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DECEMBER 2023

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DECEMBER 2023

THE BURLINGTON MAGAZINE NO. 1449 VOL. 165 COVER_DEC23.indd 2

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Juan de Zurbarán (Llerena 1620–1649) A Pear and Apples on a Pewter Plate, ca. 1641–42 Exhibiting at TEFAF Maastricht 2024 | Stand 342

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THE BURLINGTON MAGAZINE | 165 | DECEMBER 2023

17/11/2023 11:59

A sculpture of the Virgin of the Assumption Attributed to Alejo de Vahía, active in Palencia around 1473-1515 Gilt and polychromed wood, around 1509 Gift of Sir Michael Craig-Martin R.A.

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Using the sculpture as a starting point for discussion, Dr Nicholas Cullinan, Director of the National Portrait Gallery, converses with Sir Michael Craig-Martin RA at the Spanish Gallery. To watch, visit aucklandproject.org/spanish-gallery

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OLD MASTERS PART I

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MICHAEL SWEERTS (1618–1664) A portrait of the artist (?) presenting the Virgin in Prayer Estimate: £400,000–600,000

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Girodet’s ‘Coriolanus taking leave of his family’

JUNE 2023

Liotard, Boucher and ‘A woman reading’

THE BURLINGTON MAGAZINE

Artemisia Gentileschi’s ‘Susanna and the elders’

Exhibitions

by paul smith

ezanne looked long and hard at his own paintings in what he described in a letter of 25th January 1904 to Louis Aurenche as a ‘painfully’ difficult attempt to achieve the ‘realisation’, or satisfactory expression in paint, of his ‘sensation’.1 Émile Bernard recalled a conversation with Cezanne on this topic, which took place in 1904 in front of the still life that was the last painting in the London iteration of the recent Cezanne exhibition, the heavily reworked Three skulls on a patterned carpet (cat. no.140; Fig.25). His valuable account is worth quoting at length: He was at work on a canvas representing three skulls on an oriental rug. He had been working on it for a month, every morning, from six o’clock until ten-thirty [. . .] ‘What eludes me’, he told me [. . .] ‘is realisation’ [. . .] I saw him agonise, for the entire month I was in Aix, over this painting of skulls, which I consider his testament. The colours and shapes in this picture changed on an almost daily basis, but when I arrived in the studio it could have been taken from the easel as a finished work all the same. In all truth, his way of working was a meditation with the brush in hand.2 Given the attention Cezanne bestowed on his paintings, it is appropriate that they were displayed in this exhibition in a manner calculated to facilitate what Frances Morris, director of Tate Modern, described in her speech at the opening of the exhibition in London as ‘slow looking’.3 The wall space devoted to each work was accordingly more generous than usual, and often considerable. Sometimes only one pair of paintings occupied an entire wall, and in the first room there was only one painting I am grateful to Gloria Groom, Caitlin Haskell, Kimberley Muir and Richard Shiff for sharing their observations on the works in the Chicago exhibition, and to Anna Gruetzner Robins, Paul Hills, Jason Gaiger and Elisabeth Reissner for their thoughts about those in the London iteration. I must also thank all at the Art Institute of Chicago, and Natalia Sidlina and Michael Raymond at Tate Modern, for making it possible for me to examine the paintings at my leisure. I am

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greatly indebted to the Leverhulme Trust for awarding me a Major Research Fellowship for my project ‘Unfolding vision: Cezanne’s “way of seeing”’, some of the research for which appears in this article. The catalogue for the exhibition contains an embarras de richesses in the form of valuable contextual essays by the curators, searching technical analysis by the Chicago conservators, a set of provocative responses by contemporary artists, a series of subtle

on each. This was a bold and laudable strategy, particularly as the visitor was offered over one hundred works to look at (several of which have never been exhibited in the United Kingdom before). It is, of course, no more possible to take in all of these in one visit than it is to read (let alone digest) a similar number of verses by Cezanne’s favourite poet, Baudelaire. So, what follows will take its cue from the hang, and will dwell instead on a few typical works, or on paintings that demonstrate something important about seeing or painting to the artist. The exhibition was organised along broadly chronological lines (with the exception of the first room), but it focused attention on particular genres – landscape, still life, portrait, figure subjects and bathers – for the most part by assigning separate rooms, or walls, to each. This clever strategy made it possible both to follow Cezanne’s development (inasmuch as this is possible with something so sporadic) and to pick out the similarities that gave each genre some measure of cohesion. Room 1 (‘Introduction’) featured Basket of apples (no.56; Fig.1), one of a relatively small number of paintings that Cezanne signed. This he normally did only when he sold them or gave them away, or exhibited them – in this case at Ambroise Vollard’s gallery in Paris in 1895. A signature is therefore a good indicator that Cezanne considered a painting had reached a stage where it gave reasonably good shape to his ‘sensation’, without implying that it was finished in the normal sense. It is no great surprise, then, that this painting is relatively thinly painted in many places, and notably around the signature itself. It nevertheless exhibits several features that typify Cezanne’s still-life practice. Most obviously, it contains a discontinuous horizontal edge in the form of the tabletop, which is lower at the left than where it emerges at the right from behind and delightful writings by contemporary poets, and a number of helpful charts and tables. In this article all translations are the author’s own. In line with recent scholarship on the artist, the acute accent has not been used on Cezanne’s name since he wrote his name as ‘Cezanne’ rather than ‘Cézanne’. The older usage is retained in references. 1 ‘réalisation’, ‘péniblement’, ‘sensation’, J. Rewald, ed.: Paul Cézanne: Correspondance, Paris 1978, p.298. See

built up the paint.4 (The underdrawing of the tabletop is still visible in the area of the tablecloth, but this is too patchy to allow conclusions about its relationship to the final painted object.) Although such idiosyncratic features are pronounced in Cezanne’s work, they have attracted little serious attention – if, that is, formalist arguments about the decorative ambitions they embody cannot be taken

also É. Bernard: ‘Paul Cézanne’, L’Occident 32 (1904), pp.17–30, at p.23; and A. Vollard: Paul Cézanne, Paris 1914, p.87. 2 ‘Il était à l’ouvrage d’une toile représentant trois têtes de mort sur un tapis d’Orient. Il y avait un mois qu’il y travaillait tous les matins, de six heures à dix heures et demie [. . .] “Ce qui me manque, me disait-il [. . .] c’est la réalisation” [. . .] je le vis peiner, durant tout le mois que je fus à Aix, sur ce tableau des têtes de mort, que je

considère comme son testament. Ce tableau a changé de couleur et de forme presque chaque jour, et quand j’arrivai dans son atelier on eût pu cependant le retirer du chevalet comme un ouvrage suffisant. Véritablement son mode d’étude était une meditation le pinceau à la main’, É. Bernard: ‘Souvenirs sur Paul Cézanne et lettres inédites’, Mercure de France (1st October 1907), pp.386–404, at p.394, and (16th October 1907), pp.606–27.

3 The exhibition was at Tate Modern, London, 5th October 2022–12th March 2023. It was previously shown at the Art Institute of Chicago, 15th May–5th September 2022. Catalogue: Cezanne. Edited by Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina. 244 pp. incl. 219 col. ills. (Art Institute of Chicago and Tate, distributed by Yale University Press, New Haven and London, 2022), £32. ISBN 978–18–497–6805–4.

4 On this phenomenon, see R. Ratcliffe: Cézanne’s Working Methods and their Theoretical Background, unpublished PhD thesis (University of London, 1960), pp.129–59. 5 A. Ehrenzweig: ‘Cézanne’s distortions EXHIBITIONS_OCT23.indd 1128 and peripheral vision’, in idem: The Psycho-Analysis of Artistic Vision and Hearing, London 1953, pp.193–215. For an analysis of Ehrenzweigs’s ideas on Cezanne, see P. Smith: ‘Cezanne’s unconstructive line’, in J. Geskó, ed.: exh.

Victorine Meurent

By the 1860s the ‘distinction between an actress and a woman who sold her body had [. . .] been established as negligible and irrelevant: they were one and the same and both were public property’.66 Many posed for photographers and for artists and were thus exposed, often unclad, directly before the elite clientele of the Paris Salons. The young Meurent began in this situation. When she first posed for Manet in 1862 she was eighteen, a cancan dancer and the mother of a one-year-old daughter. When the journalist and writer Paul Eudel described her in 1884 in a book prefaced by Manet’s old friend Champfleury that detailed the posthumous sale of works by Manet, he described how Meurent was this ‘old type of model’ (‘le type de l’ancien modèle’). Yet he also wrote that she had ‘managed to overcome a situation’ (‘qui a réussi à conquérir une situation’).67 He contrasted her professionalism as an artist’s model with the courtesan actors who Manet was then also painting. Meurent seems not to have been engulfed by life as a courtesan. She educated herself in literature as well as painting. Eudel wrote that she was ‘very intelligent’ and added that she passionately loved literature and ‘would write it when needed with some talent’ (‘Elle en ferait au besoin avec un certain talent’).68 Nothing written by her has yet come to light.

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cat. Cezanne to Malevich: Arcadia to Abstraction, Budapest (Museum of Fine Arts) 2021–22, pp.44–55. 6 ‘je ne fais pas l’ensemble’, R.P. Rivière and J. Schnerb: ‘L’atelier de Cézanne’, La Grande revue (25th December 1907), pp.811–17, at p.813. The theory of the ‘ensemble’ was elaborated in C.H. Watelet: Art de peindre: Poëme. Avec des reflections sur les différentes parties de la peinture, Paris 1760, pp.74–83.

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6. Crucifixion with Mary Magdalene, by Luca Signorelli. c.1490–98. Oil on panel, 247 by 165 cm. (Gallerie degli Uffizi, Florence; exh. Museo dell’Accademia Etrusca e della Citta di Cortona).

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icly credit Wirth-Miller with introducing him aphic motion studies when they visited the um, London, together in 1949, with important s art.34 With very few exceptions, Wirth-Miller discreet silence about their famous friend all

41 MBA Item 543: cut-out frame, E. Muybridge: Animals in Motion, London 1899, p.63, series ‘The Walk’, ‘Some phases in the Walk of a Dog from series 14’ and, for example, RM98F105:147: page, overpainted, E. Muybridge: The Human Figure in Motion, New York 1955, plate 124, ‘Woman walking downstairs, picking up pitcher, and turning’; MBA Item 889: R. Manvell, Film, London and Aylesbury 1944 and RM98F1A:39: page from ibid., black-and-white photographic illustrations, scenes from Sergei Eisenstein, Battleship Potemkin, 1925; MBA Item 679: page from M. Maxwell, Stalking Big Game with a Camera in Equatorial Africa, London 1925, plate 13 (chapter VII) ‘Face to Face with Rhinoceros Bicornis’; and RM98F1A:38:

them for backlit transparencies. Among the newly discovered works is an innovative self-portrait (Fig.21) that demonstrates Yevonde’s interest in ‘art of the past and present’ (p.28) as well as in establishing her own status as an artist. The first work to greet the visitor in the form of a photographic wallpaper, it shows Yevonde staring directly into the camera, which she has propped up on a copy of Herbert Read’s Art Now (1933). Wearing a bright red jacket against a sky blue background, the artist herself appears to be emanating a glow. The rich colours in these

21. Self-portrait with Vivex OneShot Camera, by Yevonde. 1937. Tricolour separation negative, modern print exhibited. (National Portrait Gallery, London).

images are characteristic of the Vivex colour process, a technique Yevonde adopted in the early 1930s. Developed by the inventor Douglas Arthur Spencer in 1929, it requires ‘threecolour separation negatives, capturing colour using red, green and blue filters on the camera under natural light conditions’ (p.82). The separate filters, which combine to form one high-quality colour print, leave their traces along the photograph’s edges; usually cropped off for reproduction, they are visible in a number of works in the exhibition, alternating in strips of phosphorescent reds and blues, but also brilliant greens, yellows and pinks. In the 1930s colour was not particularly popular in the photographic community; not only was it, as Yevonde observed, ‘very complicated’ and ‘vilely expensive’ (p.78), but it was not considered a serious medium. There was, especially among male practitioners, what the artist and writer David Batchelor has identified as ‘chromophobia’, a ‘fear of corruption through colour’ that he has traced back through generations of Western artists, art historians and cultural theorists.4 Parallels have often been drawn between colour and the feminine, ‘the superficial, the supplementary, the inessential or the cosmetic’.5 Although such prejudices are occasionally hinted at in the exhibition’s wall labels or catalogue texts, they were never an obstacle to Yevonde’s grand ambitions. On the contrary, colour was not only popular among the readership of women’s magazines, it also helped Yevonde to secure commissions from members of the royal family. Among softer pastel portraits, the reds and blues of the robe of Lord Mountbatten (1937) and the aquamarines of Princess Krishna’s sari (1937) leap off the surface of the prints. A noteworthy work in this section is Yevonde’s portrait of the grandsons of Muhammadu Dikko, the 47th Emir of Katsina (Fig.20). Like her photographs of George Bernard Shaw (1937) and Edward James (1933), patron of the Surrealists, her portrait of the two boys is strikingly contemporary in feel, both in the manner in which they have been posed as well as the

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page from ibid., ‘Appendix B. Plate 2 Assembling a troop of scurrying rats’ and ‘A truculent individual facing the camera (Indian jungle elephants)’. 42 A photographic illustration of a soldier kicking in a door from the article ‘Horreur a Kolwezi’, on the rescue of European hostages taken by rebel and militant groups in the city of Kolwezi, Democratic Republic of the Congo, Paris Match (2nd June 1978), p.99 (RM98F23:6: torn-out page) fed into Bacon’s Oedipus and the Sphinx after Ingres (1983; Museu Coleçao Berardo, Lisbon), see K. Günther: Francis Bacon – In the Mirror of Photography: Collecting, Preparatory Practice and Painting, Berlin and 1142 Boston 2022, p.199–201.

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Exhibitions

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The first museum exhibition to explore the relationship between Leon Kossoff and Chaïm Soutine is a study in affinity and difference

Soutine | Kossoff Hastings Contemporary 1st April–24th September by james cahill

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GTON MAGAZINE | 165 | SEPTEMBER 2023

en dismissed as decadent or ive. William Watson’s threee The Arts of China (2007) does not ention the nineteenth century. he present exhibition, its ue and an accompanying ation aim to cover this gap in a anging manner. It presents the of a four-year research project cted by the British Museum e University of London.1 Key in historical, political and life are introduced throughout, hting local and international who shaped major changes in s cultural universe. Beautifully eatrically staged, the exhibition es three hundred exhibits d between seven thematic s: an introductory section is ed by ‘Court’, ‘Military’, ‘Artists’, day Life’, ‘Global Qing’ and

celebration of all the ‘women that have contributed as writers, editors, models, as fashion designers and critically as readers’ (p.170). Although her determination, creativity and collaborative nature undoubtedly played a part when it came to commissions, it was Yevonde’s use of colour that established her reputation in her lifetime and secured her place in the history of photography. Her brightly hued images impart a striking glow, with electric blues and fiery reds impressing themselves on the eye with such insistence that one could mistake

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Gallery The Hugh Lane (hereafter cited as FBA), nos.RM98F136:7, RM98F235:4 and RM98F137:7. 39 FBA RM98F11:52, RM98F137:6 and RM98F12:26. 40 MBA Item 663 page from an unknown book, black-and-white reproduction, Rembrandt van Rijn, Self-portrait with beret, 1661, caption: ‘91. Self-Portrait. About 1661. Aix-enProvence, Museum’; MBA Item 699: page from an unknown book, black-and-white reproduction, Alberto Giacometti, Head of the Artist’s Mother, 1947, p.25; MBA Item 661: page with colour reproduction, Marcel Duchamp, Nude Descending a Staircase, 1912, from ‘The Great Armory Show of 1913’, LIFE (2nd January 1950), pp.58–63, at p.60.

In 1943 – the same year that a sixteenyear-old Leon Kossoff (1926–2019) enrolled at Saint Martin’s School of Art, London – Chaïm Soutine (1893–1943) died at the age of fifty. Although the two artists never met, they shared a heritage: both were Russian Jews living in Western Europe. Kossoff grew up in London as the son of Ukrainian parents, and Soutine, who was born in the small Belarusian town of Smilavičy, settled in France. They also shared an artistic sensibility – expressionist and yet realist – which is the primary focus of the exhibition under review. Curated 1002

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by James Russell, it forms a European counterpart to the exhibition Soutine / de Kooning: Conversations in Paint at the Barnes Foundation, Philadelphia, in 2021.1 Including some forty paintings, the present display is a study in affinity – a tracing of analogous styles and rhyming moods – and a demonstration, at the same time, of difference. There are many ways in which the two artists are not alike, Soutine’s realism tipping towards the picaresque at times, while Kossoff’s is always closer to the kitchen sink. It is perhaps on this basis – a desire to underline the distinctness of each – that the exhibition proceeds as a series of discrete presentations, focusing on one artist in each of the seven galleries. The opening room includes the paintings that Soutine made after discovering Céret, a town in the

1. Paysage aux cyprès, by Chaïm Soutine. c.1922. Oil on canvas, 64.8 by 83.8 cm. (Private collection; exh. Hastings Contemporary).

foothills of the Pyrenees, in 1918. The artist had left his hometown at the age of twenty to study at Vilnius Drawing School, before joining the great migration of Jewish artists to Paris in 1913. His fluid, metamorphic scenes of the southern French landscape caught the eye of Albert C. Barnes, who bought fifty-two works by Soutine in 1922, securing the artist’s reputation. Having been instructed in Vilnius to paint from life, he began to twist and distort the reality of what he saw. There is a lurching, almost drunken topsy-turvydom to the trees and houses in Paysage aux cyprès (Fig.1), for example, and yet the sense of a real place – witnessed and felt – persists. The buildings seem to spring from the turbulent foliage, cavorting like animate beings amid nature. In Le mas passe-temps, Céret (c.1920–21; Scottish National Gallery of Modern Art, Edinburgh), dark trees overrun a huddle of houses like a tidal surge. The colours are redolent of ‘rather dark semi-precious stones, peridot green and jargoon brown, bloodstone and a suggestion of amethyst’, as Monroe Wheeler wrote in his text for the catalogue of Soutine’s exhibition at the Museum of Modern Art, New York, in 1950.2 Soutine’s Modernism, then as now, came with a romantic glister. More conventional, at a glance, is L’Arbre de Vence (c.1929; private collection), in which an ancient ash tree looms in deep-blue silhouette against a cobalt sky, recalling the complex structures of Piet Mondrian’s trees, but striking a wilder, more emotive note. The external world provides a correlative for the artist’s interior. The private significance of the Vence paintings – Soutine made around twenty of the same tree – finds confirmation in an anecdote related by his chauffeur at the time. When an onlooker in the Riviera town approached Soutine too closely, the artist destroyed the unfinished picture. Eventually, he worked in a secluded corner of the town square, with his car parked as a barrier to keep gawkers away: ‘this tree is like a cathedral’, he confessed.3 An altogether different sense of place is established by the works of Kossoff. In the second gallery are

2. Railway landscape near King’s Cross, dark day, by Leon Kossoff. 1967. Oil on board, 123.5 by 170 cm. (Private collection; exh. Hastings Contemporary).

three large paintings from the 1960s and 1970s that bear witness to the post-war decimation and rebuilding of London. As in Soutine’s visions of France, each scene appears subject to a destabilising metamorphosis that transcends the literal subject. And yet Kossoff ’s paintings feel of a piece with the everyday. He excavates the disorder that lurks everywhere in the ordinary world, or rather in the workings of perception. Buildings fractured by bombing are modelled in granular impasto, but the paint – in all its furrowed, pitted physicality – has a way of assailing the image, subjecting it to a heatripple distortion. Kossoff discovered the work of Soutine around the same time as that of Willem De Kooning (1904–97), in the 1950s. This was also the decade in which, with Frank Auerbach (b.1931), he began to depict

bomb sites. Kossoff admired Soutine’s Céret paintings and Railway landscape near King’s Cross, dark day (Fig.2) carries an echo, incidental yet vivid, of the sky that filters through the branches of Soutine’s ash tree. Both artists treated landscapes – and to some extent human subjects – as sites of visual and emotional turbulence. But is there much more to be said? The separation of the two artists into discrete galleries may spring from a desire to avoid too-easy comparisons, demanding that viewers regard each artist on his own terms, but this has the effect, ultimately, of undoing the show’s premise. The singularity of each artist, his immersion in his own place and period, begins to outweigh any deep or material sense of likeness. The strength of the exhibition, which is sensitively selected and deftly hung, is also its weakness, with each gallery

possessing a stronger logic and unity than the show overall. One point that the show affirms is that Kossoff is a London painter. The highlight of the display, and perhaps of his career, is Children’s swimming pool, autumn afternoon (1971; Tate), in which crowded bodies are interspersed with blue to suggest a mundane riposte to Tiepolo. The noise, light and turmoil of the pool pulse out, undimmed after five decades – intensified, if anything, by the jolt of nostalgia that the scene produces. The exhibition provides concise yet vivid selections of each artist’s portraits, which are selected from different moments in their lives. Kossoff ’s subjects, even more so than his urban scenery, could be described as sculpted; they are modelled and pared into schemata. In Sally in armchair, no.1 (Fig.4), the crudeness

Exhibitions

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The achievements of Van Gogh’s final two years are explored in exhibitions in Amsterdam and New York

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‘Reform to Revolution’. Atmospheric audio sets the scene in certain parts; spoken in Manchu, Chinese and English, the thoughts of such figures as a Manchu woman, a bannerman, the artist Ren Xiong (1823–57), the revolutionary Qiu Jin (1875–1907) and the powerful Empress Dowager Cixi (1835–1908), provide context for the works on display.2 One of the most intriguing exhibits is the 1842 Treaty of Nanjing, on loan from the National Archives, London (no.2.23). The Treaty marked the end of the First Opium War and the defeat of the Qing by British warships on a punitive mission to force China to continue importing opium produced in British India. It obliged China to pay a large indemnity to Great Britain and to cede the island of Hong Kong to the British, under

the burlington magazine | 165 | august 2023

ON A GIFT SUBSCRIPTION THIS FESTIVE SEASON

OCTOBER 2023

Exhibitions

THE BURLINGTON MAGAZINE

least a cursory knowledge of Bacon’s collection . He knew that Bacon ‘had a distinct core of uld be packed into a couple of suitcases’,36 and in ntary he can be seen in the Reece Mews studio his lover George Dyer.37 The survival of both e material – on Wirth-Miller’s side at least in

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part – and the way this material provided pictorial springboards for their paintings allows for a comparison between their approaches to their art. Both Wirth-Miller and Bacon were interested in publications on physical exercise and body-building. Wirth-Miller’s books on this topic are matched by Bacon’s copies of Pumping Iron: The Art and Sport of Bodybuilding (1977), History of the Olympics in Pictures (1972) and an issue of the magazine Physique Pictorial from 1961.38 Themes of books owned by Wirth-Miller, such as archaeology, ornithology and violent conflict, correspond, for example, to The Concise Encyclopaedia of Archaeology (1960), Birds of the Night by Eric J. Hosking (1945) and The True Aspects of the Algerian Rebellion (1957), which Bacon kept in Reece Mews.39 Like Bacon, Wirth-Miller owned printed reproductions of works by Rembrandt van Rijn, Alberto Giacometti 40 Sometimes theapainters even owned copies of and Marcel Duchamp. Artemisia in England: royal rediscovery the same books. Unsurprisingly, both Wirth-Miller and Bacon possessed A Bellini in Croatia? | Girodet’s ‘Coriolanus taking leave of his family’ | Recent books on Surrealism A portrait of Pierre Jean | Signorelli in Cortona Ingres at Chantilly |photographs, Gwen John in Chichester publications containingMariette reproductions of| Muybridge and both owned the books Stalking Big Game with a Camera in Equatorial Africa (1925) by Marius Maxwell and Film (1944) by Roger Manvell.41 Although to some degree such overlaps in their collections are a manifestation of the two men’s shared visual interests, many of the book’s topics, such as war photography, that are prominent in Bacon’s collection of material and sometimes fed into his paintings, played no role in Wirth-Miller’s art.42 It NEW RESEARCH ON ART AND ITS HISTORY

11. The railway (or Gare Saint-Lazare), by Édouard Ma Oil on canvas, 93.2 by 111.6 cm. (National Gallery of Art, Bridgeman Images).

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SAVE

By contrast, the name of Victorine is absent from the newspapers and books of the doings of courtesans. It is has made her biography so hard to tell. She is absent, to the secret police who spied on courtesans from 1861 and her peers Rigolboche, Blanche, Alice la Provençale, M many others.69 By contrast, by 1868 she was a gifted wat newly discovered profile suggests, and by the mid-1870s sufficient talent to be exhibited repeatedly at the Salon These more detailed biographical insights duri Meurent posed for Manet may prove significant for u paintings of her and his broader works. The Meurent wh from Olympia and Le Déjeuner sur l’herbe was a teenage who had given birth a year or so before. The Meurent V. . . in the costume of an espada had most probably just the Hippodrome in such a costume. The Meurent wh Columbine in A young lady in 1866 had likely just performe

look before we group their parts together into seamless perceptual wholes corresponding to continuous objects.5 And indeed, Cezanne told the artists R.P. Rivière and Jacques Schnerb, who visited him in 1905: ‘I do not make 1128 the burlington magazine | 165 | october 2023 an ensemble’, by which he meant a well-proportioned unity.6 Ehrenzweig surmised that Cezanne succeeded in disassembling the ready-made character of perception by staring fixedly at things. And it

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other works might have conclusively settled the attribution. However, three tondi displayed together in this room demonstrate that in the 1490s Signorelli responded to Florentine taste in art for the domestic setting and that he experimented with compositions in tondo form by including half-, three-quarter- or

NO. 1443 VOL. 165

Looking slowly with Cezanne

Dread, by Eadweard Muybridge. (From comotion, Philadelphia 1887, plate 704).

blin City

and canvas (one was withdrawn at entry is a Presentation in the temple the last moment), but it nonetheless (1464–65; private collection) on canvas, affords the best opportunity in a which has traditionally been given to generation to view the paintings of this a follower of Piero della Francesca, extraordinarily vibrant and original but is considered by Henry to be the artist. In so doing, it successfully earliest autograph work of Signorelli. justifies Henry’s advocacy. Unfortunately, the painting had to be The impressive selection of withdrawn; a loss to the exhibition, loans from both public and private as to see it alongside Signorelli’s collections includes eleven of Signorelli’s early works and magazine therefore the burlington | 165 | october 2023 1100 complements the permanent collection in the Museo Diocesano, Cortona, which contains works by the artist made after 1502. One of these, a Communion of the Apostles from 1512, is included in the exhibition. Guides distributed on entry to the exhibition WILE_Coriolanus.indd 1100 encourage visitors to extend their experience by exploring a Signorelli TANZI_Bellini.indd itinerary that includes not only the 1075 Museo Diocesano but also the works that remain in situ in churches in Cortona and the surrounding region. The exhibits include gonfaloni, heraldic flags or banners made to be carried through the streets at the head of processions, altarpieces for both high altars and for small chapels, tondi for private devotion and predella scenes – a broad selection that effectively demonstrates Signorelli’s ability to design in all these formats. An excellent video opens the exhibition and provides a useful introduction to Signorelli, but the lesser-informed visitor might find the spare labelling too minimal. The inclusion of a brief timeline of life and works would have been helpful. The comprehensive catalogue compensates for this, forming an up-to-date assessment of the current state of scholarship.2 Its ten essays, by Laurence Kanter, Claire Van Cleave, Federica Papi, Sophia Chiappa, Serena Nocentini, Paolo Brushchetti, Eleonora Sandrelli and Patrizia Rocchini, as well as Henry, make it a crucial addition to the literature on the painter. The first of the exhibition’s two rooms is devoted to early works, made before 1500. Signorelli’s youthful production remains relatively obscure. His earliest universally accepted the white cloth. The large black bottle also slopes alarmingly towards the 1. Basket of apples, by Paul Cezanne. Oil on canvas, 60Sistine by 85 cm. works arec.1893. the frescos in the (Art Institute of Chicago). left, as objects routinely do in Cezanne’s paintings. Looking attentively Chapel (1481–82), yet payment records at the surface of the paintings sometimes reveals the marks that embody at face value. Perhaps the most fertile explanation of them is the one confirm that he wasessay painting leastis the decisions motivating so-called distortions of this kind. And here, it is Anton Ehrenzweig offered in an unjustly ignored of 1953,at which a decade earlier. first catalogue clear that the leftward slant became increasingly pronounced as Cezanne that they express an almost ‘gestalt-free’ form ofThe perception, or how things

The recent retrospective at the Art Institute of Chicago and Tate Modern, London, raised fundamental questions about the ways that Paul Cezanne expressed in paint the sensations aroused in him by his subjects, or ‘motifs’. This personal response to a selection of works shown in the exhibition endeavours to suggest some answers.

ement’, by Denis Wirth-Miller. c.1953. ate of Denis Wirth-Miller; courtesy undation / MB Art Collection, Monaco).

p.262. n when 1999 for on Francis only two ed in M. on paper’, acon te 3 and 23. , p.23. lnik, de,

JUNE 2023

Poussin and opera | A self-portrait by Gillis Van Tilborgh | Roubiliac and Sprimont Manet and Degas in Paris | Berthe Morisot in Dulwich | Recent acquisitions by the Detroit Institute of Arts

udio collection

991’, ews .30–39,

NEW RESEARCH ON ART AND ITS HISTORY

14. Kesi robe with Japanesestyle decoration. c.1880–1900. Woven silk with embroidery, 134.6 by 134.6 cm. (Metropolitan Museum of Art, New York; exh. British Museum, London).

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Exhibitions

Van Gogh in Auvers: 843 His Final Months Van Gogh Museum, Amsterdam 12th May–3rd September

the burlington magazine | 165 | august 2023

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by richard thomson

Without doubt this is a remarkable exhibition. It focuses closely on the final ten weeks of Vincent van Gogh’s

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life, from his arrival in the village of Auvers-sur-Oise on 20th May 1890 until his death by suicide on 29th July. During those weeks Van Gogh worked determinedly, producing seventy-four paintings and more than fifty drawings, an output as ambitious as it was frantic. The exhibition is a fruitful collaboration between the Van Gogh Museum and the Musée d’Orsay,

1. Adeline Ravoux, by Vincent van Gogh. 1890. Oil on canvas, 67 by 55 cm. (Private collection; exh. Van Gogh Museum, Amsterdam).

Paris, where it will be on show between 3rd October 2023 and 4th February 2024. Mingling the reserves of the home museum with key works from the Orsay that once belonged to Paul Gachet, the artist’s physician and friend in the village, as well as international loans, this splendidly selected display takes the visitor deep into Van Gogh’s creative processes, encouraging close attention to the energetic brushwork and strong chromatics of the canvases and the looping energy of the drawings. The first gallery shows that, on arrival in Auvers, Van Gogh concentrated on village scenes. In part these were symptomatic of a reassuring return to the familiar architecture and vegetation of the north after more than two years in Provence. Several of these paintings deliberately use the perspectives of lanes or paths, which allow his directional brushwork to articulate space while other patches or marks give dense surface activity. What is noticeable in these village canvases is that about half have no staffage and, in those that do, the figures appear to have been added at a late stage, suggesting perhaps that Van Gogh found the sense of community more difficult to grasp than he had hoped. Two smaller sections follow. One is on the friendship with Gachet, combining the self-portrait Van Gogh brought from Saint-Rémy (1889; Musée d’Orsay, Paris; cat. fig.158) with the likeness he painted of the doctor (Orsay; cat. no.22).1 It also includes his copy (1889; Van Gogh Museum, Amsterdam; cat. fig.161) after Eugène Delacroix’s Pietà (c.1850; National Museum, Oslo), one of the images of grief, pity and despair that echo the state of mind Van Gogh hoped Gachet could ease but instead found the doctor shared. The second shows the flower still lifes, some painted at the doctor’s house, using his vases. Detailed research has suggested that the substantial chestnut branch loaded with blossoms (no.6; Fig.2) was probably painted following damage caused by the heavy storms of 24th and 25th May. On the upper floor the section ‘Youthful Portraits’ brings together paintings of young village women and girls, the most arresting being two portraits of Adeline Ravoux, daughter of the innkeeper (Cleveland

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24. Untitled, by Mark Rothko. c.1944–45. Transparent and opaque watercolour and ink on paper wrapped around cardboard, 53.6 by 71.3 cm. (Fogg Museum, Harvard Art Museums, Cambridge).

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Rothko (1903–70), Philip Guston (1913–80) and Dorothy Dehner (1901–94) experimented with all the distinctive watercolour properties – and, indeed, the freedom of expression that it fostered – to represent personal visions and emotions. Rothko diffused his colours, rotated his sheets to paint individual sections and allowed drips of paint to imbue his early Surrealist composition (Fig.24) with a sense of the spiritual. Alternatively, George Grosz (1893–1959) layered washes of blue, red, yellow and green to convey a sense of tension in Uprooted (The painter of the hole) (1948), a work that underscored his belief in the futility of the artist following the Second World War. A number of works enhance the syntax of watercolour;

for example, Zelda Sayre Fitzgerald (1900–48) added graphite and ink to opaque and transparent watercolours (Girl Mystary; c.1932–34); Bill Traylor (1853–1949) painted on odd-shaped sheets of paper (Mule and plow; c.1939– 42); Beauford Delaney (1901–79) laid in wet-in wet washes (Untitled; 1964); and Robert Motherwell (1915–91) and Romare Bearden (1911–88) used collage with watercolour in their respective works, Collage no. 1 (1945) and Colombier (c.1960s–1970s). Fittingly, the last room, ‘Presence/Vulnerability: 1960s–90s’, contains works that question the nature of the medium itself. Richard Tuttle’s The table and a chair #30 (1990) and his nine Loose leaf notebook drawings (1980–82), exhibited in a display case, convey both sensual

and conceptual sensibilities with diminutive colour washes; LeWitt’s large-scale Wavy brushstrokes is displayed alongside Elena Prentice’s diminutive and moving Sky studies (1981). The exhibition offers one more insight: the revelation of the role that frames play in a number of these works, such as the off-white frame with pairs of painted thick and narrow stripes in brown and black, which Marin designed and decorated for The cove, Cape Split, Maine (1936). One leaves this exhibition recognising that American artists shifted watercolour away from its polite pictorial status to one of expressive statements. They discovered, as visitors do here, that the medium’s fleeting unpredictability and sensuality suited experimentation

17/11/2023 10:36

SUNDAY, DECEMBER 17, 2023 at 2:30 pm AUCTION LIVE IN SENLIS (France) 25 km from CDG AIRPORT – 40 km from PARIS

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Mary CASSATT (1844-1926) Smiling Sara in a big hat holding her dog (n° 1) Between 1901 and 1905. Pastel on paper. Signed. 57 x 41,5 cm - 223/8 x 161/4 in Provenance : - Ambroise Vollard, Paris, c. 1902-1909 - Collection of M. Raoul B..., Paris - Private collection, Paris (by descent) Bibliography : - Stratis 1998 : Stratis, Harriet K. «Innovation and Tradition in Mary Cassatt’s Pastels: A Study of Her Methods and Materials.» In Mary Cassatt : Modern Woman, par Judith A. Barter, ed. Susan F. Rossen, pp. 212-26. Chicago: Art Institute de Chicago, with Harry N. - Abrams, New York, 1998. Exhibition catalog, p. 226 n°30, «(Breeskin 1970,] 373.» - Adelyn Dome Breeskin, Mary Cassatt : A Catalogue Raisonne of the Oils, Pastels, Watercolors, and Drawings, p. 156 n°373, Washington, DC : Smithsonian Institution Press, 1970. - This work will be included in the revision of Adelyn Dome Breeskin’s catalogue raisonne of the works of Mary Cassatt by the Cassatt Committee under number CCR447. Related works : - Sara with her dog c. 1901. Pastel. Paris, Musée du Petit Palais n° PPD3561. 200 000 / 300 000 €

Edgar DEGAS (1834-1917) Child’s study: two women’s heads Pastel on paper laminated on paper. Signature stamp lower left. 33 x 50 cm - 13 x 1911/16 in Provenance : - 3rd Auction of the Edgar Degas Workshop, n°70. - Barthélémy, Paris (acquired at the sale of the workshop) - Collection of Mme B..., Paris (acquired around 1950) - Private collection (by descent) 80 000 / 120 000 €

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2024 SCHOLARSHIP for the study of French 18th-century fine and decorative art INVITATION FOR APPLICATIONS The Burlington Magazine is pleased to announce its sixth annual scholarship which has been created to provide funding over a 12-month period to those engaged in the study of French 18th-century fine and decorative art to enable them to develop new ideas and research that will contribute to this field of art historical study. Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in this field within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £10,000 will be awarded to the successful applicant. Deadline for applications is 17 March 2024 and the successful applicant will be notified by 31 May 2024. For application guidelines and terms and conditions please visit www.burlington.org.uk

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The Year Ahead your art world companion for 2024. • Uncover must-see exhibitions, art fairs and biennials over the coming year. • Stay ahead with museum openings worldwide. • Immerse yourself in our curated city guides. Subscribe today to receive next month’s issue of The Art Newspaper, including your exclusive copy of The Year Ahead. ADVERTISE SUBSCRIBE PUBLISH

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the burlington magazine | 165 | december 2023

17/11/2023 12:08

A REDISCOVERED MASTERPIECE FROM THE WILTON HOUSE COLLECTION

MONUMENTAL MARBLE FIGURE OF BONUS EVENTUS Roman Empire, 2nd Century A.D. Height 198 cm (78 in.) PROVENANCE

Thomas Herbert, 8th Earl of Pembroke, 1656-1733, Wilton House, Wiltshire, United Kingdom Thence by descent, Sidney Charles, 16th Earl of Pembroke, 1906-1969 Christie’s Manson & Woods Ltd, London ‘Wilton House, A Selected Portion of the Collection of Ancient Marbles formed by Thomas 8th Earl of Pembroke’ 3rd July 1961, lot 148 (illus. frontispiece) Italian private collection *This artwork has been declared of Exceptional Cultural Interest by the Italian Ministry of Cultural Heritage and Tourism, in accordance with Legislative Decree 42/2004 of December 24, 2013, and it is therefore available for the Italian market only.

Via Marsala 13, Milano | +39 02 82398401 | info@cavagnislacerenza.art | www.cavagnislacerenza.art

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17/11/2023 11:05

The Burlington Magazine is pleased to announce the appointment of Christopher Baker as Editor. He will take up the post on 22nd January 2024.

Simiolus The papers in the current issue of Simiolus span five centuries of Netherlandish art history. Svea Janzen presents new insights in an Eyckian portrait at the National Gallery in London, cautiously suggesting him to be Duke Louis IX the Rich of Bavaria-Landshut. Stefaan Grieten revisits the well-known but little-studied house of the enigmatic landscape painter Cornelis van Dalem, presenting new visual sources and an iconographical reading of its facade. In the third paper, Stefan Bartilla studies Jan Brueghel’s 1604 journey to Prague, focusing on its impact on the development of his painted output. Leen Kelchtermans and Katharina Van Cauteren demonstrate that what has long been thought to be a heraldic aberration in double portraits by Anthony van Dyck and Jacques Jordaens should in fact be read as a sign of pregnancy and motherhood. Stefan Huygebaert, finally, addresses the reception of Memling’s oeuvre in Bruges of c. 1900, by

XII

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Netherlands quarterly for the history of art studying a refreshing range of diverse and sometimes surprising source material. Simiolus is published in English, and pays for the cost of translation of papers submitted in Dutch, German, French or Italian which we have agreed to produce. But to go on providing that service while retaining our very modest subscription fee, we do need your support. So please urge your library to subscribe or continue subscribing, and/or take out a subscription yourself! Institutions pay € 100 a year and individuals pay € 60. Visit Simiolus.nl for the conditions of subscription and information on how to advertise, where to send your copy and how to order the backsets not yet in JSTOR. We are also still accepting submissions for the Haboldt-Mutters Prize of 2022.

THE BURLINGTON MAGAZINE | 165 | DECEMBER 2023

17/11/2023 12:10

Mazereeuw Antiquair offers a large collection of Dutch and English Delft tiles. Also other antiques including Delftware, Majolica, Glass, Coins and other Works of Art. These are collectables, conversation pieces, and ideal gifts for the holidays.

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Daniel Katz Gallery

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