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Exclude commercial

6 exhibitions found in Budapest
Copenhagen
Frankfurt
Leeds
Paris

Dates: 28 Oct 09 - 14 Feb 10
Categories: Old Master
Address: Dózsa György út 41 Budapest 1146
Tel: +36 (0)1469 7100 Website

Szépmûvészeti Múzeum (Museum of Fine Arts), Budapest 28 October-14 February 2010 www.szepmuveszeti.hu This is the second exhibition (the first was the Spanish 16th- to 19th-century painting show in 2006) of a series presented by the Hungarian Museum of Fine Arts that aims to present a canonical overview of a national school of a specific period, in this case the early and high Italian Renaissance. On view are more than 130 works, about half of which are on loan from the Louvre, the Prado, the Metropolitan Museum of Art, the Getty Museum, the National Gallery, the National Gallery of Art, and Kunsthistorisches Museum and the Berlin Gemäldegalerie, the rest being complemented by works from the museum’s own collection. This exhibition will not only provide the Hungarian public with an excellent opportunity to see masterpieces that would otherwise be beyond view, but also to afford the museum the chance to stage a much-needed money-making blockbuster, a goal its publicity department is vigorously exploiting with an international media campaign, hoping to attract at least 300,000 ­visitors. On view are works by such artists as Botticelli, the Bellinis, Giorgione, Raphael, Titian, Veronese and Tintoretto, and many others. Above, Raphael, The Esterházy Madonna, 1508. D.L.

Raphael, The Esterházy Madonna, 1508

Dates: 29 Aug 09 - 3 Jan 10
Categories: Old Master
Address: Sølvgade 48-50 Copenhagen DK-1307
Tel: +45 33 74 84 94 Website

Nicolai Abildgaard (1743-1809) is little known outside Denmark. Although his years of study in Rome (1772-77) brought him into contact with artists such as Füssli and with the early Romantic currents that prized Shakespeare, Homer, Ossian and Norse mythology, his style throughout his career remained committedly classical. His early training at the Royal Danish Academy of Art, his study tour of Italy and his tenure as professor (and intermittently as director) of the academy from 1778 until his death, were dedicated to the ideals of Titian, Raphael, Michelangelo, the Carraccis, Poussin and Claude. The peaks of his career were the commission in 1780 to decorate the Knights’ Hall of the Christiansborg Palace with 10 monumental history paintings (seven were destroyed by a fire in 1794) and a decorative project at what is now Christian VIII’s Palace at Amalienborg (1794-98). Abildgaard’s success was, however, frustrated by his uninhibited expressions of liberal, anti-monarchical and anti-religious views and his endorsement of the French Revolution—even after the Terror (summed up in Jupiter Weighs the Fate of Mankind, 1794) when many European supporters were disillusioned. Unlike Goethe or David, he was unable to make the necessary adjustments to adapt his thinking to a changed world nor to temper his classicising style with the insights afforded by Romantic interiority and emotional expressiveness. Nevertheless, in this show of 150 of his paintings, his technical mastery is obvious, especially in his handling of colour, his harmonious tones and the power of some of his subjects (shown above, The Wounded Philoctetes, 1775). The fact that Abildgaard doesn’t quite make it to the first 11, the fact that he was the teacher of such stars as Bertel Thorvaldsen, Christoffer Wilhelm Eckersberg and Philipp Otto Runge, warrants our recognition and attention. This is the final leg of a three-stop tour, having been seen at the Louvre and the Hamburger Kunsthalle. It will be interesting to see if the artist undergoes a more favourable reassessment in the wake of this extensive European exposure. Donald Lee

The Wounded Philoctetes, 1775

Dates: 13 Nov 09 - 28 Feb 10
Categories: Old Master
Address: Städelsches Kunstinstitut und Städtische Galerie, Durerstrasse 2 Frankfurt D-60596
Tel: +49 (0)69 605 09 80 Website

It is a commonplace that some artists reach in their old age a “late style” characterised by loose, free expression and a distillation of experience (for example, Michelangelo and Titian) while others wither and decay (for example, Pontormo and Domenichino). Botticelli is reckoned, however, to have taken a different trajectory by turning, in his old age, from a mature style and content to the manner and concerns of his youth. The life and work of Sandro Botticelli is, like Caesar’s Gaul, divided in partes tres: his Florentine early training and career, from his birth in 1444/45 to around 1478, covering the years of his apprenticeship under Fra Filippo Lippi and in which he produced works such as St Sebastian, 1473-74, and a number of frescoes in Florence and Pisa, most of which are now lost. During the years of his maturity, around 1478 to 1490, he painted most of the works for which he is famous: frescoes in Florence and Rome, altarpieces, portraits, allegories and mythological narratives. Here he perfected his personal style, perhaps best described as a combination of International Gothic and classical prototypes, an assimilation of the stile nuovo and antico, in which figures are presented in supple contours, contrapposto, graceful proportions, most memorably exemplified in the Primavera, around 1478, and The Birth of Venus, 1482-86. This high courtly style also informed his religious paintings (shown, The Virgin Adoring the Sleeping Christ Child, about 1490), which may have incurred the censure of the charismatic Dominican reformer, Girolamo Savonarola, who, it is believed, came to influence Botticelli as, from the 1490s until his death, the artist turned back to the simplicity and affective expression of his early work. This maniera devota, inspired by moral and religious sentiment, resulted in works such as the Mystic Nativity, around 1500, and the illuminations for a luxurious, unfinished manuscript edition of The Divine Comedy, 1490s. Following his death, Botticelli fell from favour and it was not until 19th-century art historians began to resurrect and elevate Florentine artists that he came again into favour. This process was initiated mainly by German art historians and collectors: the Berlin museum acquired the St Sebastian and the Bardi altarpiece in the 1820s; Walter Ullmann produced the first Botticelli monograph in 1893 and Aby Warburg produced his influential dissertation in the same year. Thus it comes as something of a surprise that this is the first Botticelli show to take place in the German-speaking world (pace the exhibition of the Divine Comedy illuminations in Berlin in 2000-01). The exhibition is curated by Andreas Schumacher, the director of the pre-1800 Italian, French and Spanish paintings collections, and is the first in line to celebrate the quincentenary of the artist’s death (1510). The show, like Botticelli’s life, is in three parts: his portraits and allegorical paintings, the mythologies and, finally, his religious œuvre. Although many of the works have recently been seen in the shows at the Palais de Luxembourg (2003-04) and at the Palazzo Strozzi (2004)—the fragility, the renown and the limited number of his works make it impossible to transport many of them—this exhibition includes workshop pieces and drawings from private lenders never seen before in public. Special attention is given to the unrequited love Botticelli bore for the celebrated beauty Simonetta Vespucci (around 1453-76), wife of a Florentine nobleman, who is thought have been his model for his Venuses (and with whom he was buried), and to his works commissioned by the Medici. In addition to the 40 Botticelli paintings, there are 40 by Verrocchio, Antonio del Pollaiuolo and Filippino to put Botticelli’s work into a historical context. The show is sponsored by the Commerzbank-Stiftung with support from Alnatura Produktions- und Handels, the Italian National Tourist Board, Weleda and Ikarus design. The catalogue is edited by Dr Schumacher and published by Hatje Cantz (€49.80).

The Virgin Adoring the Sleeping Christ Child, about 1490

Dates: 10 Oct 09 - 10 Jan 10
Categories: Curious
Address: 74 The Headrow Leeds LS1 3AH
Tel: +44 (0)113 246 7467 Website

The paragone—an intellectual exercise current from about the middle of the 16th century until the early 18th—was an attempt to tease out the implications of a comparison of or a rivalry between the arts of painting and sculpture. Which better represented nature? Which could outdo nature? What were the various relations of these arts to nature? This exhibition of about 30 paintings depicting sculptural works, dating from the 16th century to the present, touches on the paragone, featuring in particular those works in which the model appears alongside the sculpture, typified by Titian’s La Schiavona, 1510-12, on loan from the National Gallery. The second half of the exhibition, featuring works by artists such as Hogarth and Vuillard, raises questions about the correspondences of and differences between two- and three-dimensional art.

William Dyce, Titian Preparing to Make his First Essay in Colouring, 1856-57.

Dates: 17 Sep 09 - 4 Jan 10
Categories: Contemporary (1970-present)
Address: 34-36, quai du Louvre, place du Carrousel Paris 75058
Tel: +33 (0)1 40 20 54 52 Website

Dates: 11 Sep 09 - 11 Jan 10
Categories: Old Master
Address: 158, boulevard Haussmann Paris 75008
Tel: +33 (0)1 42 89 04 91 Website

Continuing its series of exhibitions focused on major collectors, the Jacquemart-André Museum presents 50 Flemish, Italian, German and Dutch works amassed by Baron Samuel von Brukenthal (1721-1803). The pieces are drawn from the Brukenthal National Museum in Romania—home to one of the most prestigious art collections in Central Europe. A career politician, Brukenthal was made governor of his native Transylvania by Empress Maria Theresa of Austria, who considered him a close personal adviser. He began acquiring his collection in Vienna and quickly earned a reputation as an insatiable collector with a discerning eye, purchasing nearly 16,000 books, 800 etchings, 12,000 paintings and a number of objets d’art. Particularly rich in 17th-century Dutch and Flemish paintings—the Golden Age of Art in the Low Countries—the collection was supplemented by a number of works presented to him by Maria Theresa. His baroque palace in Sibiu, central Romania, was constructed as a showcase for his collection and upon his death in 1803 it was opened to the public. The exhibition aims to show the quality of his collection by presenting the very best pieces amassed by Brukenthal. Most of the works are Flemish, a school particularly popular with 18th-century Viennese collectors. The show is arranged in five thematic sections: portraits, landscapes, genre paintings, still-lifes and history painting. The segment dedicated to portraiture is dominated by works by the Flemish Primitives, a group of 15th-century artists concerned with the precise rendering of details such as jewellery, fabrics and furs. The oldest portrait by Van Eyck, Portrait of the Man in a Blue Turban (1430-33), shows the artist’s desire to include details like the sitter’s fur coat and beard, and Hans Memling’s Portrait of Reading Man (1485) shows the careful rendering of the book’s gilded pages. Included in the section devoted to landscapes is one of Bruegel’s best known works, Massacre of the Innocents (1566-67), a piece depicting villagers being slaughtered by soldiers following the orders of Philip II of Spain. Visitors can see genre paintings by Dutch artists David Teniers and Frans Van Mieris, still-lifes by Jan Davidsz de Heem and Erasmus Quellinus and history paintings by Jacob Jordaens. Pieces by Italian masters Lorenzo Lotto and Titian are also included in the display. The show is curated by Flemish art specialist Jan de Maere and Jacquemart-André curator Nicolas Sainte Fare Garnot. E.S.

Bruegel’s Massacre of the Innocents, 1566-67