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A Francis Bacon discovery

Andrea del Sarto’s ‘Pietà’ | Young Frans Floris | Giuseppe Antonio Ghedini’s drawings | Jean-Charles Cazin

Mark Rothko in Paris | The Pollaiuolo brothers | Moroni in Milan | Lord Cowper | Women in Revolt!

Sir Anthony Van Dyck

Portrait of a Carmelite monk, (detail)

Six Paintings of the People of Dominica and Saint Vincent

Recently acquired by The Huntingdon Library and Museum, California

AGOSTINO BRUNIAS (1730–1796)

ANTONIO

The Penitent

Saint Mary Magdalene

Ca. 1640–1650

Terracotta, h. 41 cm

Signed ATO. NL. F.

www.trinityfineart.com

MAASTRICHT

For more details please visit: tefaf.com/fairs/tefaf-maastricht

9–14 MARCH 2024 | MECC

Comte de l’Empire

Etienne Pierre Graf

Méjan (Secretary of the Italian Kingdom), by Luigi Manfredini (1771–1840), after Joseph Chinard (1756–1813). Milan c.1811. Bronze, height 75 cm. Burzio, London. Stand 157.

THE ART WORLD DESCENDS on Maastricht this month, as nearly three hundred exhibitors from across the world gather to present their finest works of art and rare objects for The European Fine Art Foundation (TEFAF) annual event. Accompanied by a programme of scholarly talks and exhibitions both on and offsite, TEFAF has championed expertise and excellence for more than three decades.

TEFAF Maastricht continues to evolve: this year sees the launch of the TEFAF Summit in association with the Netherlands Commission for UNESCO. The inaugural event will explore the various challenges facing cultural heritage – global conflicts, climate change, tourism and other economic factors – and bring together some of the leading thinkers and experts for a oneday discussion on Monday 11th March. The keynote lecture will be given by the Director General of National Museums of Italy, Professor Massimo Osanna. A connected partnership with Venetian Heritage and the Italian Ministry of Culture has also been announced, securing three works from the Galleria Giorgio Franchetti alla Ca’ d’Oro, Venice, for the TEFAF loan exhibition: Tullio Lombardo’s double portrait in marble; a bronze relief by Andrea Riccio depicting St Martin’s Charity; and a small Crucifixion panel by Jan van Eyck and his workshop.

This year the TEFAF Museum Restoration Fund has been awarded to the National Gallery of Ireland, Dublin, and the Wadsworth Atheneum Museum of Art, Hartford CT, for the conservation of Ludovico Mazzolino’s large oil on panel painting the Crossing of the Red Sea (1521), and Venus with a nymph and satyr (1600), a marble sculpture by Pietro Francavilla, respectively.

For more information please visit: TEFAF.com

Françoise de la Rochefoucauld (c.1549–c.1580), by Prosper d’Épinay (1836–1914). c.1885.

Polychrome terracotta, height 60.3 cm.

Stuart Lochhead, London. Stand 112.

Study for a lion, by Edwin Landseer (1802–73). c.1822. Oil on canvas, 92.5 by 72.5 cm. Dickinson Fine Art, London. Stand 356.

Gujarat casket India, Gujarat, second half of the 16th century. Tortoiseshell with silver mounts, 14 by 29.5 by 18 cm. São Roque, Lisbon. Stand 179.

MAASTRICHT

For more details please visit: tefaf.com/fairs/tefaf-maastricht

Oblong table, by Martin-Guillaume Biennais (1764–1843). Moulded, chased and gilded bronze, inlaid French scagliola top, 71 by 72 by 45 cm.

Artur Ramon Art, Madrid. Stand 253.

Sir Horace Mann, by Prince Hoare (1755–1834).

c.1749. Terracotta, height 51.5 cm. Walter Padovani, Milan. Stand 232.

Peace and Justice (also known as Love and Justice), by Rosalba Carriera (1673–1757).

Pastel on paper, 63 by 54 cm.

Brun Fine Art, London. Stand 176.

Honey, from the Liechtenstein Tacuinum Sanitatis. c.1450. Illuminated manuscript on vellum, 160 by 170 cm.

Dr Jörn Günther Rare Books, Basel. Stand 114.

Potted pansies, by Victoria Dubourg (1840–1926). c.1870s. Oil on canvas, in original frame, 21 by 26.8 cm.

Robilant+Voena, London and Rome. Stand 350.

Snow over Zojoji Temple, by Kawase Hasui (1883–1957). 1953. Woodblock print, 36.4 by 47.3 cm. Galerie Tanakaya, Paris. Stand 615.

Why Born Enslaved!

Jean-Baptiste Carpeaux (1827–1875)

Plaster model with original polychrome surface , c. 1868 Petite-Modèle, height 35 cm (13 5⁄8”)

THE MENTMORE BUSTS

MAASTRICHT

For more details please visit: tefaf.com/fairs/tefaf-maastricht

Nude woman leaning on her left forearm, by Amedeo Modigliani (1884–1920). c.1910.

Pencil on wove paper, 43 by 26.7 cm.

Agnews Works on Paper, Brussels. Stand 609.

The Saccomazzone Players, after a model by Orazio Mochi (1571–1625). Florence, 17th century. Bronze, 36.5 by 45 by 30 cm. Tomasso, London. Stand 206.

De Wit Fine Tapestries, Mechelen. Stand

Infanta Catalina Micaela, Duchess of Savoy (1567–97), by Alonso Sánchez Coello (1532–88). c.1585.

Oil on paper laid on panel, 8.3 by 6.8 cm.

Galeria Caylus, Madrid. Stand 346.

Cockerel caster by Michael Wissmar (d.1746). c.1720. Silver, cast, repoussé, pierced, engraved, flat-chased and parcelgilt, height 23.5 cm. Kunstkammer Georg Laue, Munich. Stand 204.

Rauch, by Franz West (1947–2012). 2008. Papier-mâché, acrylic paint, metal, wood, artist pedestal, 152 by 104 by 62 cm. Tim Van Laere Gallery, Antwerp. Stand 463.

The unicorn passes over the sea, by Le Corbusier (1887–1965). 1962. Wool, 213 by 270 cm.

244.

KAENDLER’S MEISSEN PORCELAIN FIGURES

24 MAY 29 SEPTEMBER 2024

WAWEL ROYAL CASTLE KRAKOW · POLAND

Johann Joachim Kaendler (1706–1775)

Harlequin and Columbine with slapstick Model, 1739–1740

decoration,

Manufacture and Meissen, c. 1740

H. 15.5 cm (6.1 in), w. 18.5 cm (7.3 in)

LUND HUMPHRIES • BOOKS ON ART HERSTORY

Women Artists in the Reign of Catherine the Great

By Rosalind P. Blakesley

‘A unique and invaluable contribution to Russian art history and gender studies’ – Molly Brunson, The Russian Review

Louise Moillon

By Lesley

Stevenson

‘Lesley Stevenson examines Louise Moillon’s artistic trajectory in this nimble, elegant book which will bring surprises’

- Blaise Ducos, Musée du Louvre

Sofonisba Anguissola

By Cecilia Gamberini

‘It is a story which reinvigorates and deepens our understanding of an artist who was also a pioneer of female art’ – Angela Ghirardi, Art Historian

Esther Pressoir: A Modern Woman’s Painter

By Suzanne Scanlan

‘Accounts of American 20th-century art would do well to reclaim more figures like Esther Pressoir’

– Sacha Llewellyn, Founder of RAW

Order now at www.lundhumphries.com and use code HERSTORY for 20% off until 31 March. Sign up to our newsletter and receive 10% off your next order.

Follow us @lhartbooks for more Women’s History Month content!

ANNIVERSARY AUCTIONS 2024

15 MARCH RARE BOOKS MANUSCRIPTS AUTOGRAPHS OLD PRINTS

16 MARCH MODERN PRINTS

CONTEMPORARY PRINTS

São Roque

Portuguese Continental and Overseas Expansion Art

TEFAF Maastricht, 9 – 14 mars — Stand 179

A Sinhalese Tabernacle Masterpiece

Ceylon, ca. 1590 – 1630

Dim.: 22.8 × 9.8 × 9.8 cm is altar tabernacle embodies the most relevant addition to the current knowledge of religious carved paraphernalia produced in Portuguese ruled Ceylon. Jewel like, and unparalleled for its openwork plaques, it illustrates to perfection the devotional art introduced by the Europeans, in the Ceylonese religious landscape.

Its reduced dimensions and architectural characteristics, intend it to be for a small domestic chapel. Its iconography refers to scenes of the Life of the Christ Child inspired by engraves by the Wierix brothers and other contemporary Dutch artists. Prov.: Hermann Baer; Brenninkmeijer family from 1977.

ACTIVE

Oil on canvas, 67½ × 40¾ in (171.5 × 103.5 cm) 1670/1690

Exhibiting at Tefaf Maastricht, 9–14 March 2024

www.canesso.art galeriecanesso galeriecanesso

MASTER OF THE CANESSO PEDDLER

IN NORTHERN ITALY IN THE LATE 17 th CENTURY

A Book Peddler

São Roque

lisbon · PORTUGAL

Portuguese Continental and Overseas Expansion Art

TEFAF Maastricht, 9 – 14 mars — Stand 179

For over 30 years São Roque has held an undisputed reputation in the world of Art and Antiques for the rarity and exclusivity of its artworks, in an unmatched symbiosis of quality and guaranteed authenticity. A reference for both private and institutional collectors as well as for international Museums, São Roque’s team of specialists ensure that it maintains its preeminent position in an ever-growing and globalized Art and Antiques market.

A Sind Indo-Portuguese Extraordinary Cabinet

Teak, ebony, ivory, green-dyed bone, gilt copper fittings

India, Sind (present-day Pakistan), ca. 1580 – 1630

Dim.: 182.0 × 97.0 × 61.0 cm

Provenance: Casa do Costeado, Portugal

Following a European prototype, this magni cent cabinet was made for a wealthy aristocratic household, reminiscent of contemporary ebony, marquetry or pietre dure cabinets made at the most a uent courts of Europe. Bridging Western furniture types with local, highly elaborate Iranian-derived decorative techniques, such as sadeli, and costly exotic

materials, this cabinet epitomises the re ned taste of the Portuguese clientele that commissioned it. Examples of such large pieces, made in the western coastal centres of India for export, are exceptionally rare. As far as we know, there is only an identical cabinet in a private collection in Portugal, published in Dias P., Mobiliário Indo-Português (pp. 259 – 262).

FRIDAY 28 JUNE –

FRIDAY 5 JULY, 2024

London Art Week announces a new strategic partnership and collaboration with Trois Crayons , who will be hosting a week-long drawings hub at No.9 Cork Street to coincide with LAW Summer 2024.

Learn more at www.londonartweek.co.uk/exhibitors/trois-crayons

for more information about our free online talks programme to learn more about the LAW 2024 Curators Programme

Images courtesy of LAW exhibitors Stephen Ongpin Fine Art (left) and Philip Mould & Company (right)

March9-14,2024|Stand176

March9-14,2024|Stand176

March9-14,2024|Stand176

TerracottagroupdepictingHerculeswithlion. Signedanddated:Bardifecit1790 68x46x37cm

TerracottagroupdepictingHerculeswithlion. Signedanddated:Bardifecit1790 68x46x37cm

TerracottagroupdepictingHerculeswithlion. Signedanddated:Bardifecit1790 68x46x37cm

The Burlington Magazine is

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 18thcentury 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

OLD MASTER DRAWINGS

AUCTION • 20 March 2024 • Paris

PUBLIC VIEWING • 15 -20 March 2024 • 9 Avenue Matignon, Paris 8e

CONTACT • Hélène Rihal • hrihal@christies.com

• +33 (0)1 40 76 86 13

LOUIS-CLAUDE VASSÉ (PARIS 1716-1772)

Study for the funeral monument of Paul-Esprit Feydeau de Brou

Estimate: €15,000-25,000

Auction | Private Sales | christies.com

Guest of honour : La Fondation Dubuffet

CHARLES RATTON & GUY LADRIÈRE

ANTIQUE - MOYEN AGE - ARTS PRIMITIFS - DESSINS TABLEAUX - SCULPTURES - OBJETS

D’ART

PIER LEONE GHEZZI (1674–Rome–1755)

A waiter with a tray Pen and brown ink, 31.2 x 21.5 cm.

This drawing is included in our exhibition Old Masters Drawings, New Acquisitions 18-29 March 2024

11, quai Voltaire, 75007 Paris. Tél (0) 1 42.61.29.79

e-mail: galerie.ratton.ladriere@wanadoo.fr Instagram: galerierattonladriere www.ratton-ladriere.com

Salon du Dessin

20th to 25th March 2024

Palais Brongniart, Place de la Bourse, 75002 Paris

For the full programme of events, please visit: salondudessin.com

Studio Talk, book cover project, by Sonia Delaunay (1885–1979). 1938. Gouache on paper, 27 by 21 cm.

GALERIE LAURENTIN, PARIS

Reclining lion and feline head, by Eugène Delacroix (1798–1863). Pen and brown ink and wash, 18 by 23 cm.

GALERIE DE BAYSER, PARIS

Pierre, by Mary Cassatt (1844–1926). 1906. Pastel on paper mounted on canvas, 58 by 48 cm.

GALERIE ERIC COATALEM, PARIS

THE SALON DU DESSIN returns to Palais Brongniart this March for its thirty-second edition. The event is the nucleus of Drawing Week, which sees a variety of drawings-related events and exhibitions take place across the capital.

Lectures taking place during the Salon as part of the International Drawing Meetings series will focus on travel drawing, while this year’s guest of honour is Katrin Bellinger of the Tavolozza Foundation who will be exhibiting works from her collection. The Fondation Dubuffet will present works on paper from across Jean Dubuffet’s career as the main museum exhibition within the Salon, showcasing his diverse techniques and inventive draughtsmanship.

Satellite events – guided tours, displays and gallery talks – will take place at twenty institutions around Paris, including Beaux-Arts de Paris, the Bibliothèque Nationale de France and the National Archives. Returning to Paris for its third year, is the Paris Print Fair – a serious art fair dedicated to printmaking organised by the Chambre Syndicale de l’Estampe, du Dessin et du Tableau.

The Drawing Now Art Fair, showcasing the best of contemporary drawing, runs concurrently with the Salon du Dessin, and for the third consecutive year the two organisers are offering visitors a discounted combined entry ticket (€25 to visit both fairs instead of €32). Contemporary drawing will also be celebrated at the Salon itself, with the esteemed Contemporary Drawing Prize being awarded by the Daniel & Florence Guerlain Contemporary Art Foundation on Thursday 21st March.

Untitled, 1973, by Sam Francis (1923–94). 1973.

Acrylic on paper, 15.2 by 23.1 cm.

Winter landscape with fishermen and skaters on the ice, by Jan van Goyen (1596–1656). 1653. Black chalk and grey wash, 17.1 by 27.4 cm.

GALERIE BÈRES, PARIS

ONNO VAN SEGGELEN FINE ARTS, ROTTERDAM

The Gustav Klimt Sale

24-04-2024

Gustav Klimt, “Portrait of Fräulein Lieser”, Estimate: € 30 Mio - 50 Mio 1917, oil on canvas; framed, 140 x 80 cm

For more information: office@imkinsky.com , +43 1 532 42 00, imkinsky.com

Salon du Dessin

20th to 25th March 2024

Palais Brongniart, Place de la Bourse, 75002 Paris

For the full programme of events, please visit: salondudessin.com

Meyer de Haan or Melancholy, by Paul Gauguin (1848–1903). c.1889. Ink and pencil on paper, 29.8 by 19.1 cm.

FRANÇOIS DELESTRE FINE ARTS, PARIS

The fall of the damned and the seven-headed Hydra, by Federico Zuccari (1539–1609). Black chalk, pen, brown ink, red chalk and brown wash, 28.7 by 35 cm.

MAURIZIO NOBILE FINE ART, PARIS

Study of a man’s head, by PierrePaul Prud’hon (1758–1823). 1819. Black crayon, stumping, and white chalk, 19 by 24 cm.

GALERIE TERRADES, PARIS

1777.

W.M. BRADY & CO., NEW YORK

Waterfront. Aisnères, by Paul Signac (1863–1935). c.1900. Graphite and watercolour on paper, 12.5 by 17.5 cm.

GALERIE PAUL PROUTÉ, PARIS

Study of two characters, by Giovanni Battista Tiepolo (1696–1770). Pen and brown ink wash with traces of black crayon, 20 by 20.7 cm.

GALERIE TARANTINO, PARIS

Study for ‘The Levenson Children’, by George Romney (1734–1802).

Brush and brown wash over black chalk, 26 by 27 cm.

NEW & FORTHCOMING

Drawing on Blue European Drawings on Blue Paper, 1400s–1700s

Edited by Edina Adam and Michelle Sullivan

Bringing together the world’s leading specialists in the medium, this engaging publication is destined to become essential reading on the history and techniques of drawings executed on blue paper.

Art History and Anthropology Modern Encounters, 1870–1970

Edited by Peter Probst and Joseph Imorde

This volume provides an in-depth and nuanced look at the complex relationship between two dynamic fields of study in the colonial and early postcolonial periods.

Picture Worlds

Storytelling on Greek, Moche, and Maya Pottery

Edited by David Saunders and Megan E. O’Neil

This abundantly illustrated volume is the first to explore the painted pottery of the ancient Greek, Moche, and Maya cultures side by side.

Artists’ Things

Rediscovering Lost Property from Eighteenth-Century France

Katie Scott and Hannah Williams

Innovative and revealing, this openaccess book explores objects that once belonged to artists, providing insight into the eighteenth-century art world in France and the individuals who populated it.

Ruth Asawa

An Artist Takes Shape

Sam Nakahira

Featuring lively illustrations and photographs, this young-adult graphic biography of Japanese American artist Ruth Asawa chronicles her formative years.

East Asian Aesthetics and the Space of Painting in Eighteenth-Century Europe

Isabelle Tillerot, translated by Chris Miller

An insightful examination of how European imports of East Asian textiles, porcelain, and lacquers inspired a revolution in the role of painting in early modern Europe.

Cthe ‘realisation’, or satisfactory expression in paint, of his Cezanne on this topic, which took place in 1904 in front He was work on canvas representing three skulls on oriental rug. He had been working on for month, every morning, from six o’clock until ten-thirty ‘What eludes me’, he told me from the easel as finished work all the same. In all truth, his way of working was meditation with the brush in hand. 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 the first room there was only one painting

Looking slowly with Cezanne 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 selection of works shown in the exhibition endeavours to suggest some answers. by no more possible take all of these one visit than it read (let alone digest) similar number verses by Cezanne’s favourite poet, Baudelaire. So, what follows will take its cue from the hang, and will dwell instead on few typical works, or on paintings that demonstrate genres landscape, still life, portrait, figure subjects and bathers for the most part assigning separate rooms, or walls, each. This clever strategy made possible both to follow Cezanne’s development normally did only when he sold them or gave them away, exhibited them this case Ambroise Vollard’s gallery in Paris in 1895. signature is therefore good indicator that Cezanne considered painting several features that typify Cezanne’s still-life practice. Most obviously, contains discontinuous horizontal edge the form of the tabletop, which lower the left than where emerges at the right from behind

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 con ict, correspond, for example, to The Concise Encyclopaedia of Archaeolo (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 and Marcel Duchamp.40 Sometimes the painters even owned copies of the same books. Unsurprisingly, both Wirth-Miller and Bacon possessed publications containing reproductions of Muybridge photographs, 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 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:

left, objects routinely do in Cezanne’s paintings. Looking attentively at the surface of the paintings sometimes reveals the marks that embody the decisions motivating so-called distortions this kind. And here, is its relationship to the final painted object.) Although such idiosyncratic features are pronounced Cezanne’s work, they have attracted little serious attention if, that is, formalist arguments about the decorative ambitions they embody cannot be taken

at face value. Perhaps the most fertile explanation them the one Anton Ehrenzweig offered an unjustly ignored essay of 1953, which an ensemble’, by which he meant well-proportioned unity. Ehrenzweig surmised that Cezanne succeeded disassembling the ready-made character of perception by staring fixedly things. And In 1943 the same year that sixteendied the age of fifty. Although the two artists never met, they shared heritage: both were Russian Jews living Western Europe. Kossoff grew up settled in France. They also shared an artistic sensibility expressionist and yet realist which is the primary focus

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

Barnes Foundation, Philadelphia, in Including some forty paintings, the present display study affinity – a tracing analogous styles and are not alike, Soutine’s realism tipping

foothills the Pyrenees, 1918. the age of twenty to study Vilnius landscape caught the eye of Albert Barnes, who bought fifty-two works by Soutine 1922, securing the artist’s drunken topsy-turvydom to the trees Paysage aux cyprès (Fig.1), for example, and yet the sense of real passe-temps, Céret (c.1920–21; Scottish National Gallery Modern Art, Edinburgh), dark trees overrun suggestion amethyst’, as Monroe catalogue Soutine’s exhibition at the More conventional, at glance, (c. private collection), in which an ancient ash tree looms deep-blue silhouette emotive note. The external world provides correlative for the artist’s interior. The private significance of the Vence paintings Soutine made an onlooker the Riviera town

three large paintings from the 1960s and 1970s that bear witness the post-war decimation and rebuilding And yet Kossoff’s paintings feel of piece with the everyday. He the paint all its furrowed, pitted physicality has way of assailing the image, subjecting heat(1904–97), in the 1950s. This was also the decade in which, with Frank Auerbach (b.1931), he began depict

bomb sites. Kossoff admired Soutine’s Céret paintings Railway landscape near King’s Cross, dark day (Fig.2) carries extent human subjects sites artist on his own terms, but this has the effect, ultimately, undoing the show’s premise. The singularity sensitively selected and deftly hung, also its weakness, with each gallery

possessing stronger logic and unity One point that the show affirms is (1971; Tate), in which crowded bodies are interspersed with blue to suggest mundane riposte to Tiepolo. The noise, light and turmoil The exhibition provides concise yet vivid selections each artist’s portraits, which are selected from pared into schemata. Sally in armchair, no.1 (Fig.4), the crudeness shop.burlington.org.uk/ subscriptions

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

men’s 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 The first gallery shows that, on arrival in Auvers, Van Gogh these were symptomatic of 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 articulate space while other patches or marks give dense surface activity. What noticeable in these village canvases that about half have no staffage and, in those that do, the figures appear to have been added at late stage, suggesting perhaps that Van Gogh found the sense of community more the friendship with Gachet, combining from Saint-Rémy (1889; Musée d’Orsay, Paris; cat. fig.158) with the likeness he painted of the doctor (Orsay; cat. no.22). 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 shows the flower still lifes, some painted the doctor’s house, using his vases. Detailed research has suggested that the substantial chestnut branch loaded painted following damage caused by the heavy storms of 24th and 25th May. ‘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

into Exhibitions 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 fostered to represent personal visions and emotions. Rothko diffused his colours, rotated his sheets to paint

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 Exhibitions by Vincent van

played no role in Wirth-Miller’s art.42 It 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 42); Beauford Delaney (1901–79) laid in wet-in wet washes Untitled 1964); and Robert Motherwell (1915–91)

such overlaps in their collections are a manifestation of 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 Boston 2022, p.199–201. 17/08/2023 16:13 Van Gogh in Auvers: life, from his arrival in the village of

and opaque watercolour and ink on paper wrapped around

and conceptual sensibilities with diminutive colour washes; LeWitt’s large-scale Wavy brushstrokes 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 number of these works, such as the off-white

Johan Zoffany (1733–1810)

Edward Townsend singing the ‘Beggar’s Ballad’, 1796

Recently acquired by

Staatliche Kunsthalle Karlsruhe

Karlsruhe, Germany

www.morettigallery.com

DESIGN AND PRINT SERVICES FOR FINE ART CATALOGUES AND BOOKS

If you are planning a printed or digital catalogue or have any other publishing project in mind, we welcome the opportunity to discuss how we might work together

Please contact Chris Hall for further information or for a free quotation

Email: hall@burlington.org.uk or telephone: +44 (0)20-7388 1228

Anton Raphael Mengs (Aussig, Bohemia 1728–1779 Rome)

Portrait of Friedrich Christian, Prince of Saxony (1722–1763), three-quarter-length, in armour, with an ermine lined mantle and the sash and star of the Order of the White Eagle Oil on canvas

x 431⁄4 in. (155.7 x 110.8 cm.)