of the age and of the artist herself (est. $800,000/1.2 million). Pulp magazines had gained enormous popularity in the 1920s and the femme fatale became the central figure in these works, soon to be immortalized in the novels of Dashiell Hammett and Raymond Chandler, and in the film noir classics of the thirties.

Wolfgang Joop
Wolfgang Joop was born in Potsdam, Germany in 1944 and studied Drawing, Sculpture and the Theory of Art before working as a freelance artist. He was invited to be an honorary professor of Life Drawing and Design at the University of Art in Berlin, and his drawings and paintings are included in the permanent collections of several contemporary art museums, including the Hamburg Museum of Art and Industry which houses over 100 of his works. Wolfgang Joop, founder and creator of the world renowned fashion company WUNDERKIND has become one of the most influential designers for luxury fashion in the world. With the creation of the label WUNDERKIND he has built the only German fashion house of its kind, offering their worldwide clientele a sophisticated range of luxury ready-to wear collection and accessories. The company's products are sold in more than 100 of the best boutiques and stores worldwide. End of 2008 the brand opened its first international boutique in London’s Mayfair district, on 16 Mount Street. Wolfgang Joop’s collection ranges from paintings and furniture dating from the seventeenth-century to the present day, and includes works by Jeff Koons, Tim Noble & Sue Webster, Alexandre Noll, Charlotte Perriand, Jean Royère and Jean Prouvé, among others.

Pompidou Offers Comprehensive Overview of the Work of Russian Artist Wassily Kandinsky

Pompidou Offers Comprehensive Overview of the Work of Russian Artist Wassily Kandinsky


A woman observes the painting "Red Spot II" made by Russian artist Wassily Kandinsky which is on view at the Centre Pompidou in Paris. Photo: EFE/Ian

Improvisation 19, 1911. Oil on canvas – 120 x 141,5 cm. Städtische Galerie im Lenbachhaus, Munich. Städtische Galerie im Lenbachhaus, Munich. Gabriele Münter-Stiftung © ADAGP, Paris 2009.

PARIS.- This exhibition offers, for the first time in 25 years, a comprehensive overview of the work of Russian artist Wassily Kandinsky, documenting the key periods of his artistic career (Munich, Paris / Munich/ Moscow / Weimar, Dessau, Berlin / Paris) through a selection of major paintings dating from 1907 to 1942. Thanks to the unprecedented collaboration between the Centre Pompidou, the Städtische Galerie im Lenbachhaus, Munich, and the Solomon R. Guggenheim Museum, New York, this international retrospective, showing in Munich, Paris and New York, has been able to draw on the three largest public collections of Kandinsky’s work, as well as loans from other institutions and private collections.

Through some hundred exceptional paintings, this unique exhibition examines Kandinsky’s contribution to modern art, its chronological organisation revealing the logical unfolding of his ideas and his relationship to his time.

At the Centre Pompidou, the retrospective is complemented by a selection of recent additions to the Centre’s own holding of Kandinsky’s work: watercolours and manuscripts of the so-called “Russian” period from 1914 to 1917, and the Bauhaus portfolio celebrating his 60th birthday in 1926. The last major Kandinsky exhibition in Paris was held at the Centre Pompidou in 1984, to mark the accession of the Nina Kandinsky Bequest.

Kandinsky is curated by Tracey Bashkoff, Associate Curator for Collections and Exhibitions at the Solomon R. Guggenheim Museum; Christian Derouet, Curator at the Musée national d’art moderne, Centre Pompidou, Paris; and Annegret Hoberg, Curator at the Städtische Galerie im Lenbachhaus, Munich. Karole Vail, Assistant Curator, assisted with the organization of the New York presentation.

The exhibition will offer a comprehensive chronological survey of Kandinsky’s work through a selection of his most important canvases, including examples from his series of Improvisations, Impressions and Compositions, while investigating his formal and conceptual contributions to the course of abstraction in the twentieth-century. The unprecedented collaborative efforts of the Guggenheim, Pompidou, and Lenbachhaus will assemble works that have rarely traveled together, such as Munich’s early masterpiece, A Colorful Life (1907), or the Guggenheim's Light Picture (1913)—a seminal work among the first of Kandinsky's truly abstract canvases which has not even been exhibited in the museum’s own galleries since the 1970s—offering new contexts and comparisons for those works that have been held apart.

The survey will trace Kandinsky’s vision through thematic motifs, such as the horse and rider, mountainous landscapes and tumultuous seascapes, apocalyptic imagery and other religious subjects, and follow the artist’s painted realizations of his well-developed aesthetic theories, allowing a re-examination of the geographical- and time-based periods traditionally applied to his oeuvre.

Wassily Kandinsky (b. 1866, Moscow – d. 1944, Paris ) was one of the pioneers of abstraction and great theorists of Modernism. His seminal pre-World War I treatise, Concerning the Spiritual in Art, published in Munich in 1911 lays out his program for the development of art independent of observations of the objective world. Interested in synesthesia, and more particularly in the relationship between painting and music, Kandinsky strove to give painting the freedom from nature he felt in music. Kandinsky’s discovery of a new subject matter based only on the artist’s “inner need” would occupy him throughout his life.