Friday, August 17, 2012

Exhibition Schedule Through Summer 2013 @ The Huntington:

Roger Medearis: His Regionalism


Through Sept. 17, 2012

Virginia Steele Scott Galleries of American Art, Susan and Stephen Chandler Wing

The career of American painter Roger Medearis (1920–2001) is explored in this special exhibition. With a title inspired by the artist’s unpublished book My Regionalism, the exhibition of more than 30 works brings together those given to The Huntington by his widow, Elizabeth (Betty) Medearis, as well as those on loan from private collections and a painting borrowed from the Smithsonian’s American Art Museum. Examples of Medearis’ accomplishments in various media, including paintings, prints, drawings, and sculpture, along with letters and photographs, trace the artist’s career, from his beginnings as a student of Thomas Hart Benton at the Kansas City Art Institute through the development of his own distinctive style in California later in life.

Royals, Courtiers, and Confidants: Early English Portrait Drawings from The Huntington’s Art Collections


Through Oct. 29, 2012


As part of their coursework on English cultural history, students from Claremont McKenna College contributed to this intimate exhibition on 16th- and 17th-century portrait drawings. Each student studied a single portrait, examining how it was made and how the subject was represented while conducting research on the portrait’s historical context. Their research forms the basis of the exhibition’s object labels. The 19 works on view include miniature graphite drawings, pastel sketches, and pen and ink drawings by artists such as Peter Lely, William Faithorne, Peter Oliver, and David Loggan. Collectively, these objects—and the students’ research—tell a story of how members of English society chose to portray themselves and how these works are seen by viewers today. “Royals, Courtiers, and Confidants: Early English Portrait Drawings from The Huntington’s Art Collections” is co-organized by Melinda McCurdy, associate curator of British art at The Huntington, and Victoria Sancho Lobis, visiting assistant professor at Claremont McKenna College and curator of the print collection and fine art galleries at the University

HUNTINGTON’S UPCOMING EXHIBITIONS ANNOUNCED

Contemporary art in the Huntington mansion, the history of California wildflowers, and early American needlework highlight a lively year ahead




Left: Clara Mason Fox, “Eschscholzia californica, Silverado Canyon,” 1899, unidentified medium on paper. Collection of Rancho Santa Ana Botanic Garden. Center: Ricky Swallow, Standing Figure W/ Pockets & Buttons, 2011, patinated bronze. Edition of 3 + 1 AP. Image courtesy the artist; Stuart Shave/Modern Art, London; and Marc Foxx Gallery, Los Angeles. Photo: Fredrik Nilsen. Right: Rebecca Ives Gilman, Ives Family Coat of Arms, 1763, silk, gold, and silver thread on black silk. Promised Gift of Thomas H. Oxford and Victor Gail.

Aug. 9, 2012


SAN MARINO, Calif.—The Huntington Library, Art Collections, and Botanical Gardens announced today its slate of special exhibitions for the coming year. The previously announced pair of Civil War exhibitions presented this fall will be followed by seven new shows on topics ranging from contemporary art to early American needlework, from California wildflowers to 18th-century extra-illustrated books.

“Leslie Vance & Ricky Swallow” (Nov. 10, 2012–March 11, 2013) will place paintings and sculpture by the acclaimed contemporary artists in a room of the Huntington Art Gallery, home of the institution’s venerable collection of European art that once served as the residence of Henry E. Huntington and his wife, Arabella. The juxtaposition is intended to inspire people to look with a fresh perspective on the permanent collections of Old Master paintings, Renaissance bronzes, and 18th-century French decorative arts and British portraiture.

Spring at The Huntington will be punctuated by a major exhibition on the history of California wildflowers—“When They Were Wild: Recapturing California’s Wildflower Heritage” (March 9 –June 10, 2013) —a collaboration of The Huntington; Rancho Santa Ana Botanic Garden, Claremont, Calif.; and the Theodore Payne Foundation for Wildflowers and Native Plants, Sun Valley, Calif.

“Useful Hours: Needlework and Painted Textiles from Southern California Collections” (June 1–Sept. 3, 2013), will explore the development of the art made by young women in their early teens in the United States in the late 18th and early 19th centuries; and “Illuminated Palaces: Extra-Illustrated Books from the Huntington Library,” (July 22–Oct. 21, 2013) will bring to light for the first time The Huntington’s rich collections representing the 18th and 19th century practice of turning books into repositories for original art, prints, autograph letters, and the excised pages of other books.

Other exhibitions announced today include those focused on American artists Marsden Hartley (1877-1943) and Maurice Merlin (1909–1947) and the history of the San Marino Ranch (the property now known as The Huntington) in honor of the city of San Marino’s centennial.



[EDITOR’S NOTE: An advance exhibition schedule follows. Information subject to change. High-resolution digital images available on request for publicity use.]



The University of Chicago Presents ( Press Release )

2012/2013 SEASON AT-A-GLANCE


FRIDAY / OCTOBER 5, 2012 / 7:30 PM / MANDEL HALL

SEASON OPENING!

Takács Quartet



SUNDAY / OCTOBER 14, 2012 / 3 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Turtle Island Quartet



FRIDAY / OCTOBER 19, 2012 / 7:30 PM / MANDEL HALL

SFJAZZ Collective



SUNDAY / NOVEMBER 4, 2012 / 3 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Artist-in-Residence: Pacifica Quartet



FRIDAY / NOVEMBER 9, 2012 / 7:30 PM / ROCKEFELLER MEMORIAL CHAPEL

Cappella Pratensis



FRIDAY / NOVEMBER 16, 2012 / 7:30 PM / MANDEL HALL

Cho-Liang Lin, violin

John Bruce Yeh, clarinet

Deborah Hoffman, harp

Joshua Roman, cello



SATURDAY / JANUARY 12, 2013 / 7:30 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Contempo

Cliff Colnot, conductor

eighth blackbird

Pacifica Quartet



FRIDAY / JANUARY 25, 2013 / 7:30 PM / MANDEL HALL

Brooklyn Rider



FRIDAY / FEBRUARY 1, 2013 / 7:30 PM / MANDEL HALL

Steven Isserlis, cello

Kirill Gerstein, piano



FRIDAY / FEBRUARY 8, 2013 / 7:30 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Kristian Bezuidenhout, harpsichord



SUNDAY / FEBRUARY 17, 2013 / 3 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Artist-in-Residence: Pacifica Quartet



FRIDAY / FEBRUARY 22, 2013 / 7:30 PM / MANDEL HALL

Kalichstein-Laredo-Robinson Trio



FRIDAY / MARCH 1, 2013 / 7:30 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Contempo: Ralph Shapey Tribute



FRIDAY / APRIL 12, 2013 / 7:30 PM / MANDEL HALL

Pavel Haas Quartet



SUNDAY / APRIL 14, 2013 / 3 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Contempo: Double Bill

Pablo Aslan & Trio



FRIDAY, APRIL 19, 2013 / 7:30 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Scottish Ensemble

Alison Balsom, trumpet



FRIDAY / MAY 10, 2013 / 7:30 PM / FULTON RECITAL HALL

Contempo: Tomorrow's Music Today I



SUNDAY / MAY 12, 2013 / 3 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Artist-in-Residence: Pacifica Quartet



FRIDAY / MAY 17, 2013 / 7:30 PM / PERFORMANCE HALL, REVA AND DAVID LOGAN CENTER FOR THE ARTS

Contempo: Tomorrow's Music Today II

Sunday, January 14, 2007

Art Exhibits for 2007 @ Chicago, Illinois

Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde


Exhibition dates: September 14, 2006 – January 7, 2007
Exhibition location: The Tisch Galleries, second floor
Press preview: Tuesday, September 12, 10 a.m. – noon



The first comprehensive exhibition devoted to Ambroise Vollard (1866-1939) – the pioneer dealer, patron, and publisher who played a key role in promoting and shaping the careers of many of the leading artists during the late 19th and early 20th centuries – will open at The Metropolitan Museum of Art on September 14. One hundred paintings as well as dozens of ceramics, sculpture, prints, and livres d'artistes commissioned and published by Vollard, from his appearance on the Paris art scene in the mid-1890s to his death in 1939, will comprise the exhibition Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, which will feature works by Bonnard, Cézanne, Degas, Derain, Gauguin, Van Gogh, Maillol, Matisse, Picasso, Redon, Renoir, Rouault, Rousseau, Vlaminck, Vuillard, and others. Highlights will include six paintings from Vollard's landmark 1895 Cézanne exhibition; a never-before-reassembled triptych from his 1896-97 Van Gogh retrospective; the masterpiece Where Do We Come From? What Are We? Where Are We Going? from his 1898 Gauguin exhibition; paintings from Picasso's first French exhibition (1901) and Matisse's first solo exhibition (1904); and three pictures from Derain's London series, painted in 1906-1907 at Vollard's suggestion. Also on view will be numerous portraits of Vollard by leading artists, among them Cézanne, Bonnard, Renoir, and Picasso.

"Vollard's genius lay in his ability to identify undiscovered talent," commented Philippe de Montebello, Director of The Metropolitan Museum of Art. "That Cézanne, Gauguin, Van Gogh, and many others are household names today is in large part due to Vollard's early promotion of their work. It is remarkable that there has never before been a substantial exhibition devoted to the extraordinary scope of Vollard's activities. This international presentation, which premieres at the Metropolitan, is the result of an impressive, sustained effort on the part of a team of curators at the Metropolitan as well as in Chicago, London, and Paris."
The exhibition is made possible by The Florence Gould Foundation.
Education programs are made possible by The Georges Lurcy Charitable and Educational Trust.
The exhibition was organized by The Metropolitan Museum of Art, New York, The Art Institute of Chicago, the Musée d'Orsay, Paris, and the Réunion des Musées Nationaux, Paris.
It is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Ambroise Vollard was a legend in his own lifetime. He arrived in Paris from the remote Ile-de-la-Réunion in 1887 and made his reputation at the age of 29 with a Cézanne retrospective that was possibly the most important exhibition of that decade. Cézanne's work was virtually unknown in Paris at the time, and Vollard took a significant financial risk in showcasing the 150 paintings that he displayed. The effort was rewarded, however, when Vollard sold many of the works from the show and Cézanne's place in the pantheon of modern art was established. Soon he became the leading contemporary art dealer of his generation and a major player in the history of modern art. Vollard was the principal dealer of Paul Cézanne, Paul Gauguin, and a number of Fauve artists, and he lent early support to the Nabis, Henri Matisse, and Pablo Picasso. He had a unique – some thought eccentric – approach to selling art, frequently dozing in his gallery, making a point of not showing his clients what they asked to see, and concealing most of his paintings behind a divider at the back of his shop.

Cézanne to Picasso will feature individual rooms dedicated to Cézanne, Gauguin, and Van Gogh. Included will be six of the paintings that Vollard displayed in his groundbreaking Cézanne exhibition of November 1895. In 1898 the dealer hosted a small exhibition of Gauguin's Tahitian-period paintings – the centerpiece of that show, Where Do We Come From? What Are We? Where Are We Going? (Museum of Fine Arts, Boston) will be a highlight of the New York and Chicago venues of Cézanne to Picasso. Another will be three Van Gogh paintings that Vollard seems to have presented as a triptych in his 1896-97 Van Gogh exhibition: Banks of the Seine with Pont de Clichy in the Spring (Dallas Museum of Art), Fishing in Spring, The Pont de Clichy (Asnières) (Art Institute of Chicago), and Woman in a Garden (private collection). The three paintings date to 1887, share almost identical dimensions, and feature painted red borders. Vollard recalled that, early on, "even the boldest were unable to stomach [Van Gogh's] paintings."

Other rooms of Cézanne to Picasso will highlight the work of groups of artists, such as the Nabis and Fauves. Beginning in the mid-1890s, Vollard championed the artists known collectively as the Nabis – he purchased their pictures, commissioned their prints, and held two major group exhibitions of their work at his rue Laffitte gallery in 1897 and 1898. Cézanne to Picasso will feature paintings by Bonnard, Denis, Roussel, and Vuillard, as well as their lithograph albums, livres d'artiste, and Bonnard's bronze table sculpture, Spring Frolic (The Terrasse Children) (Art Institute of Chicago), which was the subject of an exhibition at Vollard's gallery in 1902.
The Fauve room will display works made by some of the artists who exhibited together in the famous 1905 Salon d'automne. Included will be paintings from Matisse's first solo exhibition held at Vollard's in June 1904 and three of Derain's paintings of the Thames River, which Vollard commissioned ca. 1906 after seeing Monet's paintings of the same subject. Also featured in this gallery will be colorful plates and vases that the Fauves produced in conjunction with the master ceramicist André Metthey at Vollard's request.

Vollard's interest in publishing spanned his career and he played a vital role in the original printmaking revolution at the end of the 19th century. He was responsible for a number of celebrated albums of original lithographs – by such artists as Bonnard, Denis, Roussel, and Vuillard – and his enthusiasm for publishing extended to the production of luxury livres d'artiste as well as monographs on Cézanne, Degas, and Renoir and his own autobiography in 1936. One room of the exhibition will be devoted exclusively to these books and prints, including four Nabi albums of color lithographs. Vollard's personal copy of Oeuvres de François Villon, heightened in gouache by Emile Bernard, will also be on view, as well as a group of never before exhibited copper plates and proofs for Cirque de l'étoile filante, annotated with color notes by Georges Rouault (Fondation Georges Rouault, Paris).

Picasso once remarked that Vollard's likeness was painted more often than the world's most beautiful woman, and another highlight of Cézanne to Picasso is a room of portraits of Vollard by leading artists, among them Cézanne's early vision of him holding a book (Petit Palais, Musée des Beaux-Arts de la Ville de Paris), Renoir's interpretation of him as a toreador (Nippon Television Network Corporation, Tokyo), and Bonnard's views of him with his beloved cat (Petit Palais and Kunsthaus Zürich). Also in the exhibition will be Bonnard's painting of Vollard and his guests dining in the dealer's famous "cave," the humid cellar beneath his gallery, where "tout Paris" mingled. The painting (private collection) has rarely been seen.

The exhibition will conclude with a gallery devoted to the work of Pablo Picasso, who had his first Parisian exhibition in 1901 at Vollard's gallery. Eight paintings from that exhibition will be on display, including a portrait of the author of the catalogue preface, Gustave Coquiot (Centre Pompidou, Paris). Vollard bought Picasso's Blue Period and Rose Period paintings, and new research has shown that he purchased Cubist paintings as well, among them Picasso's memorable portrait of the narcoleptic dealer, painted in a Cubist style (Pushkin State Museum of Fine Arts, Moscow). The one hundred etchings that compose Picasso's Suite Vollard will end the exhibition.

Every work chosen for Cézanne to Picasso passed through Vollard's hands, whether it was commissioned, exhibited, or owned by him. Many of the loans have additional significance. For example, some of the paintings on display were sold by Vollard to other artists, such as the Cézannes acquired by Matisse (Three Bathers, Petit Palais), Monet (Bathers, Saint Louis Art Museum, and Negro Scipion, Museu de Arte de São Paulo), and Renoir (The Battle of Love, National Gallery of Art, Washington, D.C.) and the Rousseau purchased by Picasso (The Representatives of Foreign Powers Coming to Greet the Republic as a Sign of Peace, Musée Picasso, Paris). A secondary theme of the exhibition is Vollard's influence in developing collections of modern art, and consequently the curators have included paintings that Vollard sold to Louisine and H. O. Havemeyer, Cornelis Hoogendijk, Vincenc Kramár, Ivan Morozov, Karl Ernst Osthaus, Auguste Pellerin, Sergei Shchukin, and John Quinn, among others.
The exhibition has been organized by Gary Tinterow, Engelhard Curator in Charge, and Rebecca Rabinow, Associate Curator, both of the Department of Nineteenth-Century, Modern, and Contemporary Art at The Metropolitan Museum of Art; Douglas Druick and Gloria Groom at the Art Institute of Chicago; Ann Dumas, a London-based art historian; and Anne Roquebert at the Musée d'Orsay.

A 460-page, fully illustrated scholarly catalogue will accompany the exhibition. Twenty-two essays will examine Vollard's career and expertise in the art market, his relationships with individual artists and collectors, and the wealth of previously unpublished material from the newly available archive of Vollard's documents and from archives of the artists he represented. The catalogue will be available in the Metropolitan Museum's bookshops.
A variety of educational programs will be presented in conjunction with the exhibition, which will also be featured on the Museum's website at www.metmuseum.org.

After its showing at the Metropolitan, the exhibition will travel to the Art Institute of Chicago (February 17 - May 13, 2007) and the Musée d'Orsay, Paris (June 11 - September 16, 2007).